Frank Scheck

Director Bafaro shows little aptitude for the driving sequences which are stunningly dull in their repetitiveness and lack of visual flair. Shot largely from the driver's perspective and rarely bothering to show both vehicles in the same frame, Wrecker feels like an endless ride to nowhere.

Featuring stereotypical characterizations and painfully awkward dialogue, the film treats its dramatic themes with a wince-inducing shallowness. Virtually nothing in the drawn-out proceedings works on any level, and the characters are so inherently unlikeable that being in their company is as painful for viewers as it is for them.

School Dance is the sort of oppressively offensive comedy that makes you aware of your brain cells dying as you watch it.

The only things left out of The Single Moms Club are genuine humor and emotion.

Even without the cloud of the recent disturbing developments, United Passions is a cringeworthy, self-aggrandizing affair that mainly benefits from its unintentional camp value.

A mishmash of action movie and buddy-cop clichés rendered in incompetent fashion, this wink-wink homage to 1991's Showdown in Little Tokyo makes its inspiration seem like a classic.

This witless found-footage comedy — doesn’t so much satirize its chosen genre as shamelessly rip it off.

Achieves a certain cinematic distinction by outdoing "Dumb and Dumber" in sheer grossness and detail with its depiction of the unfortunate effects of explosive diarrhea.

Sacrifices suspense and narrative coherence for moody atmospherics and hallucinatory visuals. Uninvolving to the extreme, She's Missing misses the mark entirely.

Like so many faith-based efforts, I Can Only Imagine suffers from a terminal case of self-importance.

So formulaic and unoriginal that its poster should accompany the dictionary definition of derivative, The Gracefield Incident degenerates into endless scenes of people running around in the woods breathlessly shouting horror film cliches while being photographed in shaky-cam fashion.

Demented absurdist comedy that doesn’t just push the envelope in terms of offensive and disgusting content, it folds it neatly and uses it for toilet paper. Desperately striving for cult status that it will never achieve, Assholes could be described as forgettable. Except, sadly, it isn’t.

Crosses the line from horror to just plain sick.

To say that Melania is a hagiography would be an insult to hagiographies. This is a film that fawns so lavishly over its subject that you feel downright unpatriotic not gushing over it.

Like his (Farrands) previous effort, this film takes a real-life tragedy and manages to treat it in horribly tawdry and tediously uninteresting fashion.

Even by the low standards of the genre it represents, this female teen comedy represents a new nadir.

The filmmaking and performances are so amateurish that any possibility of even the guiltiest of pleasures are quickly erased.

Offering nary a single funny moment in its seemingly endless 84 minutes, the film...provides evidence that cinematic sketch comedy is clearly a lost art. The inevitable outtakes seen during the end credits seem to indicate that the actors, at least, were having fun. Too bad none of it managed to find its way onto the screen.

Utterly lacking nuance and any sense of proportion, the irresponsible film depicts Democrats not as possessing misguided political ideas but rather as "depraved crooks" and "hateful people."

Barely managing to fill its brief running time despite its surfeit of smuttily vulgar gags, 3 Geezers! proves a less than subtle argument for euthanasia.

Starring a miscast Hilary Duff in the title role, The Haunting of Sharon Tate deserves the instant obscurity for which it is certainly destined.

Laughably inept on every technical level and representing the sort of badness that falls far short of being campy fun, Contract to Kill is strictly DOA.

Bereft of interesting characters, clever dialogue and any semblance of humor or visual coherence, Exists offers nothing to justify its cinematic existence.

Grizzly II: Revenge is so bad, it's just bad.

The resulting effort proves so exploitative that its end credits' dedication to the victims and first responders feels tawdry. 9/11 represents a cheapo disaster movie wrapping itself in the piety of one of the nation’s most tragic events.

Featuring one-note characterizations, laughable dialogue, an overwrought musical score and technically poor filmmaking values, the film ultimately is utterly reprehensible.

For all of its incendiary arguments, Death of a Nation is ultimately tedious and repetitive. No one expects, of course, that D'Souza would make a thoughtful, balanced or historically accurate documentary. But is it unreasonable to hope that he make one that doesn't bore the pants off us?