Entertainment Weekly's Scores

For 4,809 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score:
Critic Score 100
Lowest review score:
Critic Score 0
Score distribution:
4,809 movie reviews
  1. Personally, I'd say that it was about time Arquette was leashed.
  2. It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
    • Metascore: 24
    • Critic Score 16
    Videogames are no longer brainless, so why are videogame movies so slow to evolve?
  3. An eminently watchable B-movie nightmare.
  4. The umpteenth recycled shocker about a mystical dark child with an aura of disaster.
  5. Now that the series is, it can be said that the most disturbing thing about the Saw films is the way that they turn torture into a wink of megaplex vengeance. They're made, and consumed, as a big bloody joke, and that's scary.
  6. Myers is trying for another of his endearingly hormonal imp-egomaniacs, but hidden behind a wavy beard, a wax-curled mustache, and an astoundingly ugly squashed fake nose, he's a little too grotesque.
  7. Earns points only for being remarkably unself-conscious about its across-the-board ineptitude.
  8. Good news: The shrill CG rodents, who last infested theaters in 2009's Squeakquel, are stranded on a jungle island with little hope of survival. Bad news: They've brought us along.
  9. An animated movie designed with very young children in mind. And very young children should be very angry about that. Where is it written that 4-year-olds don't deserve a good story, decent characters, and a modicum of coherence?
  10. Still, it's refreshing that the animals don't talk.
  11. While sloppier than the sloppiest of seconds, is laudable in one important regard: Its obsession with the male body.
  12. In one form or another, you get exactly what you pay for at an Adam Sandler comedy. Otherwise the man wouldn't have earned zillions.
  13. Thanks to Vaughn, Favreau, and the stray sharp lines that pop out of everyone else, the film at least offers the lively sound of egos that still know how to swing.
    • Metascore: 23
    • Critic Score 42
    The kind of rote schlocker that rarely makes it to big screens anymore.
  14. It just makes you want to flip on the tube to see the real (fake) thing.
  15. A fairly harmless fertility rite with a skewed if not downright ugly view of women.
  16. The film should have been called ''Lock, Stock and Two Wilting Barrels.''
    • Metascore: 23
    • Critic Score 67
    "Battle Royale," if you've never seen it, is a fantastically sadistic and unapologetically brutal Japanese film from 2000 about miscreants dropped on a jungle island with orders to kill each other for a reality TV show. The Condemned is pretty much the same thing with half the satirical wit and twice the number of wrestlers.
    • Metascore: 23
    • Critic Score 25
    A far-below-par thriller that desperately wishes it were a different movie - a longing it shares with the audience.
  17. Not one female character escapes mockery or patronizing.
  18. Darkness Falls is like something salvaged from Stephen King's wastebasket.
  19. Yet Speed 2 is as slow-moving as a garbage scow. Those blinking lights might as well be emanating from a vital-signs monitor. The story is dead in the water.
  20. You know all that artistic cred Adam Sandler built up with his acclaimed work in ''Punch-Drunk Love''? Well, he flushes it down the crapper with Adam Sandler's Eight Crazy Nights -- the most ill-conceived animated comedy since the 1991 dog ''Rover Dangerfield.''
  21. When Seagal's undercover FBI agent Sascha Petrosevitch waddles into the big house wearing a do-rag and a billowing blue jumpsuit, it's the funniest jailhouse-flick scene since Gene Wilder's white-boy strut in ''Stir Crazy.''
  22. Rancid, misogynist comedy.
  23. In The Bounty Hunter, the couple that foils a bunch of tiresome grade-C thriller goons together stays together. Whether or not that's a recipe for love, it's certainly not a formula for romantic-comedy magic.
  24. This nadir of equal-opportunity raunch forces viewers to spend time with a needy yeast-infested adult who doesn't know how to go on a date with a man; her grating, neurotic monster of a best friend; and a third, random younger chick, who's crazy-upset about some tedious thing that happened with her boyfriend.
