Even the presence of Dan Aykroyd as Yogi and Justin Timberlake as his pint-sized straight man Boo Boo, couldn't save the movie.

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

What helps salvage the film (much to the surprise of director and co-writer Lussenhop and his fellow writers Peter Allen, Gabriel Casseus and Avery Duff) are the unintentional laughs generated by the film's outrageous gun battles, childish dialogue and an action chase featuring Brown that seems to go on forever.

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.

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.

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

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

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.

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.

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

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!"

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.

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

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

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.

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

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.

So thuddingly awful you won't crack a smile.

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

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.

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.