Despite a game performance by Lively, The Rhythm Section is a junk pile of missteps, from the convoluted screenplay that hops from locale to locale in Advil-inducing fashion to the overly stylized directing to the self-consciously “cool” oldies pop music selections.

Blindness is one of the most unpleasant, not to say unendurable, films I've ever seen.

CB4 is a profoundly confused movie, combining rap music with a satire of the world of rap. Working both sides of the street, it gets caught in traffic. The film stars Chris Rock and Phil Hartman from Saturday Night Live, but it doesn't have SNL's smarts -- and worse, it doesn't have any sense of what's funny. On a structural level, it's incompetently written and directed.

If Flashdance had spent just a little more effort getting to know the heroine of its story, and a little less time trying to rip off "Saturday Night Fever," it might have been a much better film.

This adaptation of the young adult science fiction novel “The Knife of Never Letting Go” (the first in a trilogy) is sunk by the nearly unwatchable and unlistenable execution of the main premise.

The movie labors under an enormous handicap: A much better, more intelligent and more exciting film has already been made about this same subject.

A deplorable film with this message: If you're a 14-year-old girl who has been brutally raped and murdered by a serial killer, you have a lot to look forward to.

Did you (Garry Marshall) deliberately assemble this movie from off-the-shelf parts or did it just happen that way? The film is like a homage to the cliches and obligatory stereotypes of its genre.

Bored out of my mind during this spectacle, I found my attention wandering to the subject of physics.

If it can be said movies have personalities, I give you three words to sum up the basic core identity of Safe Haven: Bat. Bleep. Crazy.

A film overgrown with so many directorial flourishes that the heroes need machetes to hack their way to within view of the audience.

Striking Distance is an exhausted reassembly of bits and pieces from all the other movies that are more or less exactly like this one.

Boring, repetitive and maddening about a subject you'd think would be fairly interesting: snowboarding down a mountain.

The Awakening looks great but never develops a plot with enough clarity to engage us, and the solution to the mystery is I am afraid disappointingly standard.

This is a messy, confusing, uninvolving mishmash of old-school practical effects and CGI battles that feels … off nearly every misstep of the way. It’s like watching a master musician play a piano he somehow doesn’t realize is out of tune.

It's got cheesy special effects, a muddy visual look, and characters who say obvious things in obvious ways.

The kind of movie that would be so bad it's good, except it's not bad enough to be good enough.

The jokes in The Week Of are big and obvious and sometimes mildly tasteless.

There's not a moment in this story arc that is not predictable.

Lumbering from one expensive set piece to the next without taking the time to tell us a story that might make us care.

Nobody needed to make it, nobody needs to see it, Jackson and Levy are too successful to waste time with it. It plays less like a film than like a deal.

The dreary, derivative and punchless action comedy “Love Hurts” is proof that a movie can have an 83-minute running time and still seem like a slow-motion slog.

It’s never a good thing when a film about a dying man sometimes has us wondering if some of the people in his life will be better off without him.

Too bad that robots, unlike humans, cannot be discovered in one movie and go on to star in another. I'd like to see No. 5 in a film more suitable to its talents.

I couldn't believe a moment of it, and never identified with little David.

Tells the story of a violent sociopath. Since it's about golf, that makes it a comedy.

Age of Extinction is just another warmed-over, cynical, ATM machine of a movie. It’s soulless eye candy.

This is a slick con, all flash and no substance. Now You See Me seems awfully sure of itself, with self-important, intrusive music, sweeping tracking shots and actors chewing up the scenery.