  25. Lawrence's gender-bending jokes are played out, and his slapstick is wooden and slow.
  26. This may be the first talking-animal movie in which the critter hero seems to have been body-snatched by a commentator from C-SPAN.
  27. One more case of a winning ''SNL'' character tamed by the wan, fizzled farce around him.
  28. In one rotten production -- all involved have managed to create the most unlikable, man hating, woman hating, unfunny idiots since ''Whipped'' ended up on worst movie lists last year.
  29. All I know is that something has gone terribly, drum-beatingly wrong in Congo (Paramount, PG-13), and you can sense Jungle Trouble brewing from the git-go.
  30. Enjoyable only if you're under the age of 7 -- or the influence of psychedelic drugs.
  31. A synthetic yet shrill sadomasochistic cartoon.
    • Metascore: 22
    • Critic Score 25
    Twice as many accidental laughs as scares.
  32. Twelve ogles the lost boys and girls as they make their mistakes. But unlike the novel, the movie never really gets inside these kids, who aren't in the least all right.
  33. New Year's Eve is dunderheaded kitsch, but it's the kind of marzipan movie that can sweetly soak up a holiday evening.
  34. This underworld fairy tale is so soggy and sentimental it's like a new genre: Hallmark noir.
  35. A ho-hum series of kills and lulls so predictable that it doesn't even look like much fun for the sharks; when they open wide, they might as well be yawning.
  36. About as arousing as an icy shower.
  37. In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
  38. Reeves is a stiff dancer and he delivers his lines in a full leather jacket monotone.
  39. The result apes "The Bourne Identity" so slavishly yet so boringly it winds up with no identity at all.
  40. It will have you groaning between yawns.
    • Metascore: 21
    • Critic Score 0
    Viewers will never be molly-fied by this tripe.
  41. Few comedies have worked this hard to make everyone on screen look this dumb.
  42. A black comedy in the form of vicarious serial punishment.
  43. An intermittently fun, but overexcited and predictable mish-mash.
  44. This cinematic stiff should have stayed buried.
  45. As an expat redneck, I recognize the deep, dumb need of every group for its own culturally customized minstrel show. Larry, a junker ''star'' vehicle run on arse wind and fan love, fills that niche.
  46. The Zodiac has been made with the dunderheaded flatness of bad '70s TV.
  47. Lacks even the good, guilty setup of "I Know What You Did Last Summer" -- the sense that the heroes are fleeing the consequences of their own crime.
  48. Everything old is old again in this rickety extension of 2002's already rickety "Van Wilder."
  49. In the end, even Foxx is drowned out by the parade of one-note supporting characters.
  50. The steady drip-drip-drip of nothings like this are killing us all.
  51. The picture is so lethargic that I began to think of watching it as a form of atonement.
  52. Freddie Prinze Jr. has a look in his eye that is equal parts self-infatuation and boyish flash of fear.
    • Metascore: 21
    • Critic Score 42
    A movie based on a doll line, is an M&M-colored high school fantasia for aspirational 10- and 12-year-old girls who'll be shocked (or, hopefully, delighted) when they get to ninth grade and find out life isn't so super-Bratz-fabulous.
  53. This is a high octane ride that starts to leak gas before it even gets going.
  54. The endless, numbing sameness of it all.
    • Metascore: 21
    • Critic Score 0
    The effects are laughably primitive, the dialogue hilariously atrocious -- and those are the good parts.
  55. A huge pile of horsefeathers is being peddled as fairy dust in Bigger Than the Sky.
  56. Each actor appears to have received the script to a different movie, while Allen adds his own directorial touch of sexual vulgarity.
  57. A loony attack on wacko liberalism and a ding-dong defense of wacko conservatism.
  58. A painfully miscast Parker nervously flips her hair and waves her hands, sitcom-style, as a do-gooding dean of students.
  59. The movie can't be saved from its own vices of manic pacing and tediously pro forma pop culture jokes.
  60. It appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up.
    • Metascore: 20
    • Critic Score 42
    The production values have become so horror-movie shoddy that Saw V has more in common with kitsch like "Friday the 13th Part V" than the original "Saw."
