For 884 reviews, this critic has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 7.2 points higher than other critics. (0-100 point scale)

Sean Axmaker's Scores

  • Movies
Average review score: 66
Highest review score: 100 The Wind Will Carry Us
Lowest review score: 0 See Spot Run
Score distribution:
  1. Negative: 53 out of 884
884 movie reviews
    • 62 Metascore
    • 58 Sean Axmaker
    Full of compassion and good intentions, but Kirkman never spins the stories into compelling cinema.
    • 34 Metascore
    • 58 Sean Axmaker
    Doom may be by the numbers, with a roll call of colorful types systematically exterminated while The Rock entertains with cartoonish expressions and reactions (the closest the film comes to personality).
    • 48 Metascore
    • 58 Sean Axmaker
    It's often funny but it flails around like a chicken with its head cut off, flapping and squawking and making a spectacle, but never really going anywhere.
    • 56 Metascore
    • 58 Sean Axmaker
    In place of the dysfunctional family Christmas story we've come to expect for the holidays, The Family Stone gives us a cheerfully uncensored, generic counterculture clan and tosses a tightly wound control freak into the center of their holiday celebration.
    • 64 Metascore
    • 58 Sean Axmaker
    The warmth of Baker as the cuddly nature boy (another idealized image, certainly, but a romantic one) and the intelligence and fire of Lathan give the lesson, and movie, just enough heart to make it enjoyable.
    • 52 Metascore
    • 58 Sean Axmaker
    Competently directed by Christian music producer Steve Taylor, it's a sincerely (if not exactly subtly) performed spiritual drama with a faith-based lesson in humility and the practical charity of offering a helping hand.
    • 49 Metascore
    • 58 Sean Axmaker
    Though it's rarely dull, first-time feature director Yasuo Inoue has a better eye for intriguing and unusual imagery than dramatic staging, and he illustrates his points long before he runs out of un-endings.
    • 55 Metascore
    • 58 Sean Axmaker
    For all of its minor pleasures, this encore lacks the depth of its conviction.
    • 53 Metascore
    • 58 Sean Axmaker
    It's the soulless quality of so many films that value devious plots, smug deception and quirky personality traits over actual story and character.
    • 47 Metascore
    • 58 Sean Axmaker
    It's a bright, swiftly paced story with some spirited humor.
    • 48 Metascore
    • 58 Sean Axmaker
    No, it's not the big screen version of "24." For one thing, Sutherland is in the wrong role.
    • 54 Metascore
    • 58 Sean Axmaker
    There's simply nobody beneath the derisive attitude worth caring about.
    • 46 Metascore
    • 58 Sean Axmaker
    The kids have good chemistry, there's some fun oddball humor stuck in around the slapstick, and the gorgeous photography of the Gulf Coast beaches, waterways and wildlife brings their mission to life.
    • 65 Metascore
    • 58 Sean Axmaker
    The film is thrown off balance by the weight of Norton's compassion for this troubled soul.
    • 67 Metascore
    • 58 Sean Axmaker
    For all its pronouncements, it's a frothy romantic lark.
    • 40 Metascore
    • 58 Sean Axmaker
    The curiously stylized piece, shot in a muted palette with performances to match (the cast is perhaps too restrained given the theatrical framework), is dramatically colorless, but the moods and moments are crafted with kinky grace.
    • 52 Metascore
    • 58 Sean Axmaker
    It's weird, clean, good-natured fun, and it's far too subdued for its madcap milieu.
    • 65 Metascore
    • 58 Sean Axmaker
    The attitude is older, maybe a tad sentimental, and as adolescent and reckless as ever. Whether that's a good thing depends on your appreciation for dead-end conversations, geek debates and the Smithspeak sandbox of creative vulgarity.
    • 42 Metascore
    • 58 Sean Axmaker
    It's bright, colorful and udder-ly unmemorable.
    • 42 Metascore
    • 58 Sean Axmaker
    A bland Bond.
    • 56 Metascore
    • 58 Sean Axmaker
    Well-intentioned but not very well directed, it makes for a better psychological profile than a film.
    • 57 Metascore
    • 58 Sean Axmaker
    Ledger mumbles his entire performance (some of it barely legible) as a fuzzy, friendly, happily passive heroin addict and sometime poet, as if he's too blissed out to even open his mouth as he simply drifts along with his addiction.
    • 43 Metascore
    • 58 Sean Axmaker
    Black's apoplectic fits and sardonic rants are strictly a bonus for the parents dragged along for the adolescent shenanigans.
    • 53 Metascore
    • 58 Sean Axmaker
    For all of the credibility of the performances (or at least the teens), it all feels like recycled social commentary.
    • 47 Metascore
    • 58 Sean Axmaker
    It probably cost less than the catering budget of average Adam Sandler comedy and, in its own hit-and-miss scattershot fashion, it's about as funny. At least when it hits.
    • 41 Metascore
    • 58 Sean Axmaker
    The story -- something to do with an ancient evil returning after 3,000 years -- plays like a multi-episode story arc of the TV series.
    • 36 Metascore
    • 58 Sean Axmaker
    The unchecked enthusiasm of McGinley as the touchy-feely renovation guru gives slow-burn Cube the perfect foil and mellows the malicious comic tone. The rest is pure slapstick.
    • 59 Metascore
    • 58 Sean Axmaker
    There are no surprises in this match, but director Fumihiko Sori makes the games visually thrilling.
    • 70 Metascore
    • 58 Sean Axmaker
    The curious character study is a comedy in a minor key, but for all White's fascination with Peggy, he brings little conviction to the healing message under all this creepiness and social awkwardness, beyond what Shannon brings to the role.
    • 48 Metascore
    • 58 Sean Axmaker
    Ultimately less psychological thriller than polemic about the effects of living in an atmosphere of paranoia fed by daily threat-level assessments and round-the-clock TV news-channel coverage of fear-mongering speeches.
    • 52 Metascore
    • 58 Sean Axmaker
    Too hip to play it straight and too cool to resort to an actual story, Hartley turns the whole rambling spy game into a puzzle box where every certainty is thrown into doubt, every character has a hidden motive, and every clue is contradicted.
    • 48 Metascore
    • 58 Sean Axmaker
    Under the lingerie model façade beats the heart of a celestial Dr. Phil.
