If it weren't for Kate Lyn Sheil, who has a couple of scenes as a blase Brooklyn waitress inexplicably ending up in the protagonist's bed, 'The Comedy' might well have qualified as the worst film of 2012.

You live in a free country, you put up with crud like Hostel Part II. It truly is crud, though.

If you are misguided or otherwise unfortunate enough to see Forces of Nature, you will find yourself the next day with but one image, one memory, in your head: Sandra Bullock's teeth. [19 March 1999, Friday, p.A]

It stars Tom Hanks in his first genuinely dull screen performance.

CJ7 is roughly as grating as that “Flubber” remake.

Against "Whale Rider's" well-acted, intimate story, Gordon's film feels like an endless spiral of sub-par soap-opera acting, mired in trite, predictable dialogue.

Sweet-tempered but superficial.

Knight and Day may well suffice for audiences desperate for the bankable paradox known as the predictable surprise, and willing to overlook a galumphing mediocrity in order to concentrate on matters of dentistry.

Brooks' own timing as a director doesn't seem up to its usual snuff. Light-years stretch out between the set-up of a gag and its payoff, and for a director who has always depended on the quantity of his jokes rather than the quality, the gap is fatal. When a character is introduced as "Pizza the Hut," and then shown as a melting mass of mozzarella and tomato sauce, the result is to turn a fairly clever pun into something thuddingly obvious and vaguely nauseating. [24 Jun 1987, p.3]

There is a great, even revolutionary movie to be made about pharmaceutical companies in America. Side Effects is definitely not it.

Monaghan’s comic timing saves this go-nowhere affair from 100 percent lousiness.

Although Banderas occasionally shows flashes of style, individual elements too often go together like grits in a puff pastry.

Offers two or three worthwhile laughs.

It's miscast, barely functional in terms of technique, stupid and unnecessary. Other than that….

Just withers compared with many older, better movies about teen alienation and nihilism, from "Rebel Without a Cause" to "River's Edge."

The upside is that they're likable and play well together...The downside is that they're all still communicating roughly the same message, which lies somewhere between a wink and a nudge.

Not funny because it's not true.

A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.

Morgan Spurlock is a living, breathing cautionary tale. Take a good, long look, kids: This is what happens when society validates really annoying people.

Reveals a flash or two of real filmmaking (mostly in a suggestively grotesque birthing sequence), enough to save it from pure lousiness.

How big a bastard can Woody Allen build a screenplay around and still generate a modicum of audience goodwill? The answer: not this big.

An odd little ghoul too cleaned up to survive, a bloodless vampire movie that's mostly lifeless as well.

The wastrel Sparrow ends up both overexploited and underpowered in this fourth outing.

Often ridiculous, mostly poorly written and, surprisingly poorly acted too. No matter how many flashy scenes the filmmakers shoot, the bad lines just keep dripping down. [21 Aug 1998]

Aside from influences such as "A Christmas Carol" and "It's a Wonderful Life," Click is so much like the Jim Carrey vehicle "Bruce Almighty"--Steve Koren and Mark O'Keefe worked on both--the writers could sue themselves for plagiarism and then write a screenplay about it.

This movie is phony, phony, phony -- from its Disneyland version of the Deep South to its pious lessons about the values of simple rural living.

Revenge is a dish best served cold, as some Albanian dramatist once said, but Taken 2 isn't good-cold, as in steely and purposeful; it's cold as in "lost the scent."

So many romantic comedies come and go without making the slightest impression. Elizabethtown is not one of them; I found it galling.