  61. Regardless of your personal views, Expelled's heavy-handed bias (a visit to Darwin's home gets the same eerie music as a tour of Dachau) is exasperating.
  62. The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
  63. The movie is "Star Wars" with martial arts, plus a touch of "The Last Emperor." Technically, it's not badly done; I enjoyed the physical clash of elements, the water balls rising like sculpture in the air.
  64. Ends up blowing its own joke. Instead of making Joe blissfully arrogant in his Southern rock dude myopia, it turns him into a shuffling masochistic loser.
  65. Populated by ersatz versions of stars who, in this case, are fairly vanilla to begin with.
  66. A talent-stuffed assemblage of barbs and giddy musical numbers that shouldn't be written off as a feature flop -- but savored instead for the cult-ready collection of late-night satirical skits and misses it is.
  67. It might be courting hyperbole to call Corky Romano the single worst movie ever to feature an ''SNL'' cast member (Dan Aykroyd hit some pretty arid valleys), but I'm willing to go out on a critical limb and rank it among the all-time bottom dozen.
  68. The only possible reason to see this otherwise average afternoon waster is Sagemiller.
  69. Aa shockingly chintzy spin-off of Fox's post ''Pokémon'' cartoon hit.
  70. If the result features around 1,783 too many fart gags, to be fair, it also boasts a couple of genuine minor scares. Although there's no doubt that the film's most horrible sight is a way-too-long shot of Swardson's naked rump.
  71. The cockeyed C-quality B movie, shot on location with a Balkan supporting cast and crew, mixes a precarious pileup of visual clichés with over-staged action sequences.
  72. Someone (Myers?) came up with the bright idea of turning the Cat in the Hat into the worst Vegas nightclub spritzer of 1958. He's become a furry version of Rip Taylor: a walking, talking vaudeville idiot box.
  73. Has the look of a great fairy tale -- all that's missing is the tale.
  74. The comedy is nonexistent.
    • Metascore: 19
    • Critic Score 42
    The pathogenic agent to fear, however, is the one that evidently turned every line of dialogue into inane gibberish.
  75. The loserville teen comedy Underclassman is like a student project sloppily cribbed from other kids' notes -- kids who have seen "Rush Hour" and still can't get over how funny it is to stick a noisy black guy in a distinctly nonblack setting.
  76. Exhausted as the premise already is -- hapless boomer learns that real manhood is a function of committed fatherhood -- Old Dogs nevertheless finds ways to make the lesson even less tolerable.
    • Metascore: 19
    • Critic Score 0
    Can we finally just admit that Dane Cook isn't funny? In a comedy so lame its plot could've been swiped from a Bazooka Joe wrapper.
  77. 8MM
    The whole movie turns into a violent, pointless, torture-or-be-tortured chase.
    • Metascore: 19
    • Critic Score 33
    Long on smarm and short on charm.
    • Metascore: 19
    • Critic Score 16
    Cobbled-together teenybopper tripe.
  78. There's no artistic or thematic point — except maybe to demonstrate that a young filmmaker is as much in need of someone to say no as the characters in this disingenuous exercise.
  79. Without any of the patented Farrelly insight into the insecure, horndoggy teen in every man, and without a grown-up setting in which Harry and Lloyd can transgress like dum-dum geniuses,Dumb and Dumberer is dumberest.
  80. There are brutal scenes with razor blades and other impromptu devices of erotic torment, but what makes the movie a trial to sit through isn't just the heroine's pain-freak tastes.
  81. Kaos was apparently aiming for a coolly stylized, straight-faced take on ''Spy vs. Spy.'' As Maxwell Smart used to say, ''Missed it by that much.''
  82. Halloween: Resurrection comes closer to comatainment.
  83. "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
  84. There are no survivors here.
    • Metascore: 19
    • Critic Score 58
    At its best, Movie 43 resembles a risqué episode of Saturday Night Live - a comparison reinforced by the presence of both parody ads and Jason Sudeikis. At its worst? Let's just say that Hugh Jackman fans who want to remember the actor as Jean Valjean and not as a guy with a scrotum sprouting from his neck should make alternate plans this weekend.
