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it does n't believe in itself , it has no sense of humor ... it 's just plain bored .

... turns so unforgivably trite in its last 10 minutes that anyone without a fortified sweet tooth will likely go into sugar shock .

feels haphazard , as if the writers mistakenly thought they could achieve an air of frantic spontaneity by simply tossing in lots of characters doing silly stuff and stirring the pot .

a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance ...

an absurdist comedy about alienation , separation and loss .

velocity represents everything wrong with '' independent film '' as a commodified , sold-out concept on the american filmmaking scene .

my reaction in a word : disappointment .

... a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it .

stealing harvard is evidence that the farrelly bros. -- peter and bobby -- and their brand of screen comedy are wheezing to an end , along with green 's half-hearted movie career .

the moviegoing equivalent of going to a dinner party and being forced to watch the host and hostess 's home video of their baby 's birth .

director uwe boll and the actors provide scant reason to care in this crude '70s throwback .

it 's not the ultimate depression-era gangster movie .

tries to add some spice to its quirky sentiments but the taste is all too familiar .

a tv style murder mystery with a few big screen moments ( including one that seems to be made for a different film altogether ) .

it takes a certain kind of horror movie to qualify as ` worse than expected , ' but ghost ship somehow manages to do exactly that .

made with no discernible craft and monstrously sanctimonious in dealing with childhood loss .

if the movie succeeds in instilling a wary sense of ` there but for the grace of god , ' it is far too self-conscious to draw you deeply into its world .

what the director ca n't do is make either of val kilmer 's two personas interesting or worth caring about .

paid in full is so stale , in fact , that its most vibrant scene is one that uses clips from brian de palma 's scarface .

is the time really ripe for a warmed-over james bond adventure , with a village idiot as the 007 clone ?

an unclassifiably awful study in self - and audience-abuse .

samira makhmalbaf 's new film blackboards is much like the ethos of a stream of consciousness , although , it 's unfortunate for the viewer that the thoughts and reflections coming through are torpid and banal

there is n't nearly enough fun here , despite the presence of some appealing ingredients .

may reawaken discussion of the kennedy assassination but this fictional film looks made for cable rather than for the big screen .

sam mendes has become valedictorian at the school for soft landings and easy ways out .

with virtually no interesting elements for an audience to focus on , chelsea walls is a triple-espresso endurance challenge .

at its worst , it implodes in a series of very bad special effects .

there seems to be no clear path as to where the story 's going , or how long it 's going to take to get there .

despite the evocative aesthetics evincing the hollow state of modern love life , the film never percolates beyond a monotonous whine .

it 's as if you 're watching a movie that was made in 1978 but not released then because it was so weak , and it has been unearthed and released now , when it has become even weaker .

nervous breakdowns are not entertaining .

dull , lifeless , and amateurishly assembled .

of course , by more objective measurements it 's still quite bad .

it 's just filler .

unfortunately , it 's not silly fun unless you enjoy really bad movies .

jason x is positively anti-darwinian : nine sequels and 400 years later , the teens are none the wiser and jason still kills on auto-pilot .

taylor appears to have blown his entire budget on soundtrack rights and had nothing left over for jokes .

there is no pleasure in watching a child suffer .

all the amped-up tony hawk-style stunts and thrashing rap-metal ca n't disguise the fact that , really , we 've been here , done that .

due to some script weaknesses and the casting of the director 's brother , the film trails off into inconsequentiality .

i thought my own watch had stopped keeping time as i slogged my way through clockstoppers .

nicks , seemingly uncertain what 's going to make people laugh , runs the gamut from stale parody to raunchy sex gags to formula romantic comedy .

at least one scene is so disgusting that viewers may be hard pressed to retain their lunch .

that 's a cheat .

as vulgar as it is banal .

with its dogged hollywood naturalism and the inexorable passage of its characters toward sainthood , windtalkers is nothing but a sticky-sweet soap .

almost gags on its own gore .

complete lack of originality , cleverness or even visible effort

... nothing scary here except for some awful acting and lame special effects .

