"I like good horror movies. They can exorcise our demons. The Texas Chainsaw Massacre doesn't want to exorcise anything. It wants to tramp crap through our imaginations and wipe its feet on our dreams. I think of filmgoers on a date, seeing this movie and then — what? I guess they'll have to laugh at it, irony being a fashionable response to the experience of being had. … Do yourself a favor. There are a lot of good movies playing right now that can make you feel a little happier, smarter, sexier, funnier, more excited — or more scared, if that's what you want. This is not one of them. Don't let it kill 98 minutes of your life."

“In this business one becomes a connoisseur. I can now see that Carrey is a virtuoso, Farley is at least hard-working, Sandler is hopeless and Pauly Shore bypasses all categories to achieve a kind of transcendent fingernails-on-the-blackboard effect. His appeal must be limited to people whose self-esteem and social skills are so damaged that they find humor, or at least relief, in at last encountering a movie character less successful than themselves.”

“Since the scenes where they're together are so much less convincing than the ones where they fall apart, watching the movie is like being on a double-date from hell.”

“A burning at the stake, an afternoon in the rack, headscrews, a douche with boiling water, nails into hands, induced vomiting, ripped tongues, dead babes, human target practice, possession by devils, rape, transvestism, nude orgies in the nunnery. Put them all together and they spell Committed Art, because these are modern times and I certainly hope none of us is opposed to truth.”

“Films like Fargo are why I love the movies.”

“What planet did the makers of this film come from? What assumptions do they have about the purpose and quality of life? I ask because She's Out of Control is simultaneously so bizarre and so banal that it's a first: the first movie fabricated entirely from sitcom cliches and plastic lifestyles, without reference to any known plane of reality.”

“I could list some Japanese films illustrating this, but the last thing the audience for Memoirs of a Geisha wants to see is a more truthful film with less gorgeous women and shabbier production values.”