    • 55 Metascore
    • 58 Sean Axmaker
    Despite Clement's best efforts to make Jarrod a deadpan oddball nerd, it becomes apparent early on that excessive teenage eccentricity and terminal self-delusion isn't quite as cute in the adult male and absent father.
    • 45 Metascore
    • 58 Sean Axmaker
    Evening is so distanced from the emotions of the story that it never breathes on its own.
    • 63 Metascore
    • 58 Sean Axmaker
    The film ultimately swindles its own story.
    • 64 Metascore
    • 58 Sean Axmaker
    Buscemi gets a fine performance from Miller and plays his part with a murky mix of self-pity, opportunism and arrogance. A few scenes crackle with their intensity. The rest of it wallows in glib acrimony and cynicism.
    • 65 Metascore
    • 58 Sean Axmaker
    The cozy, lived-in atmosphere created by the ensemble and the unlikely chemistry of Carell and Binoche are so genuine that you wish the rest of the film was just as effortless and authentic.
    • 45 Metascore
    • 58 Sean Axmaker
    Favors pageantry over substance.
    • 43 Metascore
    • 58 Sean Axmaker
    There are too many unearned runs to fully embrace this underdog triumph.
    • 37 Metascore
    • 58 Sean Axmaker
    P2
    The minor pleasures of P2 lie in the simple effectiveness of the sleekly unshowy direction and the clean, unadorned script, which pares away extraneous distractions like motivation and complicated back stories to get on with the mechanics of tension and the obligatory jumps and startles (which stand in for genuine scares).
    • 75 Metascore
    • 58 Sean Axmaker
    Given the possibilities it's not particularly inventive, but it is nice to see a comedy so affectionate with the conventions it spoofs.
    • 59 Metascore
    • 58 Sean Axmaker
    Abigail Breslin, the preteen Oscar nominee for "Little Miss Sunshine" and the most effortless actress of her generation, plays the precocious little girl part without overdoing the precociousness.
    • 62 Metascore
    • 58 Sean Axmaker
    Maybe it's fantasy fatigue, but for all the pretty effects and breathless chases and goblin war battles, the sense of wonder and magic is lost in the shuffle.
    • 59 Metascore
    • 58 Sean Axmaker
    For all the clumsy scenes and cloying performances, director Patricia Riggen puts her adults through tough choices and hard consequences.
    • 32 Metascore
    • 58 Sean Axmaker
    Backseat satisfies itself with small observations and minor breakthroughs of self-awareness. In the scheme of their lives, this journey is just a speed bump, jolting them awake for a brief moment. The rest is up to them.
    • 55 Metascore
    • 58 Sean Axmaker
    Writer/director Michael McCullers sprinkles the film with sight gags and comic characters (the lisping birth coach becomes funny out of sheer doggedness), but his pacing is poor and doesn't know how to showcase the small-screen chemistry of Fey and Poehler on the big screen.
    • 54 Metascore
    • 58 Sean Axmaker
    Imagine Warren Beatty in "Shampoo" by way of a Jewish Rambo.
    • 72 Metascore
    • 58 Sean Axmaker
    It's a little sloppy and full of convenient coincidences, but at its best roils with edgy character tensions.
    • 55 Metascore
    • 58 Sean Axmaker
    It's funny. Dumb, yes, but funny.
    • 30 Metascore
    • 58 Sean Axmaker
    The result is a great-looking movie with an awkward balance of pulp noir and campy self-awareness.
    • 58 Metascore
    • 58 Sean Axmaker
    It's a fine moral and an admirable statement, but it's the portrait of an icon rather than the story of the person thrust into that position.
    • 47 Metascore
    • 58 Sean Axmaker
    A strangely warm, affectionate look at bad behavior amid emotional damage and a stranglehold of identity issues.
    • 51 Metascore
    • 58 Sean Axmaker
    As action movies seem to get more complicated and convoluted with international conspiracies and technological concepts, the "Transporter" franchise is refreshingly simple.
    • 50 Metascore
    • 58 Sean Axmaker
    Director Alfredo De Villa doesn't play it for the kind of knockabout comedy so often seen in these films (like the shrill hit "Four Christmases").
    • 47 Metascore
    • 58 Sean Axmaker
    Easily the least passionate romantic comedy I've seen in years.
    • 36 Metascore
    • 58 Sean Axmaker
    Mostly it's a series of dream-image clues scribbled out by juvenile seer Fanning, followed by super-powered smackdowns between agents and mercenaries with slangy titles like watchers, stitchers and sniffers.
    • 45 Metascore
    • 50 Sean Axmaker
    For an ostensibly personal film, this plodding portrait of the self-involved flailing for meaning in a mercenary world has little of Soderbergh's insight, empathy or generous personality.
    • 24 Metascore
    • 50 Sean Axmaker
    Director Jesse Vaughan keeps the ball in play through the aw-shucks lessons in humility and generosity, but the teamwork is shoddy, the plays lack surprise and, finally, Juwanna Mann misses more than it hits.
    • 51 Metascore
    • 50 Sean Axmaker
    Finn Taylor's lark of a movie feels like two unfinished films awkwardly fused together and ever threatening to snap apart.
    • 31 Metascore
    • 50 Sean Axmaker
    Entertaining in a trashy sort of way.
    • 58 Metascore
    • 50 Sean Axmaker
    Farce is a genre best served with building momentum and crack timing. This lazily paced piece seems more concerned with winking at the audience and putting quotations around the performances than anything so crass as playing this farce for laughs.
    • 29 Metascore
    • 50 Sean Axmaker
    Like shave ice without the topping, this cinematic snow cone is as innocuous as it is flavorless.
    • 35 Metascore
    • 50 Sean Axmaker
    Harmless and thoroughly unmemorable: colorful, cute, fast paced, and about as involving as an amusement park ride.
    • 45 Metascore
    • 50 Sean Axmaker
    There's just no juice to this thing, merely a bunch of fitfully funny gags and a climactic football match that, under Skolnick's direction, fails to show us why the Europeans find this so exciting.
    • 62 Metascore
    • 50 Sean Axmaker
    A good-faith effort, if not completely successful.
    • 53 Metascore
    • 50 Sean Axmaker
    A bubbly, high-spirited paean to the joys of pharmaceutical phun that grooves to a throbbing beat but constantly trips over flat, prosaic dialogue and literal, lifeless sight gags.
    • 30 Metascore
    • 50 Sean Axmaker
    Deutch never raises the film beyond its paint-by-numbers blueprint.