    • Metascore: 19
    • Critic Score 33
    Director Walter Hill won't take credit for Supernova... Can you blame him?
  85. Doesn't contain a single scary or imaginative moment.
    • Metascore: 18
    • Critic Score 0
    Ghastly-bad.
  86. Ultraviolet, warns someone, ''Don't overthink it.'' Sage advice for anyone masochistic enough to watch this pile of poorly pixelated vampire poo.
  87. If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
  88. A watchable bad movie, but it's far from your typical cookie-cutter blockbuster. There are no shoot-outs or car chases, and there isn't much romantic suspense, either.
  89. Ritchie made a movie that never pretends to be more than a guilty pleasure of soft-core kitsch, and Madonna and Giannini (son of Giancarlo, costar of the original) achieve a lively S&M chemistry.
  90. When you watch this failed horror thriller -- which has been under studio doctors' care for some two years, undergoing futile title changes and reshoots -- there's no respite from the odor of flop sweat stinking up the screen.
  91. This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
  92. The few jaunty, ''Friends''-inflected lines Perry does get off are lost among the cow pies.
  93. While this religio-horror effort does contain some nice scares, and a memorably unnerving turn from Crowley, The Devil Inside's biggest shock arrives when it abruptly ends - just as it hits its stride. The result is a found-footage movie whose third act remains missing.
  94. Had the ghost of Paul Lynde swanned by in a caftan-clad cameo, you couldn't find a more outdated, miscalculated collection of stale, queen-size stereotypes than those trotted out on this ship of fools.
  95. Terry Gilliam-ish territory here, spiked with imagery from Holocaust nightmares and drug trips. Attention, university film clubs: Here's your cult-ready midnight-movie programming.
  96. The exception is newcomer Jenn Proske, who spoofs Twilight star Kristen Stewart's flustered, hair-tugging angst with hilarious precision.
  97. With more telegraphed scares than Samuel Morse on Halloween, it still might give you a restless night, but only because you fell asleep in the theater.
  98. A charmless rom-com.
  99. A stinker, the more so for the thespian excesses of the accomplished cast.
    • Metascore: 17
    • Critic Score 50
    One quarter ''True love waits,'' three quarters ''Cowabunga!,'' all pretty clumsy.
  100. As the killer, who plucks out his victims' eyeballs, Kane, the seven-foot bald WWE wrestler who's like a modern Tor Johnson, is so inept he's more cuddly than terrifying.
    • Metascore: 17
    • Critic Score 16
    It's not "Clueless," just clueless.
  101. This may be the only would-be blockbuster that's a sprawling, dissociated mess on purpose. It's a perverse landmark: the first postmodern Hollywood disaster.
  102. Less a movie than a 93-minute Mountain Dew commercial.
  103. Don't be fooled by the low grade: This sequel-in-spirit to Jean-Claude Van Damme's 1994 dud doesn't even succeed in being memorably bad.
    • Metascore: 17
    • Critic Score 25
    Viewers' own evenings, meanwhile, will likely be ruined by unimaginative direction, inane dialogue, and Schaech's passing resemblance to Forrest Gump.
  104. Far more grotesque than the first Human Centipede - in fact, The Human Centipede 2 (Full Sequence) could be the sickest B movie ever made.
  105. Abysmally stupid drama.
  106. A creepy, humiliating ''comedy,'' playing to Bullock's worst instincts for demonstrating the lovability of women who don’t fit in.
  107. Here's a sobering thought: If every war gets the comedy it deserves, could Delta Farce, a strenuously unfunny "Three Amigos" knockoff, be our M*A*S*H?
  108. Epic Movie is just timely enough to conclude with a wink and a nod to Borat. I only wish that it had been bold enough to go Borat on HIM.
  109. Presents undercover law enforcement less as a profession than as an accessory, an excuse to pout and glower chicly, to stand around in nightclubs acting like a sullen version of the Last American Rebel.
