Aiming to break the land speed record for poop 'n' piss jokes.

A work of near-existential pointlessness. It's true to the anarchic, silly spirit of the original clowning, but there's very little else to it.

A slick but slight film that unfortunately resurrects everything that was problematically self-indulgent about so many New York rom-com indie films that have come before. This is irrelevant navel-gazing at its most tepid. Nothing (new) to see here, folks.

The politest way to assess Spike Lee's latest polemic is to call it too ambitious. "An unholy mess" might come closer to the truth.

Director Brill makes no stylistic advances from his recent work with Adam Sandler (Little Nicky, Mr. Deeds), and shows no signs of seeking growth or improvement.

While the impressive cast inspires a sense of hope, The Oh in Ohio's childish storytelling, paper-thin character development, and general unfunniness combine to make one bad movie.

I'd use the term science fiction to describe Skyline but the movie decidedly lacks both science and fiction.

Must be counted as a forfeit.

The snap of a twig, the rustle of a branch – that’s about as scary as it gets in The Forest, a supernatural horror movie afraid of its own shadow.

Bonuses all around, but a double one for Perabo, the only cast member to survive this dull-as-dirt Cave with her actorly integrity intact.

Perhaps these are dark times, both onscreen and off, but even if they are not, London Has Fallen is an hour-and-a-half of viciously Us vs. Them, Trump-style bad filmmaking on all known levels.

The movie feels mechanical all the way through, leaving Sadek's debut an inauspicious and ill-lubed affair.

The cast, particularly Liotta, walk around with befuddled expressions on their faces, perhaps wondering what on earth they’re doing in this movie and how they can find a new agent ASAP.

It's all infuriatingly simplistic, and the performances help matters little. Quinn and McTeer are wholly uncompelling.

I saw the original version of this same story 28 years ago. It was called "Scanners" and it blew my mind for real. Push just blows.

The only actors who walk away unscathed are Kattan -- the best thing in a very bad movie -- and former cover girl Shaw.

In his English-language debut, Wirkola dabbles in everything but commits to nothing, making for an unmemorable brew best left untasted.

Regardless, the upside is that Shut In is cinematic Sominex for those in need of a 90-minute nap, a thousand yawns, and zero thrills.

Some things are best left undiscovered.

This is Baron Cohen’s worst film, period.

Indeed, the largely computer-generated Jack acts the pants off his co-stars, which can and should be taken with a whole trough full of salt.

Wretched. And while the dirtiest, low-rottenest part of me wouldn’t mind watching the institution of Ben/Jen get reamed, the heft of the blame should be shouldered by Hollywood vet Martin Brest, who wrote an incoherent, incompetent script and further mangled it with his direction.

This is one horror franchise that's burned itself out, and then some – not even the rare shock cuts to nothing much at all will startle anyone over the age of 8.

Very slick and extremely silly, not to mention aptly titled, Fair Game is just that - a noisy actioner so inanely scripted, acted, and directed that it practically begs you to make fun of it.

Despite cute kids, tough dads, and problems controlling bed-wetting and farts, Daddy Day Camp should just limp off to the nurse's tent and call it quits.

This fourth and, presumably, final entry into the ever-deteriorating Hellraiser series is by far the worst of the lot: a jumbled, unsatisfying, and ultimately boring glimpse into the past, present, and future of the notorious cenobite affectionately known as “Pinhead”.

The whole thing reeks of a spooky Halloween episode of Law & Order that will have your parents shaking their heads in acknowledgment, and you dear reader, shaking your head in disbelief.

Dull and unfunny claptrap.