Steven Rea

Criminal, with its criminally lazy title, is mostly Costner's to growl and scowl his way through.

One of those what-were-they-thinking projects in which good talent is on very bad display.

Chloe & Theo is a mess of a message movie, simplistic, sappy, silly.

Unrelentingly grim, plodding, and close-to-incoherent adaptation of Tom Rob Smith's best-selling mystery.

Serena is one long eye-roll of calamities and corn.

If Matthew Weiner's Are You Here is good for anything, it's to illustrate how the themes and conflicts he has worked out with such depth and dexterity in all these seasons of "Mad Men" can go terribly amiss with the wrong actors, wrong backdrop, wrong tone, wrong time.

Nicely timed to cash in on the Ebola panic, Cabin Fever: Patient Zero - the prequel to the gross-out franchise about a lethal flesh-eating virus and its party-hardy victims - isn't going to do much for the tourism trade in the Dominican Republic.

This movie feels like it has a million jokes, and every single one arrives with a lethal thud.

Director Rob Meltzer, who made the kind-of-amusing meta short "I Am Stamos," directs things in shameless, let's-get-this-thing-over-with style, throwing in some gratuitous topless (female) nudity and allowing the usually amusing Kristen Schaal to let loose with a barrage of potty-mouthisms.

This Romeo and Juliet is hard to take seriously - and simply hard to take.

The sort of generic crime thriller - stick-figure characters, pointless muddle of plot, people entering and exiting SUVs and Lear jets with a sense of urgency - that feels like it could drag on forever, and drag us down into a purgatory of stupefaction with it.

In the annals of sequeldom, Kick-Ass 2 has to be one of the lamest follow-ups ever.

The film has been directed in a murky, rhythmless fashion by Niels Arden Oplev.

The violence is plenty, and pointless.

Hobbled by a laughably bad script and a uniformly uncharismatic cast.

Laughably bad adaptation of a Guy de Maupassant novel.

As far as director Nicole Kassell and writer Gren Wells are concerned, the C in Big C must stand for cute. The film reaches into the pits of moviegoing hell when it finds Marley on a celestial white couch, ringed in billowing white curtains, communing with God. And God is embodied by Whoopi Goldberg.

A lazy assemblage of sketch-comedy raunch, mock-schlock TV ads, and ideas that even the writers of "Mall Cop" and "Observe and Report" would have tossed.

The greatest lacrosse movie of the 21st century - and, unless I'm mistaken, the only lacrosse movie of the 21st century.

This heavy-handed muddle of a cop thriller is just impossibly bad.

An astoundingly senseless thriller.

Completely unappealing people.

Hands-down the most nightmarishly awful film of the year.

Beastly offers a thoroughly dopey reread of the "Beauty and the Beast" fairy tale.

Nostalgia for the '80s - big hair, Madonna, cocaine, big hair, Duran Duran, more cocaine - is all well and good. Unless it's practiced with the charmless ineptitude of Take Me Home Tonight.

What distinguishes The Dilemma in this genre is its resounding unfunnyness, its emotional dishonesty, and the general unlikability of its cast of characters.

Cage appears as a knight of the Crusades, slogging across the continents, slaying infidels and unbelievers and anyone else who gets in his way. There isn't a minute when it looks like he's having fun.

Murderously unfunny.