This overdone project dissipates its energy in strange ways (sudden shifts to black-and-white, as though hailing the spirit of Oliver Stone and that other Costner JFK movie), and makes you wish its makers had shown the same restraint the government did during the crisis.

Little entertainment value.

The new dud from Miramax's Dimension label.

It may have a good liberal conscience, and genuine sympathy for the rare perspective of a homeless person, but this movie is a fundamentally sentimental exercise.

A terrible, tired piece of filmmaking.

It’s just boring – and boring in a way that apparently has no endgame.

Charlize Theron has charm and skill, but no actress could survive this role, which has the gravity and verisimilitude of a sketch from a late-sixties Nancy Sinatra TV special.

A largely unenlightening work.

A One-Joke Show.

Quite shameless in imitating its predecessors.

Naming aside, Epic could have been good, except that it wasn’t, it was stone cold terrible, something even a six-year-old might scoff at. I know, I’m just as sad as you are about the whole thing.

Gets my vote for the summer's most offensive movie.

In trying to avoid moralizing or cheap sensationalizing, Didier sidestepped any energy force altogether and his film snoozes because of it.

The collapse of Office Space's second half is so egregious that one can't help but suspect Judge's Achilles heel may be his writing. It's not that he can't write -- it's just that his ideas tend to shine better within a pool of fellow scribes, as proven in his television career.

By any measure, 'Temptation' ranks amongst Tyler Perry's worst.

The small reward is the cool, confident presence of DMX, who shows signs of being a great leading man. But only in a much smarter, more original movie.

Appalling because it never transcends its adolescent-boy glee at being allowed entry to the highly sexualized arena of prostitution.

Plainly unfunny.

The best word to describe it is strange, though it could have been halfway decent (yes, all the way up to halfway decent) if the third act hadn’t succumbed to the crescendo of craziness that had been building for the first hour.

The Lifeguard is a painfully dull (alleged) drama utterly lacking in originality or self-awareness.

This is a story that has everything you’re looking for, provided that you’re looking for absolutely nothing.

“Expendables 3” has fewer nauseating clichés than The Judge.

Even when compared against other films that have been adapted from Nicholas Sparks novels, Safe Haven is terrible.

The most frightening thing about the franchise at this point is that it just keeps on going, undaunted by the characteristics by which the first film made its name. Family is still family and a brand is still a brand, but the blade… well, it’s only grown dull.

Assisted by passionless central performances and dull dialogue, Mungiu succeeds only in exhausting our patience, not in conveying a message.

Yes, surely for them, the lucky few and probable many, 21 and Over will be the Best Movie Ever. For the rest of us, though, it’s something of a chore.

A relentlessly unfunny, charmless send-up of better films with better ideas.

The film blinks too fast to maintain a coherent vision.