A crime saga cobbled together from scraps of genre predecessors, Deadfall's unbelievable silliness escalates at every turn.

And so, nearly four years since it rolled cameras, the sun rises on another Red Dawn, which supplements the irresponsibility of the original with an incompetency all its own.

Silent Hill: Revelation 3D is the nadir of senseless seasonal cinema. But while Bassett's film struggles to say anything coherently, it gets the most important message across perfectly well: "Do not go to Silent Hill!"

Sinister is pretty much everything to hate about modern horror in one mixed bag, a ramshackle teardown of jump-scares and creaky tricks, saw-it-coming "surprises" and the lead-footed thud of inevitability as it tediously places one clumsy foot in front of the other, plodding towards a finale that comes far too late.

The more pressing affliction in Pascal Laugier's film is the absence of chills, logic and coherence.

Even if 2016 is preaching to the choir, its fanbase is eager to tithe - it's spent this week as Fandango's #1 ticket seller.

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.

The film's length and muddled message will likely keep it from reaching much of an audience, even within the presumed Latino faith-based target.

Slapdashly assembled and lacking in dance thrills, the poorly promoted Battlefield America will drive away the few audiences that show up.

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.

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

Fischer and Messina may make a cute pair, but amidst such contrivances, they're powerless to make this RomCom seem like anything more than a creaky retread of obvious indie clichés.

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

Tyler Perry has finally achieved an odd kind of equality that heretofore eluded him: he's now just as mediocre and middle of the road as any other reliable hitmaker in Hollywood.

One for the Money is as static and ugly as romantic-comedies get, the distractingly fragmented coverage of simple dialogue scenes suggesting a general ineptitude that's rare at the studio level.

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 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.

The Darkest Hour isn't just a dark horse contender for the year's biggest joke, it's the darkest.

Chipwrecked is the sort of Sunday afternoon trifle that will mollify children and mortify their parents, an eyesore that auto-tunes its strong cast into anonymity and undercuts its convincingly rendered CG leads by confining them to hideously cheap environments.

The Sitter clocks in at a slim 81 minutes, but it feels significantly longer, as there is almost no fluidity between scenes, with the entire outing feeling slapped together at the last minute.

Between Eastwood's direction and Dustin Lance Black's screenplay, what you feel leaking off the screen in every scene is missed opportunity.

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."

Nasty and over the top, The Human Centipede II (Full Sequence) feels like a horror movie that hates horror fans.

The real problem is, when the film blindsides us with a mystery we didn't know existed, we're already too busy not caring about mystery we knew was there.

Ugly characterizations and simplistic preachiness negate the terror in Red State - a film that eventually proves horrific in ways unintended by writer/director Kevin Smith.

The new film Abduction has a lot of problems, but the biggest is the fact that no one gets abducted. Ever.

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.

Of course, Bucky Larson isn't one of the year's worst films because its laughs are poisoned and problematic - rather, it's one of the year's worst films because there aren't any laughs at all.