Essentially a B-movie dressed up with A-level special effects, Legion looks spiffy but sounds bad with a lot of overwritten dialogue scenes and predictable action.

The barely coherent Footprints seems bent on erasing any nostalgia one might have for Hollywood's heyday.

The song and dance interaction of kids hollering advice during Blue's Clues happens here on the big screen, which is meant to transform the movie into a social event of sorts.

An amusing turn from Steve Buscemi in the title role and some sporadically funny, off-beat dialogue provided by debuting writer/director Hue Rhodes make for a passable, if forgettable, little time passer.

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.

Should be immediately screened in film schools across the world as a shining example of everything that is wrong with the American studio system and the increasingly dreadful junk it produces.

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.

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

So thuddingly awful you won't crack a smile.

A dating fantasy for girls and an action bromance for guys, This Means War wins the Valentine date crowd in swoops and strokes, but does it lead to swoons? Not really.

That's My Boy has the same freewheeling appeal and potty-mouthed, go-for-broke mania of Sandler's earlier comedies. But there's a new undercurrent of energy that's likely the consequence of Sandler separating from his usual collaborators.

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.

It’s a crock to believe a film’s worth a twirl because it has a saucy title.

Falling to pieces almost immediately, and then somehow discovering new ways to devolve into outright ludicrousness, it's a horror effort of such silliness that it's likely to be greeted with apathy at the box office before making a swift, deserved trip to the local video store's bargain bin.

Poor word of mouth should doom it for a quick ride to DVD oblivion.

An ultra-thin spliff, Cop Out never sparks, although knowing that in advance won’t deter moviegoers who believe pairing Morgan & Willis with Smith equals hilarity.

This PG-13 scare-fest is more psychological terror than blood and guts, and should satisfy-not repulse-young genre fans.

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.

Rebooting novelist James Patterson's famous Alex Cross character for the big screen, Tyler Perry aims at new cinematic territory and scores a bullseye as the Detroit detective embroiled in a hunt for a mega-evil killer that turns personal.

Very small children may well take a shine to the big, goofy dog and his furry friends, but parents and older siblings will be left squirming in their seats at a bland, predictable blend of bad comedy and sentimentality.

Fails to deliver enough clever gags, emotional warmth, or eye-popping 3D to compete with recent family releases.

Current Saturday Night Live (SNL) comic Will Forte may have bombed in the recent SNL spin-off "MacGruber," but a dream team of SNL alums, including ringleader Adam Sandler, put the luster back in the SNL reputation with the audience-pleasing, all-ages comedy Grown Ups.

Looking at the obnoxious TV ads for The Smurfs, it's easy to dismiss the film as a shrill, joyless exercise in special effects without substance. It's even easier after actually seeing it.

Redemption could have come if the story had more kick.

Almost totally devoid of charm and genuine laughs despite the presence of star Kevin James and a wonderful veteran voice cast for the creatures.

Everything about this film is fairly offensive, including its racial stereotypes, homophobia, misogyny, generally bad writing and amateur filmmaking.

Hardwicke shows a strong grasp at epic fantasy with Red Riding Hood; her nemesis is not a man-eating wolf but an unsurprising script.

There hasn't been such an egregiously self-congratulating piece of Communist propaganda since, arguably, the peak of '60s Soviet musicals, but Revival is so repetitive and po-faced that there's no kitsch value to be had.

A talented cast is game, but the lazy script utterly fails them.

Kalamity is a real klunker.

Lifeless as entertainment and incoherent as ideology.

Though it slows down in the back half, the opening acts of Season are reasonably entertaining.

The "Fab Four's" dramadies continue for the audiences who love them. Trouble is the surrounding story and its supposedly fun sojourns are as embarrassing as granny panties.

While it never quite rises above the problems inherent in the material, The Spy Next Door does shine in those moments when Jackie and his stunt crew are permitted to do what they do best.

To say the franchise is coasting along on fumes suggests it once ran on a full tank, which may not even be true for "Meet the Parents," the surprise hit that kicked off this broad comic franchise.

While A Thousand Words features some reverent flashes and even has the potential to touch audiences (a moment involving a mother with Alzheimer's particularly hits home), it suffers from being too broad.

A refreshingly pure, honest and original love story, Waiting For Forever is one from the heart with superb performances from a talented cast.

All you need to know about this low-budget farce is that Amy Sedaris costars (yippee!) and New York pol Anthony Weiner would feel right at home with the sexting subplot (eeeuw!).

