This movie will not find an audience. It's got likable stars, a reliable commercial genre and a decent supporting cast, but nobody will turn out to see it, even if it was a labor of love.

Lifeless as entertainment and incoherent as ideology.

Letters to God is far too simplistic and pandering to find success outside of the targeted church-going family moviegoers it’s hoping to reach.

Tackling his own original screenplay, Zack Snyder keeps his reputation for outlandish visuals intact but strikes out as a storyteller.

This NYC-stamped film may claim street cred because it set-up shop along No Man’s Land, Brooklyn, late at night, but its drowsy work and parlor tricks suck the life out of what’s supposed to be a sleepless city.

Kate Beckinsale can still fill out a skin-tight leather bodysuit, but with Awakening, the vampires-vs-werewolves Underworld franchise has finally decayed beyond the point of repair.

A squishy Hallmark Channel-level melodrama that rarely bothers to mask its propagandistic intentions.

Fans will presumably get what they came for; what anyone else gets out of it is hard to say.

Robert Young's Eichmann feels the burden of history so heavily that it's effectively smothered by it.

American viewers are unlikely to be interested.

A surprising follow-up to Doremus' low-fi but equally concept-driven 2010 Sundance feature "Douchebag," Like Crazy has appealing performances, a notable tone of realism in the acting and so many borrowed mannerisms from better or more interesting films it feels like a YouTube mash-up made by a Wes Anderson junkie who's studying Sophia Coppola movies while writing a term paper on "Garden State."

We all have to make jokes around the water cooler, and if enough people bother to see Killer Elite, its silly nonsense could make for a great comedy routine by Greg from IT.

Too dull for camp and too bad to be taken seriously.

Dylan Dog feels like its ideas were stolen from western entertainment-a mash-up of sexy vampires, burly werewolves, and comical-gross zombies-which Hollywood then stole back from the Europeans, forgetting that other movies have explored that evil terrain thoroughly, exhaustively and better.

A well-meaning production that consistently fails to deliver on even the most basic of cinematic expectations, all while covering up stunning ineptitude with bloated song-and-dance numbers.

Even when presenting itself as a goofy trifle, the film never gels to that minimal standard.

A mess of a horror movie that spent several years sitting on a shelf and should have remained there living up to its fullest potential as a dust magnet.

If this horror movie cashes in on the audience that echoes its character's awareness ("That's where the nucular thing happened, right?") then we're about to learn how low our national academic standards are.

Sternfeld's depiction of small town life feels completely inauthentic at almost every level.

Stolidly maudlin, this enervating sub-middlebrow pic is doomed to well-deserved commercial obscurity.

In this case, boredom is the deadliest sin.

Apatow has drifted further and further from comedy with every film, but This is 40 is the first where he hasn't even bothered to write any jokes. Instead of snappy dialogue, we get lazy exchanges.

The dismal reality is that this romantic drama is a disaster, a dour "When Harry Meets Sally" that tries to jerk tears out of the story of a man and a woman who go from friends to lovers.

As if a string of bad jokes wasn't enough, Vampires Suck is full of distractingly forced pop culture references and shameless product placements (the actors practically mug for the camera while holding various products).

All of this is silly, none of it is funny and it's not long before the whole film stops making sense altogether.

Its endless parade of explosions, battles and general mayhem makes Michael Bay seem like Ingmar Bergman in comparison with Battleship director Peter Berg.

Unlike "The Lost Boys," there are no bloodsuckers in Twelve. Instead, it just sucks time: 98 minutes to be exact that you can never get back.

Conceptualized and re-conceptualized, written and re-written, shot and re-shot, cut and re-cut, the final product is the world's longest short film.