Drew Taylor

It's a found footage movie that feels instantly dated, even with its supposed political undertones. It's creaky, laborious, and not, in the least bit, scary.

It's just a bore, barely registering as a movie (visually, it looks more like an USA cable series), which is a shame, because with the oddball cast and somewhat notable director, it could have been fun and trashy. Instead, it's just forgettable.

This newest film is an undercooked potboiler, one so tastelessly bland and visually indistinguishable that you wonder if anyone associated with the project realized what makes cheapo crime fiction so fun to consume.

There are so many interesting ideas and concepts that could have been spun from this framework. Instead, it's the work of a bunch of filmmakers who seemingly wanted to offer up a WTF-worthy twist ending and tried to reverse engineer a movie from it.

Completely forgettable, Hellions is far less cool, smart, and scary than it thinks it is.

Night at the Museum was always the best when it was closest to complete anarchy, tapping into the zippy, good-natured malevolence of filmmakers like Joe Dante, but here that energy is gone, replaced by a kind of sleepy noncommittal attitude. The magic has dried up; the museum is closed forever.

Fans of the novel might get some minor thrills from the big screen adaptation, but it's hard to understand what made the material so popular in the first place.

The marketing engine of Minions is undeniably powerful. This is something craftily designed to sell toys and theme park tickets and special cans of Tic-tacs. But it’s not a movie. It’s an eyesore.

A plodding, undercooked, and old-fashioned (not in a good way, either) chiller that will bore you to tears instead of scare you to death.

The Smurfs 2 doesn't even pretend to be anything more but the most base, sugar-coated family entertainment, the kind of things that parents won't even be able to comprehend, much less enjoy.

What's interesting about Proxy is that it plays with all of the ephemera associated with pregnancy – the way that a person's psychology can warp around it – but too often gets bogged down in B-movie clichés and an unnecessarily convoluted narrative that strives for profundity but comes across as crass and dull.

Ted 2 gives lip service to civil liberties and spends the rest of the running time picking the easiest joke to tell, again and again and again.

Tammy is a boring, unfunny road movie that limps along idly, consisting of a string of nonsensical set pieces and halfhearted stabs at character development that come across as off-putting and odd.

It's utterly unconvincing and not scary in the slightest.

A dumb, loud action movie that aspires to forcibly entertain and provoke thought but fails miserably.

One of the more disappointing big studio animated features this year, a movie can't even muster the energy to be visually engaging, let alone give you anything to care about story-wise.

It’s the kind of garbage that does a disservice to the fearless possibilities of the horror genre and its knack for sly social commentary.

For a movie that tries to create and sustain a sensation of wild unpredictability, it's a huge failure. It's not shocking if we've all seen it a thousand times before. With 21 and Over, it's all been there, drank that.

If DreamWorks Animation is hoping to get back on track with this movie, a lavish sci-fi comedy based on a recent children's book, they're pretty much doomed.

I Give It a Year groans on, with unmemorable scene after unmemorable scene, each one more contingent on coincidence and happenstance than by the actual, gear-filled mechanics of drama or comedy.

The fact that the sequel is a messy, dull, instantly forgettable trifle somehow makes it the perfect follow-up to the original -- it's just as horrible.

With long stretches (we're talking 20-30 minutes) without a single guffaw, Identity Thief is aggressively dull, and will joylessly steal two hours of your life that you will never get back.

No matter how good The Mortal Instruments: City of Bones looks, it's hard to really care about anything that's going on, and not just because we could barely understand it.

A movie that is, in its subtle way, as offensive and mean-spirited as anything Sandler has done, but in a way that is so cuddly, there's the possibility it could, somehow, go unnoticed.

Watching Deadfall really is like being trapped in a blizzard – the cinematography is so muddy you can barely make out what's going on on screen (besides the bright splashes of blood) – you're antsy to be anywhere else but where you are.

Paranormal Activity 4 is listless, dreadful and boring, an almost painfully inert and superficial ghost story that lacks specificity or scares. Time to turn the camera off, guys.

Snitch is just a big, dumb, ugly-looking waste of time, one that turns one of cinema's most charismatic heroes into a restless drone. As they say in the joint: snitches get stitches. But Snitch deserves to be put down for good.

It's hard to tell who is to blame for the movie's abrasive anonymousness – Curtis or Apted – but it hardly matters. In either directors' hands, Chasing Mavericks would have been a wipe-out. It's totally bogus.