Kyle Smith

The Will Smith weepie Collateral Beauty couldn’t be more calculated and manipulative if it slapped you on the back, shoved a giant lollipop into your mouth and immediately tried to sell you a time share in Tampa.

The cheesy techno-thriller The Outsider is a blaring B-movie that doesn’t have much going for it, but it does have an engaging action hero in its leading man, a snarling Cockney badass named Craig Fairbrass.

Someday, when gay Americans enjoy full equality, we can all hope their sexuality will finally stop being used as fodder for dopey, hopelessly contrived dramas like I Do.

Imagine “The Graduate” as rewritten by a golden retriever, and you’ll have some inkling of the intelligence level in the rom-com All Relative.

In Pay the Ghost, Nicolas Cage investigates a supernatural abduction, but has no solution for the maggot-eaten zombie that is his undead career.

Wince-worthy as Guttenberg is, he cannot be accused of being worse than the amateurish direction and the trite script (both by Allie Dvorin) stuffed with insufferable romcom banter and putrid dirty jokes. Some films go straight to video; this one should have bypassed that step and headed for the incinerator.

Someday, The Bounty Hunter and last month’s “Cop Out” will be featured in a cable movie double bill as the two worst 1988 films of 2010.

Mannered acting, dismal cinematography, clunky attempts to enhance excitement via gimmicks such as slow motion, and a musical score like a fountain of goo all serve as flashbacks to Reagan-era network schlock.

A Walmart "Wall Street," the hedge-fund drama Supercapitalist is junk merchandise stamped "made in China."

A searing, penetrating look inside schizophrenia is exactly what Enter the Dangerous Mind isn’t.

It feels as shopworn as a dusty VHS tape of "Less Than Zero."

At last: Uwe Boll has made his first intentionally funny film.

A self-serving remark on the part of the filmmakers, who place only the tiniest fig leaf of a story on a panoramic canvas of the gory, gross and repellent.

Even when scary, Murray is somehow funny, too, and he steals the show as always.

Getaway is so bad that what’s most surprising about it is that Nicolas Cage didn’t manage to star in it. But one man can only do so many low-rent projects a year.

A woefully earnest indie about a crime and its aftermath.

Ryan Reynolds isn't around this time - and neither is most of the wit.

If we can agree on anything in this great divided land of ours, it's this: Mischa Barton can't act.

Parents should take their children to Hoodwinked Too! Hood Vs. Evil, if only because kids are never too young to learn the important and liberating skill of walking out of a movie and demanding a refund.

It puts a conservative twist on Michael Moore-ism, with campy stock footage, deadpan humor, mocking musical cues and less-than-ingenuous questions.

Corny action scenes and borderline-hilarious direction by Isaac Florentine mark the film as an obvious straight-to-video item that somehow took a wrong turn into a movie theater.

Old Dogs does to the screen what old dogs do to the carpet. It's unfortunate that only the latter can be taken out and shot.

Good Luck Chuck, a fungal little sex comedy, doesn't need a review. It needs a tube of ointment and a shot of penicillin.

A dismal rom-com for dudes that makes the average beer commercial look nuanced and plot-heavy.

A kill-a-minute gore-a-thon whose twist is so obvious your grandma Edna will see it coming, Kite never gets off the ground.

An icky S&M thriller.

An intriguing sci-fi thriller, but in the end it doesn’t do enough with its ideas.

88 Minutes holds you in a state of acute suspense, keeping you wondering until the very last minute whether this is the worst Al Pacino movie ever made.

Grotesquely unfunny comedy.

Larry the Cable Guy channels both Moe and Curly in the Three Stooges-go-to-war comedy Delta Farce.

This spoof of "The Da Vinci Code," "Pirates of the Caribbean," "Harry Potter," "The Chronicles of Narnia" and other recent blockbusters piles up sex gags, toilet gags and make-you-gag gags.

A comedy for no ages, has an amazing amount of CGI - Cuba Gooding Incompetence.

The Lord works in mysterious ways but Persecuted works in blundering, obvious ways, straining a Christianity-under-attack theme through a dopey thriller.

This is a horror movie that’s really a supposed comedy; she’s (Lohan) a supposed comedy actress who’s actually scary.

Biehn has appeared in dozens of B-movies and evidently had no greater ambition than to come up with a grindhouse movie full of sex, gore and cheap thrills, but there is far too little of any of these to maintain interest in a straight-on story that reserves its only surprise for the final 30 seconds.

The movie is so inept - with its flat characters, histrionic acting, dull dialogue ("Killing him is not going to change anything"), a dreadfully overdone musical score and la-la-la flashbacks starring the kid - that its clichés grow slightly funny. But not funny enough to make the endless torture scenes bearable.

For a horny-road-trip flick that's actually funny, check out last year's "Sex Drive," which just came out on video.

Great actors make the craft look easy. In the Paris Hilton comedy The Hottie and the Nottie, acting looks very, very difficult.

If Ed Wood had directed "The Silence of the Lambs," it might have been as unintentionally hilarious as the goofball would-be thriller The Abduction of Zack Butterfield.

Cheesier than a Kraft Singles truck but half as subtle, Dinesh D’Souza’s documentary Hillary’s America: The Secret History of the Democratic Party is an attack on all things Democratic whose many valid points get buried under bluster

Giving Mrs. Tiger Woods a run for her money as the most humiliated celebrity of the month, Russell Crowe accepts a third-banana role in the laughable weepie Tenderness.

A shoddy, slapdash look at issues raised by the Great Depression that neither gives an adequate overview nor manages to argue a coherent thesis.

Throughout The Hong Konger, Mr. Lai exhibits amazing composure as he tells a story that is both inspiring and enraging, in interviews filmed both before and between his arrests.

Fresh Kills could have been a psychologically penetrating character study but settles for merely reiterating that it’s unpleasant to be a gangster’s daughter.

“Sound of Hope,” like its predecessor, is a big-hearted film made with a homespun sincerity that comes as a refreshing surprise at the multiplex these days, though it has the gauzy, simplistic feel of a cable-TV movie.