    • 52 Metascore
    • 50 Sean Axmaker
    If Laurence Fishburne could only have harnessed his fierce performance to drive his directoral debut, Once in the Life might have made something memorable of the done-to-death tale of small-time crooks on the run after a heist gone wrong.
    • 44 Metascore
    • 50 Sean Axmaker
    Utter lack of irony and curiosity.
    • 47 Metascore
    • 50 Sean Axmaker
    An uninvolving film.
    • 50 Metascore
    • 50 Sean Axmaker
    If Irwin is your bag, then this is your film. Otherwise, Crocodile Hunter: Collision Course is dumb, mate. Real dumb.
    • 28 Metascore
    • 50 Sean Axmaker
    Though a hypnotically beautiful film, it's dramatically listless and dull, and completely lacking in passion.
    • 44 Metascore
    • 50 Sean Axmaker
    Sober and serious and downright glum, ultimately an all-too-familiar portrait of lonely souls unable to break through their own isolation.
    • 48 Metascore
    • 50 Sean Axmaker
    Shallow Hal begs for the Farrellys to unleash their arsenal of offensiveness, but they want to be liked so much they appear afraid to offend. The result is safe, well-meaning and dull.
    • 50 Metascore
    • 50 Sean Axmaker
    Opens on a display of humiliation and human degradation at its worst and then rewinds, like a video surfer zipping back to replay a favorite scene, to the nominal beginning of the spiral.
    • 32 Metascore
    • 50 Sean Axmaker
    A slick, cynical, nasty piece of heist-film plotting that hides its more obvious logical gaps in techno-babble and distracting spectacles of wanton violence and big explosions.
    • 24 Metascore
    • 50 Sean Axmaker
    Cohen drives the film at a galloping pace, but it's not fast enough to outrun its absurdity.
    • 54 Metascore
    • 50 Sean Axmaker
    It's too insubstantial to support its two-hour-plus running time, and too arbitrary to work as a story, so you walk out wondering not happened, but whether anything actually did.
    • 61 Metascore
    • 50 Sean Axmaker
    A diversion so soggy that even the few combustible comic disasters fail to light a flame under the lukewarm laughs.
    • 51 Metascore
    • 50 Sean Axmaker
    Many will find Griffin profane, sexist and decidedly offensive. Many more will find his raunchy insights inspired, his body language hilarious and his gift for mimicry and caricature worth the entire show.
    • 47 Metascore
    • 50 Sean Axmaker
    Offers precious little inspiration, and the only irony it manages is surely unintended.
    • 43 Metascore
    • 50 Sean Axmaker
    Too bad the film, which Kennedy spun from a stand-up skit, remains as blissfully unaware of its possibilities as B-Rad is of his absurdity.
    • 33 Metascore
    • 50 Sean Axmaker
    If there is a delicate story of forgiveness, friendship and family buried somewhere in Erica Beeney's script, Potelle and Rankin haven't managed to find it under the throes of empty rebellion and painless triumph.
    • 28 Metascore
    • 50 Sean Axmaker
    This half-baked production sat on Miramax's shelf for a couple of years. It's no more done now than then, merely more stale.
    • 48 Metascore
    • 50 Sean Axmaker
    It's ultimately just numb, a sober wartime romance roused only by Blanchett's intensity and Crudup's passionate swings between righteous anger and moral zeal. The rest is just tired melodrama.
    • 47 Metascore
    • 50 Sean Axmaker
    That may be enough to keep the kids bobbing along -- and there are worse heroes for a kid to have than Arnold -- but apart from the shenanigans of civil-disobedient senior citizens, this movie offers little to keep accompanying parents interested.
    • 23 Metascore
    • 50 Sean Axmaker
    The film has good design, effective animation and generic if endurable songs, but Sandler wants to slam his sentiment and wallow in it too, and he compromises with the worst of both worlds.
    • 59 Metascore
    • 50 Sean Axmaker
    Shyamalan has learned the lessons that so many horror directors ignore: Suggestion is scarier than revelation.
    • 44 Metascore
    • 50 Sean Axmaker
    Breiman brings nothing new or insightful or even all that clever, for that matter, to the familiar questions of love and sex.
    • 9 Metascore
    • 50 Sean Axmaker
    It should have warned us that logic was also hitting hard times.
    • 19 Metascore
    • 50 Sean Axmaker
    Cut down to a frantic 88 minutes, you wonder if all the human moments were trimmed away to get to this abstract, humorless exercise in empty flourish.
    • 48 Metascore
    • 50 Sean Axmaker
    The ploddingly literal screenplay by John Logan doesn't help matters.
    • 40 Metascore
    • 50 Sean Axmaker
    To be fair, Clockstoppers isn't a bad film, merely bereft of creativity and personality.
    • 45 Metascore
    • 50 Sean Axmaker
    It feels like a peek into the closet of a pedophile and it's genuinely discomforting.
    • 51 Metascore
    • 50 Sean Axmaker
    Even a one-two punch from Australian stars Guy Pearce and Rachel Griffiths, who are wryly good in this crime caper, can't keep it from sinking into a cavern of cliches.
    • 49 Metascore
    • 50 Sean Axmaker
    For all the grace of the animation and visual splendor, the stilted script and emotionless "performances" give this digital artifact a distinctly stiff, wooden flavor.
    • 51 Metascore
    • 50 Sean Axmaker
    I can't imagine how Smith can capture a big enough audience to pay off this private joke, but the inner geek in me had too much fun to care.
    • 54 Metascore
    • 50 Sean Axmaker
    Rock Star roars to life with a promise of something inspired and inventive whenever Wahlberg leaps onstage. Offstage, however, even he can't breathe life into this same old song.
    • 30 Metascore
    • 50 Sean Axmaker
    Washington's fire and righteous anger can only do so much, and the token grit amounts to a few grains of sand in the sentimental machinery.
    • 34 Metascore
    • 50 Sean Axmaker
    Fails to generate the elementary visceral thrills we've come to expect from science-fiction thrillers, let alone a compelling human drama.
    • 41 Metascore
    • 50 Sean Axmaker
    Splashy and sweetly romantic, if hopelessly unimaginative.
    • 27 Metascore
    • 50 Sean Axmaker
    The script is soggy and sloppy and Waters is no master of suspense, but he does have a pair of engaging stars flirting in a world of chic New York glamour.
    • 28 Metascore
    • 50 Sean Axmaker
    Beck wants to dazzle the audience. I'd settle for a story.
