An entirely laughless affair and easily the low point of Cohen's career so far.

Brutally unfunny, visually off-putting, and filled with cameos so embarrassing I am bruised from holding a cringe for a full half-hour, Zoolander 2 is every horrible decision you can make with a comedy sequel wrapped up into one nigh unbearable film.

Walking out of the film, I might have given it a C+ or a C based purely on the fumes of Murray's better work that are present here, but the more I've thought about it, the more infuriating it is to see something this lazy and familiar from Murray at this point.

With no clear purpose in telling the story and no real focus in the actual storytelling, Pan never gets off the ground.

Stonewall is the anti-"Selma," a movie that not only fails to fully capture the energy and importance of a true event but that fails so completely as a film that it is almost impressive.

I think Sandler's miscasting leads to a real deficit of energy at the center of the film, and then the conceptual misfire is so dire that I just don't know what to say beyond that.

It is a singularly unpleasant experience, not because it is scary or extreme or even interesting. It is unpleasant because it is a dull story filled with characters that are so poorly drawn as to be forgettable even while you're watching them.

There is nothing about Terminator: Genisys that suggests that this film was a compelling, urgent, essential dream for anyone involved. This is all about squeezing cash out of people who are fond of the original films, calculated and without any of the soul of Cameron's films.

Whimsy's hard, honestly motivated romance is harder, and when you get both of those things wrong in the same movie, the result is almost too much to take.

It would be a lot easier to give the film a soft pass if it wasn't so aggressively lazy.

Competently made but morally repellent, Get Hard may be my least favorite Will Ferrell feature film.

It is a staggeringly bad film, made up of lots of faulty pieces.

I don't think Strange Magic is terrible movie, but it is a very weird one in many ways, and perhaps the most bizarre thing about it is realizing that we finally have a fairy tale written expressly for the age of date rape drugs.

Blackhat is a staggering misfire by a whole bunch of talented people, terrible in a way that only a good filmmaker can accomplish, and it kicks off 2015 by setting the bar very, very low. Things can only get better from here.

Wallis, who is an appealing young performer, simply doesn't have the chops for what has traditionally been one of the more demanding leads in a musical for a young performer, and Gluck, along with co-writer Aline Brosh McKenna, has built a film around Wallis that is constantly undercutting the songs, the choreography, and the entire idea of musicals.

This is that rare case where it feels like every choice Scott made was off, and the cumulative impact of all of these choices is one of the most crushing disappointments of the year in terms of who made the film and how little of it works.

There isn't a sense in the film of this tragedy as a systematic, organized atrocity affecting millions.

Pacino himself isn't exactly bad, but he's far from good, and it's difficult to see past the terrible role.

The Judge is risible Hollywood dreck, a star vehicle with nothing genuine driving it, and at 142 minutes, it is nearly impossible to defend.

This entire film is like someone raised a kid in a room, cut off from all contact with the outside world, and all he had was a stack of Hustlers, a stack of Soldier of Fortunes, and a bunch of black-and-white stills from old detective movies, and at the age of 14, that kid gets turned loose and spends two hours screaming in your face about these stories he's been writing.

There are some actual big ideas bubbling around somewhere below the surface of the film, but it's so ham-handed, so unable to grapple with the full implications of any of those ideas, that it actually becomes offensive.

Tammy is a mess, and it feels like a real misstep for this rising star.

A hilariously ham-handed attempt to dig beneath the Kelly mystique, only to find further foil-wrapped layers of mystique beneath. Well, maybe not mystique so much as a perfumed blankness.

It is a ridiculous story, and these aren't human beings acting in a way that any of us would recognize.

This thing swings from broad gross-out comedy to something that seems to be struggling to be a reflection of real life, and it never establishes a baseline reality. It is a strange misfire that is only saved from being a complete disaster by the efforts of the film's two leads.