A glossy wisp of a cautionary tale.

This is about Meg. Only about Meg. Meg in the Middle.

As buddy pics go, this is pretty much not even worth a single look, let alone a double take.

Unless you have a craving to watch a sluggish Ski-Doo race or want to admire Chase dressed as a hula dancer, consider this the cinematic equivalent of yellow snow.

Vile, violent and less hip than it thinks it is.

It ends up choking on a never-ending stream of inept gags... A worst-case scenario of wackiness gone out of whack. [24 May 1991]

As a condescening moron who natters on non-stop in this simplistic comedy, Elliott doesn't just wear out his welcome, he nukes it. [14 Jan 1994]

When it comes to being brainless, The Skulls is at the head of the class.

It's a dated effort.

A substandard ebony-and-ivory buddy pic.

The concept is so hypocritical, it's like Britney Spears calling Christina Aguilera underdressed and overexposed.

A pathetically dumb attempt to string a bunch of second-rate skits together like a garland of rotten cranberries.

If "You've Got Mail" jangled your nerves with its Starbucks-fueled cuteness, here's a romance that goes down like instant decaf. [15 January 1999, Life, p.18E]

Except for a brief episode in which singer Chris Isaak and Kiefer Sutherland make like an FBI Rocky and Bullwinkle, this is a morbidly joyless affair. You'll feel as drained as one of Cooper's mugs of joe watching homecoming queen Laura drown in a whirlpool of sex and drugs. [31 Aug 1992]

You can always judge a sci-fi thriller by its aliens. What does Planet offer -- Space roaches.

November is when we eat turkey, and Sweet November is pretty much a fat, juicy gobbler passed off as Valentine's Day date bait.

As late Christmas presents go, Reindeer Games is best left unwrapped.

Can't scare up a decent plot.

But most of the humor is about as fresh as the air left behind whenever Witherspoon uses a toilet.

The Wal-Mart of cinematic soap operas. One-stop shopping for your emotional movie needs.

It's so-so. As in mediocre. Even gross-out comedies need the stink of genius.

However, anyone seeking a good time that involves wit and logic will consider the film a definite wrong number. [26Feb1997 Pg 03.D]

Writer/producer John "Home Alone" Hughes, the Marquis de Sade of kidcom, and director Les Mayfield manage to squeeze the very bounce out of what should have been a can't-miss update. [26Nov1997 Pg09.D]

With its Rocky Horror meets Camelot aura, this little black movie reeks of self-satisfied smugness and pretentious perversity as only a Sundance Festival favorite can -- especially one that squanders the considerable quirky charms of indie-film darling Parker Posey. [10Oct1997 pg 04.D]

Flippantly hip without any solid laughs, Life strains to be the flick more offbeat. [24Oct1997 pg06.D]

It settles for the recycled emotions of the past despite the fact "Schindler's List" has forever made such treatment shamefully passe. [18Apr1997 Pg.03.D]

Director/co-writer/co-producer Nora Ephron is best known for the magical Sleepless in Seattle. Michael is mirthless in the Midwest. [24 Dec 1996 Pg.03.D]

The transition from Hanna-Barbera animation to manic-barbaric live action falls flatter than a granite slab, from the first of many deadly stone-age wordplays - "Steven Spielrock Presents" - to the gross-out shots of dirty tootsies. [27 May 1994 Pg. 01.D]