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A generic bloodbath that often becomes laughably unbearable when it is n't merely offensive .
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Julie Davis is the Kathie Lee Gifford of film directors , sadly proving once again ego does n't always go hand in hand with talent .
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An unholy mess , driven by the pathetic idea that if you shoot something on crummy-looking videotape , it must be labelled ` hip ' , ` innovative ' and ` realistic ' .
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The story 's pathetic and the gags are puerile . .
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Curiously , Super Troopers suffers because it does n't have enough vices to merit its 103-minute length .
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So bland and utterly forgettable that it might as well have been titled Generic Jennifer Lopez Romantic Comedy .
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I still want my money back .
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It plods along methodically , somehow under the assumption that its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting .
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All too familiar ... basically the sort of cautionary tale that was old when ` Angels With Dirty Faces ' appeared in 1938 .
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Although purportedly a study in modern alienation , it 's really little more than a particularly slanted , gay s\/m fantasy , enervating and deadeningly drawn-out .
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After the first 10 minutes , which is worth seeing , the movie sinks into an abyss of clichés , depression and bad alternative music .
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No one can doubt the filmmakers ' motives , but The Guys still feels counterproductive .
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A very slow , uneventful ride around a pretty tattered old carousel .
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With little visible talent and no energy , Colin Hanks is in bad need of major acting lessons and maybe a little coffee .
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Seemingly disgusted with the lazy material and the finished product 's unshapely look , director Fisher Stevens inexplicably dips key moments from the film in Waking Life water colors .
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Formula 51 promises a new kind of high but delivers the same old bad trip .
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Everything that was right about Blade is wrong in its sequel .
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The film was produced by Jerry Bruckheimer and directed by Joel Schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one -LRB- and no one -RRB- .
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Disney again ransacks its archives for a quick-buck sequel .
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Coarse , cliched and clunky , this trifling romantic comedy in which opposites attract for no better reason than that the screenplay demands it squanders the charms of stars Hugh Grant and Sandra Bullock .
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Anyone who suffers through this film deserves , at the very least , a big box of consolation candy .
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They presume their audience wo n't sit still for a sociology lesson , however entertainingly presented , so they trot out the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes .
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Collapses after 30 minutes into a slap-happy series of adolescent violence .
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The following things are not at all entertaining : The bad sound , the lack of climax and , worst of all , watching Seinfeld -LRB- who is also one of the film 's producers -RRB- do everything he can to look like a good guy .
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Attal 's hang-ups surrounding infidelity are so old-fashioned and , dare I say , outdated , it 's a wonder that he could n't have brought something fresher to the proceedings simply by accident .
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Obvious , obnoxious and didactic burlesque .
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The most surprising thing about this film is that they are actually releasing it into theaters .
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Michele is a such a brainless flibbertigibbet that it 's hard to take her spiritual quest at all seriously .
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Enigma lacks it .
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Potty-mouthed enough for PG-13 , yet not as hilariously raunchy as South Park , this strangely schizo cartoon seems suited neither to kids or adults .
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A distinctly minor effort that will be seen to better advantage on cable , especially considering its barely feature-length running time of one hour .
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Most of the movie is so deadly dull that watching the proverbial paint dry would be a welcome improvement .
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In the end , Tuck Everlasting falls victim to that everlasting conundrum experienced by every human who ever lived : too much to do , too little time to do it in .
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Rather less than the sum of its underventilated père-fils confrontations .
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McKay shows crushingly little curiosity about , or is ill-equipped to examine , the interior lives of the characters in his film , much less incorporate them into his narrative .
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Plays like a series of vignettes -- clips of a film that are still looking for a common through-line .
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Amid the shock and curiosity factors , the film is just a corny examination of a young actress trying to find her way .
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Yes , Spirited Away is a triumph of imagination , but it 's also a failure of storytelling .
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A characteristically engorged and sloppy coming-of-age movie .
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Whenever you think you 've seen the end of the movie , we cut to a new scene , which also appears to be the end .
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You begin to long for the end credits as the desert does for rain .
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The screenplay , co-written by director Imogen Kimmel , lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing .
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The milieu is wholly unconvincing ... and the histrionics reach a truly annoying pitch .
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Unfunny comedy with a lot of static set ups , not much camera movement , and most of the scenes take place indoors in formal settings with motionless characters .
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Each story is built on a potentially interesting idea , but the first two are ruined by amateurish writing and acting , while the third feels limited by its short running time .
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The laughs are as rare as snake foo yung .
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lazily and glumly settles into a most traditional , reserved kind of filmmaking .
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Knockaround Guys plays like a student film by two guys who desperately want to be Quentin Tarantino when they grow up .