    • 52 Metascore
    • 50 Sean Axmaker
    It all feels false and calculated, an overearnest attempt to find old-fashioned romantic innocence in the modern world by someone too jaded to believe.
    • 36 Metascore
    • 50 Sean Axmaker
    It plays like a big-budget, after-school special with a generous cast, who at times lift the material from its well-meaning clunkiness.
    • 33 Metascore
    • 50 Sean Axmaker
    A preachy parable stylized with a touch of John Woo bullet ballet.
    • 54 Metascore
    • 50 Sean Axmaker
    A one-note farce that struggles just to remain on key.
    • 37 Metascore
    • 50 Sean Axmaker
    First-time director Billie Woodruff, a music video veteran, busts his moves in the dance scenes while the movie throbs to the beat of the wall-to-wall soundtrack.
    • 45 Metascore
    • 50 Sean Axmaker
    Yet for all the debauchery, there's a juvenile candor in its knowing embrace of teen sex comedy cliches, as if the entire film is just one of Scott's fantasies. You half expect him to jolt awake at the end, and why not? The film fades just like a half-remembered dream.
    • 33 Metascore
    • 50 Sean Axmaker
    Has moments of inspiration, but the scattershot spoofing never achieves enough momentum to get this flight airborne.
    • 41 Metascore
    • 50 Sean Axmaker
    For a film that uses race, class and sexual stereotypes as the starting point, this is disappointingly skin deep.
    • 53 Metascore
    • 50 Sean Axmaker
    The contrast of the naive assurance of youth with the confusion and ambiguity of adulthood is sweet but simplistic and the wandering script hasn't much else to offer.
    • 49 Metascore
    • 50 Sean Axmaker
    The stylistic cleverness of the opening minutes settles into a self-satisfied flair.
    • 57 Metascore
    • 50 Sean Axmaker
    As fresh as a highlight reel of day-after replays, Mr. 3000 is a case of major-league talent stuck in a minor-league story.
    • 46 Metascore
    • 50 Sean Axmaker
    Writer/director Jordan Roberts aims for heartwarming drama and settles for tepid entertainment.
    • 19 Metascore
    • 50 Sean Axmaker
    This is pseudo-cynical comedy, however, not social satire. All the sharp corners are smoothed over and what's left is little more than a big screen sitcom.
    • 57 Metascore
    • 50 Sean Axmaker
    A jargon-filled documentary less interested in culture and history than mechanics, machinery and the rush of speed.
    • 60 Metascore
    • 50 Sean Axmaker
    More than simply a raw-nerve success-gone-sour story. It's a revenge tale, and the directors come out on top.
    • 53 Metascore
    • 50 Sean Axmaker
    Weaver was half-heartedly pushed as an underdog Oscar choice. If the film was worthy of her performance, Weaver may have had a shot.
    • 39 Metascore
    • 50 Sean Axmaker
    Fat Albert's originality is lost on the big screen.
    • 55 Metascore
    • 50 Sean Axmaker
    This is a familiar journey and director/co-writer Todd Phillips sidesteps every opportunity to inject a little edge or originality into it.
    • 41 Metascore
    • 50 Sean Axmaker
    Its one saving grace is Godzilla himself, the James Bond of giant monsters.
    • 55 Metascore
    • 50 Sean Axmaker
    Peter Riegert's is a labor of love film where you feel love much stronger than you feel the film.
    • 82 Metascore
    • 50 Sean Axmaker
    The script is as sloppy as Song's unkempt cop, sprinkled with intriguing ideas and imaginative details that, like the investigation, simply get lost in blind alleys.
    • 53 Metascore
    • 50 Sean Axmaker
    A canny but hollow pastiche.
    • 43 Metascore
    • 50 Sean Axmaker
    Michael Winterbottom's erotic drama isn't so much a story of a love affair as an anatomy of a sexual relationship.
    • 47 Metascore
    • 50 Sean Axmaker
    For all its good intentions in exploring the grace of death, November never creates a life outside of its all-too-obvious inspirations and the mystery becomes little more than a groaner.
    • 51 Metascore
    • 50 Sean Axmaker
    Scott, whose sensitive turn as a priest inspired by Ralph's conviction and commitment gives the film a touch of grace at the cost of revealing McGowan's drab direction of every other actor.
    • 51 Metascore
    • 50 Sean Axmaker
    There's no comic spark under Showalter's drab direction, and no good argument in the film why we should ever wonder about the guy left at the altar.
    • 56 Metascore
    • 50 Sean Axmaker
    When the spectacle turns ridiculous, the movie just becomes another big-screen video game.
    • 56 Metascore
    • 50 Sean Axmaker
    Mostly it's tedious as we watch the photogenic but emotionally blank Chatagny bounce between anonymous sexual encounters.
    • 66 Metascore
    • 50 Sean Axmaker
    Surely played better on the page than on the screen. What's left is the same old drill driven by brutal master race fervor.
    • 54 Metascore
    • 50 Sean Axmaker
    This well-meaning mistake gets lost in the metaphors.
    • 59 Metascore
    • 50 Sean Axmaker
    It lacks both complexity and compromised characters. While the cultural backdrop is intriguing, the story is frustratingly conventional and familiar.
    • 38 Metascore
    • 50 Sean Axmaker
    Quaid and Russo outshine the script with their presence and chemistry alone.
    • 54 Metascore
    • 50 Sean Axmaker
    John Jarratt is perfectly creepy as the outback loner gone psychotic survivalist who gets his kicks from the systematic degradation and torture of hapless victims. And make no mistake, the ordeal is excruciating.
    • 45 Metascore
    • 50 Sean Axmaker
    A tired tale that never comes to life.
    • 52 Metascore
    • 50 Sean Axmaker
    Director Wayne Wang stumbles through the awkward script without finding its shape or its tone, steering it toward maturity while the script falls back into slapstick sports gags and adolescent social politics.
    • 37 Metascore
    • 50 Sean Axmaker
    The underdog story doesn't miss a cliche, even though it never figures out whether it's a boxing picture or a military drama.
    • 56 Metascore
    • 50 Sean Axmaker
    There isn't a spark in the familiar emotional situation or a reason to care how these amiably bland characters end up.
    • 27 Metascore
    • 50 Sean Axmaker
    The results are shapeless, excessively lurid and often unpleasant, with Argento shamelessly vamping the white-trash junkie mother and truck-stop hooker. She apparently forgot whose story she was telling.