    • Metascore: 16
    • Critic Score 33
    You should be rooting for the humans, but you might as well be rooting for the blobs. Most likely, though, you'll just be rooting for the credits.
  110. A grisly piece of torture porn.
  111. Silly, undone by lack of faith in its own subject.
    • Metascore: 16
    • Reviewed by
      Ty Burr
      0
    Debased swill.
  112. The movie, a shoddy mess, is a bargain-basement rip-off of ''Ronin."
    • Metascore: 16
    • Critic Score 33
    Sitting on your couch watching these morons sit on their couch and get wasted is like being the only straight guest at a pot party. Everyone else is laughing, and you're left wondering why.
  113. By the end, you feel like a drill sergeant-you want to wipe that stupid grin off Sandler's face.
  114. The film squanders every opportunity (and international-coproduction cent) on by now imitative Nine Inch Nails-video-style visual Goth-goo, and, scarily, forgets to input a plot or script that makes any sense.
  115. As Nomi, Elizabeth Berkley has exactly two emotions -- hot and bothered -- but her party-doll blowsiness works for the picture.
    • Metascore: 16
    • Critic Score 33
    If you put the scripts for ''West Side Story,'' ''Mean Streets,'' and ''The Warriors'' in a blender, you might wind up with something like Deuces Wild, a preposterously melodramatic paean to gang-member teens in Brooklyn circa 1958.
  116. Though not quite the fiasco of revved-up gunplay that Beverly Hills Cop II was, this new movie, directed by John ''Rock-'em Sock-'em'' Landis, is just a clunky action thriller, with occasional comic moments rationed out to the audience like stray crumbs.
  117. A desert of shrill juvenile jokes and clanging chase sequences.
  118. In its mingling of horniness and disgust, Tomcats attains a convoluted cleverness.
  119. Sends comedy backward in time, and we're in the 1970s, ethno-sitcom style: These Andersons in their out-of-date white, snooty gated community apparently confuse themselves with their forebears on The Jeffersons.
  120. Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
  121. A flat, heebie jeebies thriller.
  122. It's all the thrill of watching other people play Uno.
  123. Aims for dark farce but ends up playing more like Weekend at Bernie's Part VIII. [25 Apr 1997, p. 50]
  124. The movie is merciless sending up "Juno's" self-satisfied hipster gobbledygook, and it's quite funny to see Hannah Montana still promoting her tie-in products as she lies crushed and dying under a meteor.
  125. Friendly yet toothless, College musters little energy even as anarchic-party-movie nostalgia.
  126. Some horror movies want to scare you witless, but Silent Hill: Revelation 3D just wants to beat you senseless.
  127. To properly convey the jaw-dropping shoddiness of this videogame-based ''horror'' ''movie,'' one must approach what scientists call Absolute Stupid, a state previously thought to exist only under highly controlled laboratory conditions or at the highest levels of government.
    • Metascore: 15
    • Reviewed by
      Ty Burr
      33
    Carpool is affably stupid Saturday-matinee fare -- good for opiating the kids for a few hours -- but let's just say it's no Big Bully.
  128. Confined to just a few sets, the movie is like the pilot for a sitcom you never want to see. Yet Ephron seems to think she's making a feel-good holiday classic: She floods the soundtrack with old pop versions of Christmas standards, trying to render stale comedy appetizing by drenching it in syrup. [23 Dec 1994, p.50]
    • Metascore: 14
    • Critic Score 16
    Even Christians hip to TBN preachers' peculiar eschatology may be baffled by the incoherent wrap-up, which provides the stingiest Second Coming since the third ''Omen ''movie.
    • Metascore: 14
    • Critic Score 42
    Rollerball was trash even back in 1975, but in some small way it was ahead of its time. The new version just makes you feel like you've been watching a lame late-night rerun while stuck in a thunderdome.
  129. Terminal colon cancer has never looked more fetching than in the critically ill romantic-disease comedy A Little Bit of Heaven.