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But they lack their idol 's energy and passion for detail .
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Mattei so completely loses himself to the film 's circular structure to ever offer any insightful discourse on , well , Love in the Time of Money .
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Holland lets things peter out midway , but it 's notably better acted -- and far less crass - than some other recent efforts in the burgeoning genre of films about black urban professionals .
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For every articulate player , such as skateboarder Tony Hawk or BMX rider Mat Hoffman , are about a half dozen young Turks angling to see how many times they can work the words `` radical '' or `` suck '' into a sentence .
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There 's not a fresh idea at the core of this tale .
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An impenetrable and insufferable ball of pseudo-philosophic twaddle .
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It 's unfortunate that Wallace , who wrote Gibson 's Braveheart as well as the recent Pearl Harbor , has such an irrepressible passion for sappy situations and dialogue .
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I liked the movie , but I know I would have liked it more if it had just gone that one step further .
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I 'm left slightly disappointed that it did n't .
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Dreary tale of middle-class angst
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For a movie about the power of poetry and passion , there is precious little of either .
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-LRB- Jackson and Bledel -RRB- seem to have been picked not for their acting chops , but for their looks and appeal to the pre-teen crowd .
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Like Schindler 's List , The Grey Zone attempts to be grandiloquent , but ends up merely pretentious -- in a grisly sort of way .
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An unremittingly ugly movie to look at , listen to , and think about , it is quite possibly the sturdiest example yet of why the DV revolution has cheapened the artistry of making a film .
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It 's kind of sad that so many people put so much time and energy into this turkey .
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Friday After Next is a lot more bluster than bite .
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There are cheesy backdrops , ridiculous action sequences , and many tired jokes about men in heels .
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Ice Cube is n't quite out of ripe screwball ideas , but Friday After Next spreads them pretty thin .
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The characters , cast in impossibly contrived situations , are totally estranged from reality .
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Just dreadful .
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I do n't blame Eddie Murphy but should n't Owen Wilson know a movie must have a story and a script ?
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Sweet Home Alabama certainly wo n't be remembered as one of -LRB- Witherspoon 's -RRB- better films .
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hard as this may be to believe , Here on Earth , a surprisingly similar teen drama , was a better film .
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This is just lazy writing .
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Even kids deserve better .
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The pretensions -- and disposable story -- sink the movie .
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And Diesel is n't the actor to save it .
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Frank Capra played this story straight .
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But the 2002 film does n't really believe in it , and breaks the mood with absurdly inappropriate ` comedy ' scenes .
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The problem is that for the most part , the film is deadly dull .
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Handled correctly , Wilde 's play is a masterpiece of elegant wit and artifice .
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Here , alas , it collapses like an overcooked soufflé .
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`` Sorority Boys '' was funnier , and that movie was pretty bad .
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A bizarre piece of work , with premise and dialogue at the level of kids ' television and plot threads as morose as teen pregnancy , rape and suspected murder
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Paul Bettany is good at being the ultra-violent gangster wannabe , but the movie is certainly not number 1 .
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Often likable , but just as often it 's meandering , low on energy , and too eager to be quirky at moments when a little old-fashioned storytelling would come in handy .
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Certain to be distasteful to children and adults alike , Eight Crazy Nights is a total misfire .
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Elaborate special effects take centre screen , so that the human story is pushed to one side .
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Showtime is n't particularly assaultive , but it can still make you feel that you never want to see another car chase , explosion or gunfight again .
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All the characters are clinically depressed and have abandoned their slim hopes and dreams .
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This Tuxedo ... should have been sent back to the tailor for some major alterations .
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But first , you have to give the audience a reason to want to put for that effort
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Been there , done that ... a thousand times already , and better .
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What 's most offensive is n't the waste of a good cast , but the film 's denial of sincere grief and mourning in favor of bogus spiritualism .
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Sunk by way too much indulgence of scene-chewing , teeth-gnashing actorliness .
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Fans of Plympton 's shorts may marginally enjoy the film , but it is doubtful this listless feature will win him any new viewers .
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None of this sounds promising and , indeed , the first half of Sorority Boys is as appalling as any ` comedy ' to ever spill from a projector 's lens .
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The kind of movie that leaves vague impressions and a nasty aftertaste but little clear memory of its operational mechanics .
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` Punch-Drunk Love is so convinced of its own brilliance that , if it were a person , you 'd want to smash its face in . '
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At once overly old-fashioned in its sudsy plotting and heavy-handed in its effort to modernize it with encomia to diversity and tolerance .
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The trashy teen-sleaze equivalent of Showgirls .
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While the production details are lavish , film has little insight into the historical period and its artists , particularly in how Sand developed a notorious reputation .
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