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 sci-fi thriller manages to blend genuine suspense with unintentional laughs.

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.

Entertaining, full of laughs and, as far as chick flicks go, is a sweet, romantic trip worth taking for audiences so inclined.

Turns out to be a huge disappointment.

When all the pieces finally come together at the end, the effect is less impressive than it is reminiscent of "Wayne's World": multiple endings, no real impact or weight to either.

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

Apollo 18 is a drab horror that tries to plant fears about untrustworthy authority (Nixon, NASA, etc) that are as stale as a freeze-dried peas.

Burzynski may have credibility in the eyes of some, but the movie about him has no credibility, so no one will be receptive to its message.

It seems impossible that a sequel to a movie as ridiculous as "Piranha 3D" could disappoint but Piranha 3DD stops at mediocre before arriving at gloriously bad.

We get the broad strokes of how the hippies corrupted their own movement, but there isn't a single lead character we'd give a dollar to on Haight Street.

Production values from designer Anthony A. Ianni are matter-of-fact with the exception of standout effects from key make up artist Colin Penman and his staff. Its cast is fairly forgettable with the exception of Saw veteran Tobin Bell as Jigsaw and Cary Elwes as Gordon.

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 movie's simple-minded lesson that forests are good and development is bad is undercut the minute one pauses to think about how many natural resources were wasted on this sorry excuse for a motion picture.

Jack and Jill is a barrage of fart jokes and fat jokes and mean jokes that sincerely thinks it deserves to end with a hug. It doesn't deserve awwwws - and it doesn't deserve your money.

What's most memorable about this plodding thriller are the copious amounts of foundation and lip gloss.

If "Midnight Run" and "His Girl Friday" had an unwanted, mutant baby, it would be The Bounty Hunter, a romantic comedy where the jokes sputter and die immediately after exiting the character’s mouths.

Starved of humor and energy, the interminable Big Mommas: Life Father, Like Son could force Lawrence and co-star Brandon T. Jackson undercover for real.

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.

Even with a big name cast that includes three Oscar winners - Halle Berry, Robert De Niro and Hilary Swank - New Year's Eve is at best a pleasant diversion.

A thoroughly shabby attempt to piggyback on the success of last year's "Piranha 3D," Shark Night 3D embraces convention with a voraciousness matched only by its predictability, amateurishness and all-around tameness.

For more experienced viewers, the tired terrain is badly shot and haphazardly assembled into an audience-testing feature that appears to have no idea how unlikable or unprovocative it is.

This is the kind of movie where the audience of extras orgasmically react after every song as if they were at a Bruce Springsteen concert instead of watching a bunch of kids who wouldn't make the cut in a junior high production of "Bye Bye Birdie."

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.

American viewers are unlikely to be interested.

After this bomb, Katherine Heigl and Ashton Kutcher may qualify as two of the most attractive and prematurely washed-up screen actors Hollywood has ever produced.

Panettiere's performance has the straightforwardness of a jumbo crayon.

The problems begin with Shyamalan's script, which is an orgy of exposition. The characters explain and explain and explain some more, points driven home with the subtlety of a jackhammer.

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

The mother/daughter drama should have played a bigger part in this film as the 87-minute runtime passes quickly and leaves us feeling utterly short-changed.

To call this so-called family film dreadful is an understatement. Jaw-droppingly awful on almost every level, this is a movie to avoid.

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).

The soulless-ness of their empty plot of track homes and super-store existence invokes both "Poltergeist" and "Employee of the Month."

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

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!"

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

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.

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

A pathetic thriller and lame social satire that suffers from abysmal writing, poor pacing and terrible acting, even from the normally reliable Sean Bean.

Appearances by Toni Collette and Whale Rider’s Keisha Castle-Hughes should draw a few curious parents to what is, most of the time, a quirky and quite enjoyable coming of age saga.

Unfortunately, I Want Your Money amounts to little more than a Moore-style screed with a conservative bent and a less corpulent and sardonic host.

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

The profundity to tedium ratio is around 1 to 3. Not bad for a micro-release slated to screen seven times in a museum (NY's Rubin Museum of Art) but it's a film more interesting in theory than reality.

Bloodworth is a true southern gothic. There is nary a smile nor chuckle to be had throughout and ultimately things end badly. The density of the drama will draw some audiences and repel others, and those who come may find it all a bit too dramatic for plausibility.