  130. Just... bad. As in BAD bad.
  131. Processed comedy chop suey.
  132. It's like ''Grease: The Next Generation'' acted out by the food-court staff at SeaWorld.
  133. It's doubtful that even a real actress could have triumphed over the rusty tinsel of Glitter, a hapless, retro-'80s ''Star Is Born.''
  134. Malty brew of heroics and minutiae.
  135. Isn't a movie, it's Gorgonzola, a crumbly summertime stinker veined with pop-cultural fungus.
  136. Though it doesn't work as entertainment, this numbingly chipper rom-com (directed by Dermot Mulroney) might be of historical value someday as an A-to-Z guide to the genre's most overworked clichés.
    • Metascore: 13
    • Critic Score 25
    Filling in for Eddie Murphy in a septically humored kiddie sequel to "Daddy Day Care," Gooding gives a mug-job performance that consists mainly of reacting (again and again) to nasty smells.
  137. A thriller primarily about the movement of Cindy Crawford's breasts beneath a succession of ever-smaller T-shirts.
  138. To dismiss this movie for being ''offensive'' would be to offer it high praise.
  139. For the audience, it's like watching the dreckiest of teen puppy courtships trying to pass itself off as ''Annie Hall.'' La-de-blah.
  140. Dudsville.
  141. The Avengers is too enervated to qualify as even a full-scale disaster.
  142. The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
  143. An awful, stillborn comedy assembled out of rusty spare parts from secret agent movies and run-of-the-mill ''Saturday Night Live'' skits.
  144. Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check.
  145. Empty jokes hang heavy.
  146. Fragmented and monotonous, without a semblance of the gymnastic cleverness that at least made the first Mortal Kombat film into watchable trash, Mortal Kombat Annihilation is as debased as movies come.
  147. In Date Movie, the hormones, anxiety, and princess jealousy that fuel the majority of Hollywood love stories are made so excessive that the romance itself is revealed to be...every bit as big a crock as it usually is.
  148. Benigni's Pinocchio is meant to be adorable, but he comes off as less an enchanted puppet than as a harmlessly deranged middle-aged man prancing about in the kind of froufrou cream-colored pantsuit that Dinah Shore retired to her back closet in 1977.
  149. Somehow, it actually looks cheaper than "Paranormal Activity." It's less funny, too.
  150. The trouble with Whipped isn't that its characters are dirty mouthed horndog jerks -- it's that they're phony dirty mouthed horndog jerks.
    • Metascore: 9
    • Critic Score 25
    Bucky Larson is a one-note joke played over and over and over.
  151. Just a lumbering, poorly photographed piece of derivative sci-fi drivel, full of grunting extras scampering around in animal pelts and more dank, trash-strewn sets than I ever care to see again.
    • Metascore: 9
    • Critic Score 50
    The film's moral? Turn off the TV, young 'uns, and go outside and play! And avoid Superbabies: Baby Geniuses 2 matinees while you're at it.
  152. Far be it from me to dismiss a man's effort (Uwe Boll) in a sentence, but the film on your teeth after a three-day drunk possesses more cinematic value.
    • Metascore: 9
    • Critic Score 58
    Less classic Mel Brooks than middling "Best Week Ever."
  153. It's tempting to say ''avoid at all costs,'' but truthfully, everyone should see something this bad at least once, if only to help us better appreciate the comparatively brainy merits of works like "Eurotrip," "Freddy Got Fingered," and the modern-day plague of movies with titles ending in "Movie."
  154. Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know.
  155. It's a shrill, stupid, brickbat-blatant piece of hackwork that practically sweats to be ''commercial.''
  156. The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
    • Metascore: 6
    • Critic Score 0
    The worst movie of 1999.
  157. The only thing shocking about it, however, is the degree to which self-congratulatory gutter exhibitionism has become the degraded ash end of indie ''edge.''
    • Metascore: 1
    • Critic Score 42
    Even with the low expectations any reasonable viewer brings to a Shore flick, this rates only stupid-plus. The bongs-and-pajamas set, though, should be riveted.