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.