    • 54 Metascore
    • 50 Sean Axmaker
    It doesn't leave you much to hold on to in a comedy about apathy that can't even muster the energy to care.
    • 58 Metascore
    • 50 Sean Axmaker
    Not as cool as the first.
    • 48 Metascore
    • 50 Sean Axmaker
    It wobbles between a conventionally quirky lighthearted goof and an oddball farce in which character is sacrificed for sight gags.
    • 61 Metascore
    • 50 Sean Axmaker
    Deyfus' haphazard filmmaking dissipates a potentially fascinating mystery into one long diversion.
    • 47 Metascore
    • 50 Sean Axmaker
    For all the color and lively music, it's an overlong, messy labor of love built on a sense of personal betrayal that rings hollow.
    • 44 Metascore
    • 50 Sean Axmaker
    For all of its admirable intentions, the awkward melding of movie-of-the-week tragedy, non-denominational salvation drama and teen sex comedy mistakes banality for conviction.
    • 46 Metascore
    • 50 Sean Axmaker
    At least Lin's local color make the idiocy fun to watch.
    • 41 Metascore
    • 50 Sean Axmaker
    The film lacks the nerve for any genuinely nasty fun or comic bite.
    • 57 Metascore
    • 50 Sean Axmaker
    A fumbling attempt to create the European equivalent of a Japanese manga thriller in the conspiratorial mold of "Akira" and "Ghost in the Shell" has a stunning look.
    • 44 Metascore
    • 50 Sean Axmaker
    Ben Stiller provides a jolt of personality as a past victim who rouses himself from exile, but otherwise Todd Phillips' fitfully funny script never delivers the crude creativity or the raw energy that feeds this genre of proudly crass male-centric comedies.
    • 61 Metascore
    • 50 Sean Axmaker
    When Plympton's freak flag flies, Hair High delivers the same whacked-out weirdness of his shorts. The rest of the film simply stretches out the simple premise and marks time between his ideas.
    • 45 Metascore
    • 50 Sean Axmaker
    Smokin' Aces isn't a story, it's a premise with a madhouse of characters flung into a collision course that ends at the same finish line.
    • 54 Metascore
    • 50 Sean Axmaker
    There's no conviction among these self-involved folks who sidestep commitment with a quip and a grin.
    • 27 Metascore
    • 50 Sean Axmaker
    Low octane comedy running on fumes.
    • 43 Metascore
    • 50 Sean Axmaker
    This larger-than-life cartoon of a trained dog has more character than the two-legged co-stars.
    • 45 Metascore
    • 50 Sean Axmaker
    Diverting, at times even visually impressive, but has neither the spirit or style of "Spider-Man" nor the ambition of "X-Men."
    • 37 Metascore
    • 50 Sean Axmaker
    You'd hope God would think bigger for His divine intervention in American politics.
    • 25 Metascore
    • 50 Sean Axmaker
    Bland and boring.
    • 37 Metascore
    • 50 Sean Axmaker
    It's kind of like "Tootsie," only without the drag. Or the class. Or the laughs.
    • 44 Metascore
    • 50 Sean Axmaker
    The best scenes belong to Tucker and director Brett Ratner keys in to his timing, whether it's a Chinese twist on "Who's on First" or a seduction scene in which Tucker blurts out every impulse.
    • 63 Metascore
    • 50 Sean Axmaker
    Just another low-budget effort from filmmakers who mistake cleverness for smarts.
    • 46 Metascore
    • 50 Sean Axmaker
    CJ7
    Bright, bouncy, kooky and comically tone deaf, CJ7 is the most bizarre kids movie I've ever seen.
    • 46 Metascore
    • 50 Sean Axmaker
    Be warned that what looks to be a family comedy pushes its PG-13 rating to the edge with blatant sexual references and creatively crude sexual metaphors.
    • 48 Metascore
    • 50 Sean Axmaker
    It lacks the invention of Pegg's comedies with Edgar Wright, which buzz and crackle with ideas and energy. This one simply plods through, just like Dennis. Only Pegg's doggedness gets this effort across the finish line.
    • 48 Metascore
    • 50 Sean Axmaker
    21
    A thoroughly ordinary drama of temptation, dubious redemption and easy revenge.
    • 44 Metascore
    • 50 Sean Axmaker
    With a title like Chaos Theory, one might expect a little runaway energy or a dash of wild spirit under the antics, but there's little punchy anarchy in this controlled experiment.
    • 47 Metascore
    • 50 Sean Axmaker
    Sivan makes it all quite beautiful with verdant imagery and tastefully melodramatic direction, but at the cost of emotional and social ambiguities, not to mention living, breathing characters.
    • 51 Metascore
    • 50 Sean Axmaker
    The Will Ferrell comedy engine is running on empty in Step Brothers.
    • 37 Metascore
    • 50 Sean Axmaker
    It's all too much and too little: a history lesson in institutional racism that falls into character cliches, a human drama that gets lost in melodramatic detours, a war movie put together by a fan rather than a filmmaker.
    • 45 Metascore
    • 50 Sean Axmaker
    You can feel the debt to Sidney Lumet's '70s studies in police corruption and cop brotherhood, but O'Connor never captures the edge of danger, anger and moral stands being ground up in compromise.
    • 57 Metascore
    • 50 Sean Axmaker
    Ball's snide humor and cynical arrogance undercut his message at every turn.
    • 53 Metascore
    • 50 Sean Axmaker
    Burger is so respectful of the trio that he never gets under their skin. Apart from the generosity of strangers who pay tribute to the soldiers with little acts of kindness, you get the same generic observations of any road movie.
    • 40 Metascore
    • 50 Sean Axmaker
    Think of it as a buffet of romantic comedy comfort food: the good old American standbys complemented by bland international dishes.
    • 36 Metascore
    • 50 Sean Axmaker
    Campbell fans will get a kick out of it. The rest of the world will likely find this spoof a little too insular and indulgent.
    • 55 Metascore
    • 50 Sean Axmaker
    Herman's intentions are admirable, but his results are unsettling in the worst ways.
    • 43 Metascore
    • 50 Sean Axmaker
    Director Bill Duke may believe the message but he never invests himself in the characters or their story, which becomes an illustrated lesson with reflective interludes and comic relief.
    • 40 Metascore
    • 50 Sean Axmaker
    If only Outlander was as fun as the premise makes it sound on paper.
