top violence, and the studio rescheduled The Bonfire of the Vanities to the Christmas 1990 release date originally held by Nothing but Trouble. The film was released on February 15, 1991. According to Box Office Mojo, the film opened at #8 in 1,671 theaters, grossing $3,966,240 opening weekend. The site lists its total gross upon completed release as $8,479,793, with a 50.5% drop-off in its second week of release. In 1992, at the 12th Golden Raspberry Awards, Aykroyd received a Worst Supporting Actor Razzie. It also took home Worst Picture at the 1991 Stinkers Bad Movie Awards. Chevy Chase later expressed dislike for the film, saying he only accepted the role of Chris Thorne because of his friendship with Aykroyd. Critical reception Nothing but Trouble was negatively received by critics. Chris Hicks, writing for the Deseret News wrote, "though Aykroyd seems to be having the time of his life as the judge, Chase, Candy, and Moore appear much less animated than usual [and] downright embarrassed in some scenes". Writing for The New York Times, Vincent Canby criticized Aykroyd's script, believing its narrative had "loose ends", and said "the movie looks less funny than expensive". The Hollywood Reporter criticized the film's comedy, considering it to be "skit-level". The Los Angeles Times critic Peter Rainer wrote, "if you're in the mood to be clobbered with stale jokes, it might seem fitfully amusing. Occasionally, the talents of the cast burn through the haze of misfires and remembered routines". Lou Cedrone, writing for the Baltimore Sun, said that "if there is a laugh here, it goes by unnoticed". Chicago Tribune critic Dave Kehr wrote that "Valkenvania bids fair to become one of the legendary disasters of the movie business, a movie so unfunny, so distasteful and so painful to watch that you can't take your eyes off it". Jay Boyar, writing for the Orlando Sentinel wrote: "The problem is that the neophyte director appears to believe that being gross, in itself, is enough. Even John Waters, in his Pink Flamingos period, realized that wit was also necessary. Besides, Waters was genuinely outrageous in a startlingly original way. The grotesquerie of Aykroyd's film reminded me of a disturbed child trying to gross out a friend on the playground." Candice Russel, writing for the Sun-Sentinel, wrote that "this mean-spirited effort by Aykroyd proves that he cannot write an effective comedy; if he's acting, he should leave