Keith Phipps

A conclusion featuring a dizzying string of betrayals that leads to a confusing anti-climax robs the film of even cheap action thrills, making Hoodlum an almost thoroughly forgettable experience, albeit probably the only film in history to unite Queen Latifah and The Mod Squad's Clarence Williams III.

Clooney fails to make much of an impression as The Batman, but to make an impression amongst all the garish theatrics, he would pretty much have to shout his dialogue in rhyming verse, backwards.

While the special effects are impressive, countless films have already proven that if you sink enough money into a project, you can at least make it look good. Unfortunately, good looks are all Godzilla has going for it.

Dirty Love offers a series of desperate would-be comic moments.

Until Timeline reaches its flaming-trebuchet-siege finale -- which should impress anyone who's never seen "The Two Towers" -- it has the stirring production values of an episode of the Tia Carrere action series "Relic Hunter," but with only a fraction of the acting talent and intellectual heft.

It fails on every conceivable level.

Does this even count as a movie?

More of a throwback to a period in the '70s when big-screen comedies like "FM" and "Thank God It's Friday" seemed to take all their cues from bad sitcoms, putting rice-paper-flat characters into vibrant settings and giving them nothing to do but exchange faux witty dialogue without the much-needed cues of a laugh track.

It's almost fascinating to witness just how lousy The Avengers really is.

How is Paris Hilton in her first starring role to receive a national release? Pretty bad, actually. She's limited to a single, all-too-familiar expression of smug self-satisfaction, and she delivers her lines in a tone somewhere between "seductive" and "dish-soap commercial."

Unpleasant when it isn't dull, Apollo 18 never sells the lost-footage illusion, and never compensates for it with scares. Jolts, sure. Like so many lazy horror directors, López-Gallego knows how to startle, but not how to frighten.

Zany antics of the most painful sort.

Every once in a while, a film limps into theaters so stitched together, it's a wonder it doesn't rip apart in the projector. Jonah Hex is such a film.

At the very least, this film should hush those who insist that Diaz has talent beyond visual appeal, but it's unfair to single out her relatively minor offenses when there's so much else to hate about A Life Less Ordinary, an embarrassment for all concerned.

Add to these problems the fact that Fathers' Day is a comedy starring two reputedly hilarious people who don't make you laugh once, and you have a movie that would be great if everything about it weren't terrible.