( w ) hile long on amiable monkeys and worthy environmentalism , jane goodall 's wild chimpanzees is short on the thrills the oversize medium demands .

scorsese does n't give us a character worth giving a damn about .

for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .

does little more than play an innocuous game of fill-in - the-blanks with a tragic past .

it 's not original , and , robbed of the element of surprise , it does n't have any huge laughs in its story of irresponsible cops who love to play pranks .

yes , dull .

the overall effect is less like a children 's movie than a recruitment film for future hollywood sellouts .

outer-space buffs might love this film , but others will find its pleasures intermittent .

manages to show life in all of its banality when the intention is quite the opposite .

visually rather stunning , but ultimately a handsome-looking bore , the true creativity would have been to hide treasure planet entirely and completely reimagine it .

an occasionally funny , but overall limp , fish-out-of-water story .

like you could n't smell this turkey rotting from miles away .

the action switches between past and present , but the material link is too tenuous to anchor the emotional connections that purport to span a 125-year divide .

if director michael dowse only superficially understands his characters , he does n't hold them in contempt .

the script kicks in , and mr. hartley 's distended pace and foot-dragging rhythms follow .

it 's everything you do n't go to the movies for .

the problem with this film is that it lacks focus .

i do n't mind having my heartstrings pulled , but do n't treat me like a fool .

nonsensical , dull `` cyber-horror '' flick is a grim , hollow exercise in flat scares and bad acting .

you wonder why enough was n't just a music video rather than a full-length movie .

adults will wish the movie were less simplistic , obvious , clumsily plotted and shallowly characterized .

no aspirations to social import inform the movie version .

it 's like every bad idea that 's ever gone into an after-school special compiled in one place , minus those daytime programs ' slickness and sophistication ( and who knew they even had any ? ) .

this time mr. burns is trying something in the martin scorsese street-realist mode , but his self-regarding sentimentality trips him up again .

unflinchingly bleak and desperate

when leguizamo finally plugged an irritating character late in the movie .

teen movies have really hit the skids .

as the latest bid in the tv-to-movie franchise game , i spy makes its big-screen entry with little of the nervy originality of its groundbreaking small-screen progenitor .

there 's enough melodrama in this magnolia primavera to make pta proud yet director muccino 's characters are less worthy of puccini than they are of daytime television .

a sequence of ridiculous shoot - 'em - up scenes .

a misogynistic piece of filth that attempts to pass itself off as hip , young adult entertainment .

it showcases carvey 's talent for voices , but not nearly enough and not without taxing every drop of one 's patience to get to the good stuff .

does n't offer much besides glib soullessness , raunchy language and a series of brutal set pieces ... that raise the bar on stylized screen violence .

while it 's genuinely cool to hear characters talk about early rap records ( sugar hill gang , etc. ) , the constant referencing of hip-hop arcana can alienate even the savviest audiences .

in an effort , i suspect , not to offend by appearing either too serious or too lighthearted , it offends by just being wishy-washy .

and that leaves a hole in the center of the salton sea .

... the movie is just a plain old monster .

but what are adults doing in the theater at all ?

just one bad idea after another .

the affectionate loopiness that once seemed congenital to demme 's perspective has a tough time emerging from between the badly dated cutesy-pie mystery scenario and the newfangled hollywood post-production effects .

this film seems thirsty for reflection , itself taking on adolescent qualities .

no telegraphing is too obvious or simplistic for this movie .

excessive , profane , packed with cartoonish violence and comic-strip characters .

it all drags on so interminably it 's like watching a miserable relationship unfold in real time .

the best that can be said about the work here of scottish director ritchie ... is that he obviously does n't have his heart in it .

bad .

the longer the movie goes , the worse it gets , but it 's actually pretty good in the first few minutes .

the iditarod lasts for days - this just felt like it did .

the film tries too hard to be funny and tries too hard to be hip .

... is an arthritic attempt at directing by callie khouri .

for each chuckle there are at least 10 complete misses , many coming from the amazingly lifelike tara reid , whose acting skills are comparable to a cardboard cutout .