There is something admirable about Fun Size. Not in how it succeeds, because it doesn't. Whoo, boy, it doesn't. Rather, in how bad it is on so many levels, in how it will offend and disappoint different segments of its audience for different reasons. It's an equal-opportunity bad movie. Something to hate for everyone! [25 Oct 2012]

There's a great film hiding somewhere in the wreckage of "Love Ranch."

Peter Lepeniotis’ animated film brings together a good cast, including Will Arnett, Brendan Fraser and Liam Neeson, which sounds like a sweet deal. But it places them in an uninspired little movie about selfish behavior, which, while overcome (of course), never really manages to escape its bitter roots.

Unfortunately, screenwriter Christopher Bertolini has given Eckhart and Liebesman a story so riddled with war-movie cliches that it contains almost nothing else.

What we’re left with are a few PG-13 murders, uninspired performances, some not-so-scary urban legends and a couple of actresses who must be wondering how they got here.

With its convoluted plot and fading stars, The Double feels like a straight-to-DVD feature that somehow sneaked onto the big screen. It's simply not very good.

It’s not that overwrought violence and human depravity are unfit grist for art, but without a compelling plot and a modicum of character development, all this film has to offer is a repugnant prurience and heavy-handed atmospherics.

The production is nice looking, and telling the Edward-and-Wallis story from her side is an interesting idea, but it's one that Madonna simply can't pull off here.

The intentions were probably noble, but the execution not so much.

There is nothing brave about Bravetown, a film so paint-by-the-numbers bland that its efforts to piggyback the sacrifice of American servicemen and women for emotional depth is downright craven.

Neeson's performance is so eerie, in a buttoned-down sort of way.

Focus. Tooth Fairy isn't as bad as you may have feared. It's not all that good, either, but at least it's possible to sit through it and hold down your popcorn.

Brand ultimately can't make a watered-down Arthur as sweetly charming as the original, but he certainly makes it better than it would have been otherwise.

Paul Schrader, the once-brilliant screenwriter of such films as “Taxi Driver” and “Raging Bull,” has fashioned a movie that seems to exist to be repugnant. Maybe that’s the point; it was written by Bret Easton Ellis. Nearly every character in this movie is unlikable.

Aside from cast changes and some plot tweaks, there’s not much new to see here. James is an engaging presence, but as this season with the Lakers proved, he alone just isn’t enough.

When all the parts are sewn together, the end result proves as crude and slapdash as the monster itself.

[Costner's] utter conviction to such a daffy project is strangely endearing. You may never believe one minute of Criminal, but Costner sure does.

Thanks to Highmore's performance, George is worth sticking around for - and thanks almost exclusively to Highmore and Roberts, so is The Art of Getting By.

Oyelowo and Mara try to bring humanity and tension to the testimonial thriller of two lost souls finding their way together, but they only succeed in bursts, hampered by marketing copy masquerading as dialogue.

For a movie filled with amateur porn, sex toys, cocaine and Cameron Diaz's butt, "Sex Tape" is awfully tame. You're in greater danger of taking a nap than needing a safe word.

If you’re going to make an origin story, make an origin story. On second thought, if you’re Joe Wright looking to tell us where Peter Pan and Captain Hook came from, maybe don’t.

This is the first time in ages some of the old stand-up Crystal shows through, flashes of quick wit instead of Borscht-belt antics. Not to the extent that it used to in such movies as "When Harry Met Sally ..." (which was, ahem, 23 years ago). But better than you'd expect...Just like the movie.

Another entry in a long line of good video games adapted into terrible movies, Assassin’s Creed is ragingly stupid. That its incoherent plotline is treated with the utmost reverence by skilled thespians only brings its idiocy into sharper relief.

There's just not a lot to like here, with the exception of what may be one of the all-time best bad movie lines, one Conan utters to Tamara as a kind of personal credo: "I live. I love. I slay. I am content."

First-time writer-director Tom Gormican keeps the dialogue moving at a rapid pace, which doesn’t obscure the fact that most of what is said is dopey and witless.

The chemistry between Baldwin and Moore is strangely disconnected. The performers aren't bad, but they don't generate any kind of heat.

A lot of talent comes up empty in Red Lights, a thriller that doesn't thrill.

Forever My Girl is a bad movie, pure and simple. And pure and simple is just how writer and director Bethany Ashton Wolf likes it.