    • 45 Metascore
    • 42 Sean Axmaker
    Willis and Breslin are stuck in a charmless, predictable picture they can't escape.
    • 45 Metascore
    • 42 Sean Axmaker
    Drowns promising ideas in a sea of missed details and unconvincing motivations.
    • 37 Metascore
    • 42 Sean Axmaker
    It simply isn't that funny or clever. For a comedy, that's about the worst that could happen
    • 49 Metascore
    • 42 Sean Axmaker
    Burns' trite talk and familiar romantic conflicts doesn't do any of the characters any favors. Everyone comes off flat and forced, with one notable and lovely exception: Dawson.
    • 47 Metascore
    • 42 Sean Axmaker
    All the jazzy effects and jumpy editing merely move us quicker to an otherwise predetermined tragedy.
    • 47 Metascore
    • 42 Sean Axmaker
    Von Trier is far more hypocritical than his straw-figure characters, and he's simply too cynical and insincere to be provocative.
    • 52 Metascore
    • 42 Sean Axmaker
    This vampire story is as soulless as they get.
    • 22 Metascore
    • 42 Sean Axmaker
    The film is a shapeless mess and about as convincing as a cartoon, the usual mix of slapstick, doofus humor and raunchy sex jokes lacking even the bite or attitude to make it adventurous.
    • 33 Metascore
    • 42 Sean Axmaker
    See "Freaky Friday" for convincing cross-generational female bonding. Despite it's elegant style and uptown milieu, this film is a cheap imitation.
    • 48 Metascore
    • 42 Sean Axmaker
    For a film so intent on the rules of engagement, this is hardly engaging drama.
    • 52 Metascore
    • 42 Sean Axmaker
    At its best, it is self-effacing fun.But the cartoonish approach takes its toll: The random twists and contrived showdowns devolve into just so much abstract business, too silly to take seriously and too unmotivated to make sense.
    • 73 Metascore
    • 42 Sean Axmaker
    At its best when exploring grieving and loss and anger, but Shear turns it into spiritual shock treatment.
    • 28 Metascore
    • 42 Sean Axmaker
    I can imagine the pitch meeting: "It's 'Kramer vs. Kramer' meets 'Forrest Gump.' No, wait, 'Rainman' has a baby!"
    • 29 Metascore
    • 42 Sean Axmaker
    Between Stallone's soap opera of a script and Renny Harlin's speed-obsessed visuals, we're never really shown much more than fast cars and obsessed drivers.
    • 18 Metascore
    • 42 Sean Axmaker
    For all the hot air expended, this film ends up all smoke and no heat.
    • 58 Metascore
    • 42 Sean Axmaker
    May
    It wants to be a "Carrie" with a modern-day "Frankenstein" twist, but it lacks the smarts behind the weirdness.
    • 12 Metascore
    • 42 Sean Axmaker
    Feels like nothing less than Dana Carvey's desperate bid for his own "Austin Powers"-like franchise, but with a harmless humor far less crude. Carvey favors whoopee cushion punch lines to toilet gags and references to big butts over sexual double-entendres.
    • 48 Metascore
    • 42 Sean Axmaker
    By the film's interminable, unforgivably embarrassing third act it sinks in a sticky swamp of sentimentality.
    • 29 Metascore
    • 42 Sean Axmaker
    Prinze and Forlani coast on charisma alone, but even their charms can't coax magic from the prosaic dialogue and romantic clichés that clog this listless comedy.
    • 41 Metascore
    • 42 Sean Axmaker
    More than painful to behold, it's simply insincere in a film determined to undermine gay stereotypes.
    • 34 Metascore
    • 42 Sean Axmaker
    The special effects display is so lacking in imagination it turns into so much noise, just a flashy distraction from the stiff, stock cliches of the by-the-numbers script.
    • 46 Metascore
    • 42 Sean Axmaker
    Resembles nothing more than an overstuffed, undernourished "Brady Bunch" episode, only not as funny.
    • 52 Metascore
    • 42 Sean Axmaker
    Time travelers, hobbits, ghosts? Those I can buy. The impossibly quaint world of small-town innocence and Hollywood harmlessness in Win a Date With Tad Hamilton? Now that demands a serious suspension of disbelief.
    • 30 Metascore
    • 42 Sean Axmaker
    Ashton Kutcher wants to be taken seriously so badly it hurts. So does this metaphysical mess of a movie, a pseudo time-travel drama so complicated it takes more than half an hour just to establish the gimmick. And a gimmick it is.
    • 45 Metascore
    • 42 Sean Axmaker
    The new parody from the comedy troupe Broken Lizard, takes another swipe at the corpse armed with the same old weapons. This time, rigor mortis has set in.
    • 64 Metascore
    • 42 Sean Axmaker
    The official R rating is for "strong language, sexual content, drug use and some crude humor," but the MPAA is just being polite. It's all crude.
    • 47 Metascore
    • 42 Sean Axmaker
    It all feels pretty empty.
    • 56 Metascore
    • 42 Sean Axmaker
    Loses focus of whom the film is honoring.
    • tbd Metascore
    • 42 Sean Axmaker
    Director Jean Stewart isn't merely clumsy with character; she hasn't the chops to show us the joy and exhilaration Christine feels in the freedom of solo runs.
    • 35 Metascore
    • 42 Sean Axmaker
    Takes itself seriously enough to pull off a clever bit of sleight of hand, but doesn't have much to offer once the twist comes out of hiding.
    • 20 Metascore
    • 42 Sean Axmaker
    A harried, screechy film that goes nowhere at a breakneck pace, full of sound and furious slapstick overkill but devoid of wit.
    • 28 Metascore
    • 42 Sean Axmaker
    Plays like a feature-length sitcom with gay double entendres.
    • 52 Metascore
    • 42 Sean Axmaker
    The film half-heartedly paints their actions as rebel-chic heroism even when it has all the integrity of tomcats spraying outside their yards, and it ends up just as confused as the characters.
    • 42 Metascore
    • 42 Sean Axmaker
    This film is satisfied merely to wallow in women in peril, cinematic sadism and the spectacle of violent death and dismemberment.
    • 41 Metascore
    • 42 Sean Axmaker
    The few genuine moments of connection -- are as refreshing as they are out of place. They only highlight how false and affected the rest of the film is.
    • 55 Metascore
    • 42 Sean Axmaker
    It becomes simply another banal gang film so familiar and predictable you have to wonder why so much potential is wasted on such a confused dramatic mess.
