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.