Scott Bowles

A film of repetition, a bloody dance consisting of three steps: stab, scream, repeat.

A putrid film that comes dead-weighted with hammy one-liners and a plot so silly it borders on comedy?

Deafening, deadening and about two hours too long, Extinction would mark the weakest installment yet of the 7-year-old Hasbro franchise — if the previous three movies were discernible from one another.

It's been a long time since a movie wasted as much talent as Stand Up Guys, a film that aims to be a geezer "Goodfellas" but whose execution is a misfire.

The result is a convoluted mess that has one good twist and two good car chases. But it's hardly enough to bring this spy flick in from the cold.

RZA's directorial debut is heavy on bloody kung fu action...and light on just about everything else.

Grudge could have saved itself with a rousing finale, but the buildup is so tedious you just want the fight to end.

Revolution tries a few plot moves, but, narratively, it has two left feet.

There isn't much in the way of plot to get in the way of Sandler's world: There's poo, ripped pants and hot girls falling for fat guys.

Despite some high-caliber voice talent and shimmering animation, it's hard to get a bead on this tale.

All this movie has in common with its ancestor are speedboats, shotguns and drug-dealing Colombians.

Most Ender's fans, of course, won't care about comparisons and consider the film adaptation a long-awaited victory in itself. Those fresh to the tale — or at least expecting something fresh from it — may wonder what the fuss was about.

There's nothing wrong in the setup: It worked fine in films like "Adventures in Babysitting" and "Uncle Buck." But director David Gordon Green populates the movie with so many soap opera asides it's hard to keep count.

Filmmakers must have been tripping pretty badly when they made High School, a flub that's about as lucid as a stoner at a spelling bee.

Though it has flashes of promise, Bones traces the footsteps of its fantasy film predecessors too closely to blaze anything close to an original narrative.

Even horror neophytes won't be spooked by a film that looks as if it were shot with a smartphone and an Itty Bitty Booklight.

It's been a long time since a movie wasted this much talent.

The movie spends too much time wedging the couple into a May-December moment, where Crystal cracks nostalgic about the good old days. It's sweet, but it grows old.

Hell Baby is what happens when you try to parody a parody. The result is a film that's less than half as funny as its predecessor, and a sliver as clever as the original.

What it became was bad. A movie that hopes to blend "Lethal Weapon" with "Gladiator" winds up not being a fraction of either.

Conan the Barbarian lives by a pretty simple ethos: He lives, he loves, he slays. What he doesn't do, alas, is act.

Alas, Wolf tries too hard to shock to be effective.

Vaughn and James are likable enough, and they would have real chemistry in, say, an all-out comedy.

Homefront is what "Breaking Bad" may have resembled had Sylvester Stallone written the TV show.

Alpha and Omega is one of those rarities in the modern era of Hollywood animation: bad.

Alas, shell casings, switchblades and severed limbs are all that's offered in this vile film, whose sole redeeming quality is that it ends. Eventually.

Preachy, manipulative and emotionally barren.

The latest undead-soldier story carries on the franchise tradition of graphic violence and bad acting.