Kimber Myers

Unfortunately, Hell Mountain lacks basic cohesiveness in its storytelling, taking strange, unnecessary detours and not fully developing its details.

Unfortunately, the worst fault in this horror movie isn’t the amateur performances, beginner-level editing or the special effects; it’s the dreadfully dumb script.

Blind stumbles with unlikable characters and a lack of depth, leaving audiences simply wishing for its ending, happy or not.

This teen musical comedy is set at a girls performing arts camp, but it never convinces the audience of anyone’s talent.

The script from Billy Morrissette — featuring disappearing narration, awful characters and no humor — is largely to blame, but director Anthony Edwards makes uninspired choices throughout, such as inserting random animated characters and allowing Gina Gershon to do a cartoonish French accent in a supporting role.

This is writer-director Matt Sivertson’s first film, and he and his cast and crew are able to offer only a maudlin drama that inspires eye rolls rather than tears.

The flaws of Nola Circus aren’t limited to its outrageous and offensive approach. It’s that it never succeeds in bringing viewers onto its wavelength, which is probably a good thing for humanity’s sake.

The Hustle is profoundly stupid and it treats its audience as though they’re even less intelligent than it is.

Mother’s Day is the cinematic equivalent of spilling boiling hot coffee on your mother when you bring her burnt toast for breakfast in bed.

On a single day, the protagonist of The Truth About Lies is fired from his job, his apartment burns down and his girlfriend dumps him. He has it easy compared to anyone who actually watches this thoroughly unpleasant, unfunny comedy.

But Deliver Us From Evil has no tonal cohesion, and the amateur editing from Coates only exacerbates the issue.

While its predecessor at least pleased his fans, writer-director-star Perry’s latest offers few laughs and embarrassing post-production work.

This slick and stylish exterior belies a rotting core underneath. Ryde thinks little of its characters or its audience; it's an exercise in misanthropy with a nasty streak of misogyny running through it.

Second-tier airline safety videos are more entertaining than this fourth-rate comedy. Flight attendants on Southwest’s less-traveled routes are far funnier than the cast here. Watching a lonely suitcase circle a baggage claim conveyor belt is more diverting.

The Lears is a witlessly profane attempt at dark comedy that is beneath the talents of everyone on screen.

Everyone is terrible in Extracurricular Activities, a dark comedy without any laughs and a mystery that doesn’t need to be solved.

Sex Trip tries to tell its audience that what’s inside is what matters, but this comedy is rotten at its core and sure to offend most people unlucky enough to watch it.

Despite the presence of theoretically interesting elements such as dirty cops, amnesia and money-laundering, Killerman is two hours of pure boredom.

There are a few early laughs, but the film from first-time director Brody Gusar is a tonal mess with feelings of disgust as its sole constant.

This latest entry in horror’s tradition of sorority-set slashers appears to have been made on a college student’s budget, shot by a horny frat dude and edited by a drunken pledge.

It creeps along without providing either scares or an unsettling mood.

The lifeless script and bland performances damn the film and the unlucky viewers who find it.

It is a master class in how not to make a film, beginning with lessons in writing an unfunny script, leaving foundation makeup visible on actors’ faces and sound editing that overemphasizes a bland score.

9/11 trades on the emotional weight of its namesake day, manipulating audiences into feelings that have nothing to do with the mess that is actually on screen.

Aggressive and aggressively unfunny, Hollywood-set comedy Walk of Fame hates its characters and its audience — and the feeling is mutual.

This dreadful indie comedy rarely replicates life, instead offering dialogue that someone thought was funny said by awful characters in the midst of inorganic situations.

The movie can only be classified as something truly terrible, escaping any other categorization that would make it resemble an actual film.