    • 30 Metascore
    • 42 Sean Axmaker
    Don't watch this film unless you have a high tolerance and an undemanding appreciation for penis jokes and humor based more on a capacity to disgust than to surprise.
    • 40 Metascore
    • 42 Sean Axmaker
    There are some surprises to be had amid the cruelty (inflicted by both Jigsaw and his test subjects), but this time around the ordeal is less grueling than simply distasteful.
    • 34 Metascore
    • 42 Sean Axmaker
    All processed sugar and artificial flavor, right down to the sticky but tasteless happy ending.
    • 46 Metascore
    • 42 Sean Axmaker
    Not extreme enough to skate the edge of tasteless farce and not straight enough to play the material for edgy satire, The Ringer is a cheat right down to the final stretch. Breaking the rules should be more fun than this.
    • 41 Metascore
    • 42 Sean Axmaker
    There's every reason to believe the creators stopped taking it seriously a long time ago. What's bothersome is that they don't take the audience seriously enough to deliver an actual movie.
    • 47 Metascore
    • 42 Sean Axmaker
    Has neither the raucous energy and impudence of "Animal House," the defiance of "If ...," nor the grace and wit of "Harold and Kumar Go to White Castle."
    • 38 Metascore
    • 42 Sean Axmaker
    Like too many films of faith, it mixes its message, proclaiming that a life given over to God is a reward unto itself, and then handing over victories to its faithful like some overtime bonus.
    • 36 Metascore
    • 42 Sean Axmaker
    The result of this blender mash of exotic horror isn't much of anything at all, neither suspenseful, terrifying or inventively gory: Turistas is dead on arrival.
    • 39 Metascore
    • 42 Sean Axmaker
    There are cute flourishes, but much of the cleverness is smothered by tired dialogue and doughy animation, which gives the animated characters the personality of mannequins and the look of cheap merchandising knockoffs come to life.
    • 32 Metascore
    • 42 Sean Axmaker
    The resulting hodgepodge has the feel of filmmaking by committee, the look of last-minute reshoots and the whiff of desperation. Not even Braff's cartoonish smirk is distracting enough to hide that.
    • 30 Metascore
    • 42 Sean Axmaker
    A stiff of a supernatural comedy.
    • 31 Metascore
    • 42 Sean Axmaker
    Whether or not Garden Party is an accurate portrait of the shadow L.A. culture where the young, pretty and desperate can find quick rent money, this low-budget production never engages with its characters or stories enough to make you care either way.
    • 35 Metascore
    • 42 Sean Axmaker
    It might be impressive as a made-for-DVD production, but coming from producer George Lucas, it makes for a cheap excuse for a big-screen spectacle.
    • 40 Metascore
    • 42 Sean Axmaker
    Too bad Igor didn't jolt the film to life with his Frankenstein shenanigans.
    • 60 Metascore
    • 42 Sean Axmaker
    In this brand of comedy, nothing succeeds like excess, and this film is seriously deficient.
    • 41 Metascore
    • 42 Sean Axmaker
    Neither clever nor heartwarming, Four Christmases is the coal in the stocking of holiday movies.
    • 38 Metascore
    • 42 Sean Axmaker
    For all the bludgeoning insistence of Kramer's contrived plots and blunt direction, there's not much conviction to the outrage.
    • 32 Metascore
    • 33 Sean Axmaker
    Isn't merely bad, it's utterly flavorless and the filmmakers are either too lazy or too cynical to even pretend there's a story behind Lawrence's 21st century homeboy shtick in 14th-century garb.
    • 50 Metascore
    • 33 Sean Axmaker
    There's no slow descent into ruthless warfare and we get neither the giddy charge of their bad behavior, nor the guilty sting of complicity in their ruthless desire. All that's left is an idea still in search of a script.
    • 23 Metascore
    • 33 Sean Axmaker
    A sloppy, indifferent action movie with a sadistic edge and a sour hypocrisy.
    • 75 Metascore
    • 25 Sean Axmaker
    An airless, mannered mess.
    • 39 Metascore
    • 25 Sean Axmaker
    Has all the telltale signs of desperate re-editing: mismatched shots, clumsy transitions and a devastating car wreck that occurred either on a dry sunlit day or in the midst of a nighttime downpour, depending on the flashback.
    • 27 Metascore
    • 25 Sean Axmaker
    Upbeat but generic songs (one performed by Little Richard) and jazz lines add a little energy but the film feels less like a feature than an expensive ad for the upcoming video.
    • 18 Metascore
    • 25 Sean Axmaker
    Glib, sense-numbing action fantasy.
    • 27 Metascore
    • 25 Sean Axmaker
    Levant turns up the slapstick, doubletakes, and epic fart jokes to a tortured extreme.
    • 62 Metascore
    • 25 Sean Axmaker
    A potentially interesting idea deflated by the absurd proclamations of an arch screenplay and smothered under the ponderous gravity of M. Night Shyamalan's dreary direction.
    • 19 Metascore
    • 25 Sean Axmaker
    Afraid to pitch into farce, yet only half-hearted in its spy mechanics, All the Queen's Men is finally just one long drag.
    • 12 Metascore
    • 25 Sean Axmaker
    The roll call of perversions and adolescent sex gags are more creepy than kooky and the sudden shift to triumphant romantic sincerity at the climax rings as false as this film's sappy (sorry, happy) ending.
    • 23 Metascore
    • 25 Sean Axmaker
    Stephen Brill's flat-footed script begins as an idiot comedy with the gross-out gags of a Farrelly brothers film.
    • 14 Metascore
    • 25 Sean Axmaker
    Coupled with the flavorless dialogue of the inane script and a leading man who registers all the glow of a black hole, there's nothing to anchor this mindless mess of a film.
    • 20 Metascore
    • 25 Sean Axmaker
    It's bad enough that the lazy script substitutes goofy situations for actual gags, much of which falls flat under Rob Pritts' plodding direction, but Corky Romano finally sours in cynicism and hypocrisy.
    • 36 Metascore
    • 25 Sean Axmaker
    Who is Cletis Tout? Who cares?
    • 32 Metascore
    • 25 Sean Axmaker
    Not faithful enough to be an adaptation, too misguided to be considered an interpretation, and not funny enough to be a parody, this film would do well not to advertise its inspiration.
    • 19 Metascore
    • 25 Sean Axmaker
    It's so sloppy that the flashback montage includes clips from scenes that were cut from the film!
