There is one good thing you can say about Beastly: The title perfectly sums up what you'll see on screen.

I predict that within a decade, Mother’s and Daughters will be mandatory viewing at film schools across the country. There are precious few such perfect examples of how not to make a film.

An amateurish-looking disaster that makes you wonder if it isn’t some kind of in-joke, a stunt to see how bad a movie can be and still find its way into theaters.

In fairness, you can say that Mortal Kombat is pretty much exactly what you expect it to be. It’s clearly meant as the first film in a renewed franchise. But for me, it’s game over.

While the film’s last 30 seconds are refreshing, they hardly redeem the previous 90 minutes of utter predictability.

There is nothing the slightest bit heavenly about this project, which is wrong-headed in just about every department.

On the plus side, Jones is a really good makeup artist, and he is adept at creating gross-out dead people and wounds, and violent acts intense enough that they make you want to look away. On the minus side, the acting and story are so bad you want to look away anyway. Follow that instinct.

All I can say is, no matter who made it, no matter who paid for it, no matter who it's about, "Melania" is a singularly bad movie.

It means to be an interconnected story, in which one coupling leads to another in increasingly ridiculous fashion, until you're not only no longer interested, you're grinding your teeth, hoping it will end.

It’s hard to imagine another comedy coming along this year that is this abrasive and free of laughs. It’s like everyone involved intentionally tried to create a horrible movie.

The project drips with sincerity, which isn't necessarily a bad thing. What doesn't work is the tin-eared dialogue and the utter lack of momentum, both in the script or the direction by Nikita Zubarev.

Climax is actually two movies, one in which you hang out at a party with young dancers who are as wearisome as they are flexible, and the other with the same group on acid. Neither is the least bit interesting.

It doesn’t take long to suspect you are witnessing an epic fail of Alexander proportions — a visionary filmmaker pouring years of craft and ambition, not to mention millions of dollars and the talents of dozens of gung-ho actors, down the drain of a misconceived “statement.”

If nothing else, it's consistent — consistently stupid, with things like character development and story advancement never getting in the way of another parkour stunt.

D'Souza fans and Trump apologists will flock to this, misguided moths to a misleading flame. In that way, it's a perfect representation of the current climate. In every other way, it's a mess.

The goal here was to show the tragic downfall of a once-praised hero, similar to the actual poem written by Wilde with the same name. But because of the lack of depth in supporting characters and half-baked writing, this movie couldn't have ended fast enough.

There is no substance, legal or otherwise, that can make this tolerable.

Director Jessie Nelson shoots it all like a Hallmark card that comes to life, which sounds like a cliche, which it is, which is the point.

We get it, we get it: Capitalism is good, government is bad. But Atlas Shrugged: Who Is John Galt? is worse.

Left Behind is a terrible movie, bad in almost every way, not even qualifying as so-bad-it's-good material.

Yes, it recalls “Turner and Hooch,” a movie Show Dogs references so many times you start to feel nostalgic for it. And when you find yourself longing for “Turner and Hooch,” things are very bleak indeed.

It's definitely not taking advantage of a talented supporting cast, as Greg Kinnear, Kelsey Grammer, Seth Meyers and Christina Hendricks are among those wasted.