Isn't one "Wild Wild West" enough? Okay, so Jonah Hex didn't come with the same expectations, but it's still an object lesson in how not to adapt a comic book. A crushing disappointment.

The franchise squeaks past with a so-so sequel that barely improves on what came before. Our only hope is that at some point they'll have to hibernate.

Howell makes the least convincing black guy ever, his eventual contrition feels hollow and forced — much like the laughs.

As the plot gets even worse than that of a bad serial killer movie, not even the OK fight scene at the end can redeem it.

Despite some nifty Japanese style tricks and ghostly illusions this isn't scary. It's muddled, same-old mayhem, just with a more international cast going crazy.

Indigestible Christmas stodge.

Instead of bringing much-needed clarity, Allegiant piles on yet more bamboozling mythology to flummox and confound.

Cliché-ridden and full of plot-holes.

An old school romantic thriller that lacks the subtleties and sophistication of recent spy storytelling, be it on the big screen (Bridge Of Spies) or small (The Night Manager).

If Danny Ocean and Barney Ross from The Expendables had a baby, it might look something like this — but should they?

A well-meaning look at the issue of arranged marriage, garnished with some Hollywood star power, but it’s too meandering and sluggish to grip.

More ho-hum than ho ho ho.

Creepy rather than scary, and more a ghost story than a monster movie, this has a good heart but feels a little toothless for something with so many killer robots.

While Gibson and Downey work well together, Air America does tend to be slightly overcooked in the cheap laugh department at the expense of a meandering storyline.

A low-grade comedy that'll have Jonathan Swift turning in his grave.

It has all the required Police Academy staples and is one of the better sequels but this whole franchise is so dated that isn't saying much.

The fuzzy thinking allows for gorgeous outdoor photography and a few too many dead spots, but Seagal the director shows real muscle by staging one of the screen's best-ever exploding helicopters and allowing Seagal the star to spit out tough talk, as when he refuses to shoot Caine because, "I don't want to dirty my bullets."

Ambitious and visually impressive as a pop-video mash-up, but, lacking a strong emotional core, it doesn't quite cohere as a fully satisfying movie.

The Wrong Missy is a little hit-and-miss, but it’s funny and inventive, and Lapkus is good enough to make the word “zany” tolerable again.

Falls between romance and drama without really satisfying either.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

An interesting premise fails to ignite amid an underwritten central romance and some clichéd plotting. An often eye-rolling ride.

Williams' virtuoso hijinking and Daniels' Huggy Bearish bonhomie save this from complete ignominy, but we’ve seen it all before.

A mushy mix of sentiment and some off-key singing lets the air out of this beloved musical's limo tires.

This super-powered spoof just doesn't fly.

Slap a restriction order on yourself and don't come within ten paces of this hideous concoction.

This attempts to unite period drama and demonic possession, but feels tired and overworked on both counts.

Terrible, but not worth getting worked up about.