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Don't Tell Mom the Babysitter's Dead starts with an enjoyable, if crude, black comedy situation promised by the title, but then it turns into an incredibly dumb teenage girl's fantasy of making it in the business world.

This is a sassy little comedy of wit and intelligence from the director of Bill and Ted's Excellent Adventure.

Perhaps they don't create quite enough deeply funny earthlings to go around, but a thoroughly meanspirited big-budget movie is always a treasurable rarity.

oaded with wit, nifty little ideas and an extraordinary sense of design, but its allure is of quite a particular nature, much closer to that of Ed Wood than of Burton's earlier, and far more commercially successful, works.

Some of the material works, some doesn't.

Takes a joke and runs with it -- sometimes too far, but usually long enough to wear you down and force you to submit to its craziness.

A flat, superficial comedy that never establishes a tone.

It's a pity...that such a first-class cast is forced to fly economy in this aimless exercise that never knows its destination.

No matter that the film felt lumpish and witless, I have to say that the kids at the preview laughed a lot.

There are just enough effects-driven laughs but a bit too much talky dead space in this not-at-all-anticipated sequel to the tepid, poorly animated 2001 film.

The joke is supposed to be that it's sad to see these guys so desperate for a lay, but in truth, it's even sadder to see the brothers this desperate for a laugh.

An orgy of crudity that could only appeal to adolescents too young to be admitted.

The Big Hit is nothing more, or less, than a big goof.

...crude and bloody but effective action comedy...

A whacked-out, superannuated, would-be rock star might seem to be too easy a comic target, but Wilson gives this sad sack so many fresh twists that he never wears out his welcome.

As a movie, it may not rock, but it rolls along nicely enough.

Pique on earth and ill will toward men permeate this mirthless comedy.

The movie is dead from the outset given the artificiality of the premise about a lonely rich guy who hires the folks living in his boyhood home to be his family for the holidays.