Writer-director Susan Walter’s film is almost determined to disprove the causality of social phenomena.
Peter Landesman’s film is a kind of hagiography, and it leans toward whitewashing its subject’s legacy.
The film’s characters are stock types without enough satirical texture to fulfill their function in the narrative.
Above all of the more modest achievements in structure and casting looms Zucker’s garish comedic sensibilities.
Neil Burger’s film transcends the déjà vu of its borrowed trappings but ironically sacrifices all momentum in favor of a long series of physical tests.