    • 31 Metascore
    • 25 Sean Axmaker
    It's phony and forced, but mostly it's just silly. If there was once a satirical edge to this thriller, it's been programmed right out.
    • 23 Metascore
    • 25 Sean Axmaker
    Call this one "Die Hard" on Alcatraz, and this time the "cuckoo crazy" maverick has got the homeboys on his side.
    • 24 Metascore
    • 25 Sean Axmaker
    The slapdash comic flailing of screenwriter and TV scribe-turned-director Ed Decter is only compounded by a script so disconnected you have to wonder if pages were lost on the way to the set.
    • 18 Metascore
    • 25 Sean Axmaker
    There is no histrionic excess or crackpot camp, only hoary sentiment, the puppy-dog cuteness of the mentally handicapped, and the proposition that the "cure" for lesbianism is one good man brave enough to get in touch with his inner cow.
    • 59 Metascore
    • 25 Sean Axmaker
    But as an artist, von Trier's contempt for humanity is becoming harder to hide with stylistic flourish. He doesn't even try here, and his arrogance is topped only by his misanthropy.
    • 47 Metascore
    • 25 Sean Axmaker
    Favors giggly juvenile humor over inspired satire and ends up not with a moral, but a moral vacuum.
    • 29 Metascore
    • 25 Sean Axmaker
    Tired and glib, it tries to milk humor from the sniping, sass and simple disrespect of its unpleasant traveling companions.
    • 34 Metascore
    • 25 Sean Axmaker
    I'd be tempted to call the whole thing cartoonish, but that would be insulting to the real thing.
    • 27 Metascore
    • 25 Sean Axmaker
    This isn't a movie, it's a marketing ploy. Would you like a plush Garfield toy with that popcorn?
    • 29 Metascore
    • 25 Sean Axmaker
    Yet another raunchy, gross-out farce, this one about smart-alecky city boys who have wacky adventures while exposing themselves in -- I mean to -- the great outdoors.
    • 38 Metascore
    • 25 Sean Axmaker
    Dracula, who, as played by Dominic Purcell, has all the dark charisma and burning threat of a baked potato.
    • 49 Metascore
    • 25 Sean Axmaker
    All that's left are cute animals with animated mouths spitting out fitfully inspired one liners, sophomoric sexual innuendo and enough poop gags to last a lifetime.
    • 21 Metascore
    • 25 Sean Axmaker
    A one-joke, one-note turkey.
    • 27 Metascore
    • 25 Sean Axmaker
    Sour slapstick assault with a tin heart and counterfeit sentimentality.
    • 30 Metascore
    • 25 Sean Axmaker
    Ultimately this soppy Pacifier sucks.
    • 41 Metascore
    • 25 Sean Axmaker
    Overlong, unscary, poorly paced and banally written.
    • 30 Metascore
    • 25 Sean Axmaker
    The utter lack of tension or suspense is as dumbfounding as Hunt's blender approach to editing, which purees action scenes into incoherent mashes of image confetti.
    • 51 Metascore
    • 25 Sean Axmaker
    Makes no effort to learn about the culture. It idolizes the idea of spiritual purity without offering any insight into what it really means.
    • 23 Metascore
    • 25 Sean Axmaker
    Redfield's fans will rejoice, if only to see the beloved novel illustrated on the screen, no matter how tediously. The rest of us probably should stay away.
    • 46 Metascore
    • 25 Sean Axmaker
    The humorless and self-important execution attempts an operatic scale but only succeeds in sinking the remnants of the story's integrity. By the time it makes landfall, this incoherent production has blown itself out.
    • 29 Metascore
    • 25 Sean Axmaker
    The script drowns out its ideas with arch melodramatic devices and ridiculous twists while Babbitt smothers even the daylight scenes in an oppressive gloom.
    • 37 Metascore
    • 25 Sean Axmaker
    Welcome to the tawdry end of paradise, where no melodrama is too obvious and no conflict too contrived.
    • 28 Metascore
    • 25 Sean Axmaker
    As stiff and slogging as animated films come.
    • 35 Metascore
    • 25 Sean Axmaker
    Not just a bad film, Hannibal Rising is downright dull, which is a far worse crime.
    • 42 Metascore
    • 25 Sean Axmaker
    The most insipidly innocuous film ever made about facing mortality and living it up before passing away, The Bucket List has as much poetry and poise as its clumsy, clunky title.
    • 39 Metascore
    • 25 Sean Axmaker
    While too bland and stupid to be offensive, Never Back Down spouts a hollow message of nonviolence while celebrating the brutal satisfaction of beating the crap out of someone.
    • 30 Metascore
    • 25 Sean Axmaker
    There is no stylistic thrill to this blunt object of a callous action film. It's content to bludgeon the audience into numb resignation.
    • 24 Metascore
    • 25 Sean Axmaker
    A girlie romantic comedy with tired slapstick pranks but not an ounce of self-respect or intelligence.
    • 16 Metascore
    • 0 Sean Axmaker
    No style, no irony and no smarts, just a vicious streak that lasts 90 minutes.
    • 24 Metascore
    • 0 Sean Axmaker
    It's hard to believe that five different writers took credit for this feeble story and script. Who says failure is an orphan?
    • 33 Metascore
    • 0 Sean Axmaker
    The psychobabble silliness passed off as investigative insight here is laughable at best.
    • 6 Metascore
    • 0 Sean Axmaker
    Less offensive than embarrassing, at least for the chagrined performers.
    • 23 Metascore
    • 0 Sean Axmaker
    Not that there are any actual jokes to be had. The film simply jumps to the punch lines, a non-stop barrage of crude dialogue and vulgar sight gags that passes as humor among adolescent boys. Who exactly is the audience for this R-rated film? The terminally immature?
    • 45 Metascore
    • 0 Sean Axmaker
    The disingenuous attempt to give the tawdry story some kind of social import only makes the tinny caricatures more insincere, while his erotic display of 15-year-old girls isn't a satire of a sexualized culture, it's just dirty.
    • 27 Metascore
    • 0 Sean Axmaker
    It's recidivist Murphy: bad-skit comedy populated by caricatures in search of a movie.
    • 14 Metascore
    • 0 Sean Axmaker
    It's a shrill cacophony of puerile clichés about men and women and sex, delivered in adrenaline-driven harangues and arrogant lectures. When the stage clears, all that's left is the unpleasant odor of all that hot air.