Joe Leydon

Seldom has a pic been more appropriately titled than Disaster Movie, yet another frantically unfunny free-form farce.

The line between priggishness and creepiness is repeatedly smudged by multihyphenate Rik Swartzwelder in Old Fashioned, a faith-based drama that looks as lovely as an expensive greeting card, but moves as slowly as a somnolent turtle.

A stunningly unfunny farce that makes the worst of a stale concept.

For auds unwilling or unable to grapple with the subtle nuances of "Scooby Doo," Warners now gives us Kangaroo Jack, a shrill and silly farce.

Superfast! takes aim at easy targets, and misses by miles.

Premature winds up resembling nothing so much as the coarsely smutty teen-sex comedies that abounded throughout the ’80s in the wake of “Porky’s.”

Neither funny enough nor scary enough to be satisfying as either a shocker or a spoof.

The big giveaway: While some of the genuine articles sporadically earned chuckles with vulgar sight gags and gratuitous nudity, Pitching Tents is too timorous to risk being truly offensive.

The result is a movie that is not merely disappointingly uneven, but irredeemably unbalanced.

Scarcely seems worth the expenditure of time, money and talent.

Costner's earnest performance is a major plus for Dragonfly, keeping the picture grounded in some semblance of reality even as it becomes progressively more fantastical.

It's plotless, shapeless -- and yet, it must be admitted, not entirely humorless. Indeed, the more outrageous bits achieve a shock-you-into-laughter intensity of almost Dadaist proportions.

Has the unmistakable look and feel of a micro-budget indie produced for a small circle of friends, many of whom are listed in the credits.

Freeway is roadkill. The directorial debut of screenwriter Matthew Bright ("Gun Crazy") is a sophomoric and morally repellent mix of fractured fairy tale, juvenile social satire, bloody mayhem and overstated B-movie melodrama.

For the most part, however, D’Souza gives the impression of someone obsessed with whitewashing any and all dark chapters in U.S. history books. There are times when his defenses and rationalizations come across as almost laughably facile.

At once annoyingly hyper and underwhelmingly dull.

The term “vanity project” doesn’t come close to adequately describing the hubristic folly that is Wheeler, an excruciatingly dull and self-indulgent faux documentary

The concept is thought-provoking but the execution is flat-footed.

There’s a point beyond which it’s difficult to believe anything that happens on screen, and impossible to care what is supposed to be real or not. Unfortunately, the movie continues for a lengthy stretch after that, until it literally trudges into a deep, dark hole.

Instead of persuasive verisimilitude and compelling character development, we get scene after scene of Jesse waiting for something, anything.

This feeble comedy isn't the worst pic ever to be spun off from a "Saturday Night Live" sketch --"It's Pat!" maintains a firm grip on that dubious distinction -- but it is woefully lacking in the humor and charm needed to attract mainstream audiences.

A numbingly pretentious approach to a moldy premise -- a handful of strangers interacting amid rubble in wake of WWIII.

A gonzo mashup of gothic melodrama, Wild West survival story, and voodoo-flavored supernaturalism, with a side order of slasher-movie tropes and a sprinkling of kinky sex insinuations.

They Remain is a movie that lives down to your worst expectations.

Only small children with limited attention spans will be impressed by the lackluster kung-foolishness in 3 Ninjas: High Noon at Mega Mountain.

An unwieldy mix of self-conscious camp and heavy-handed allegory, Automatons plays like a cheesy '50s no-budget sci-fier with serious delusions of grandeur.

A strident, painfully repetitive and hopelessly stage-bound drama about self-indulgent twentysomethings on the fringes of the L.A. film scene.

Being Frank isn’t very amusing, which normally would be the most damning thing one might say about an ostensible comedy. But that really isn’t the worst thing about it. There is something ineffably creepy about this contrived and mirthless farce.