[A] one-note, flat comedy.

Jack Black will be enough to lure both kids and parents to the holiday comedy Dear Santa. But Black can’t carry the whole thing himself, and he’s eventually subdued by some deeply questionable story choices.

Directed by the team of Mark Neveldine and Brian Taylor, the new film brings all the cartoonish insanity of the pair's Crank saga to the -- let's face it -- cartoonishly insane concept of the Ghost Rider, a burning skeleton in leather who rides an equally fiery motorcycle. It's a match made in, er, hell.

Melissa McCarthy and Octavia Spencer have sparkling screen presence, but can’t thrive under Ben Falcone’s utter lack of vision. Thunder Force doesn’t work as a superhero movie or a buddy comedy, as it refuses to revel in the big moments of either.

The movie surrounds its mismatched stars with a whole lot of shockingly inconsistent special effects, preaching a sentimental yuletide message even as it looks like the height of soulless commercialization.

Danielle Harris deserves a lot of credit for her work in Halloween 4. It's hard to find truly believable child actors in general, and in the realm of a film like this, it's easy to expect the worst, yet she is very credible and relatable and took an idea that probably had some fans cringing -- a little girl as the hero of a Halloween sequel! -- and made it work.

A headache-inducing screenlife film that straps Chris Pratt to a chair and holds its audience hostage too, Mercy squanders its potential as a sci-fi thriller about the dangers of entwining justice and artificial intelligence. The result plays less like the tongue-in-cheek mystery-thriller director Timur Bekmambetov seems to be aiming for, and more like an advertisement to tech investors, making the movie chilling in unintended ways.

Kevin Hart and Woody Harrelson have solid goofball vs. grump chemistry in an entertaining action-comedy.

Imaginary nearly perfects its so-bad-it’s-good shtick. This is not a good movie, in the traditional, artistic sense – but it is a total joy to watch if you’re willing to buy into its particular blend of juvenile scares and stupid self-seriousness.

Texas Chainsaw Massacre is a sloppy and gratuitous killing spree with standout deaths but a poorly written story that ruins the experience.

Kings' fragmented treatment fails in delivering a compelling story. It also lacks the depth and clarity needed to convey a solid message, which one can assume was the purpose given the liberal use of certain politically charged images and sound bites. The potential was there for something grand though.

With Private Resort, I guarantee you'll be laughing well after it ends - and if you do it right, your chuckles will probably have precious little to do with the film itself.

There are moments where it reaches out for horror and produces something interesting and distinct from Hollywood’s other blockbusters, but those moments are buried beneath unremarkable and, by the end, tedious action sequences.

The Iron Mask is a mess of cultural ideas that not even Jackie Chan or Arnold Schwarzenegger can make work.

Return to Silent Hill isn’t the worst entry in this video game movie series, but it fails to accomplish anything that the source material doesn’t do better.

But as a comedy, Love Hurts is pretty stale; when not trotting out dopey crime-flick caricatures, it’s simply leaning on the supposed hilarity of a sunny house hunter with a secret talent for breaking bones. You’ve seen many versions of this premise, and better ones, too.

This big-screen take on the indie-horror sensation has too much plot and not enough of the game's primal security-cam thrills.

No, it's not the final movie in the series, but it's the end of a particular era for Jason, and it's a good way to go out for the hockey masked killer.

The movie is frantic in fits and starts, but still remarkably tedious for such a slapstick comedy. It expends an astounding amount of time and energy setting up both its jokes and physical comedy routines, many of which are tired, watered-down iterations of material done better by Sellers.

Ranbir Kapoor is deeply committed to his brash and ugly protagonist, but in spite of the movie’s explosive action, director Sandeep Reddy Vanga seems more preoccupied with provoking outrage than with telling a coherent story.

Taylor Schilling does her best here to keep things alive and afloat but The Titan insists on languishing in unremarkable material way too long.

Perhaps a slightly more engaging, focused narrative would have saved the film. As it stands, we're treated to 82 minutes of confused storytelling that spends the entire first half torturing our two principal leads in the most bizarre ways imaginable. Perhaps Corman fans should skip the first half of the film and simply watch the actual "Deathsport" sequences instead. The film will likely play much better as a 40-minute short.

There’s no snap to the dialogue, no thrill to a majority of the action, and the other characters played by Cooper Hoffman and Lucy Liu (and their relationships to Dolinski) make no lasting impression.

Everything about this "movie" is a joke. What really pisses us off is the fact that: a) Ben is now white (yes, white!); b) there are people doing drugs; and c) there's a sex scene! What in the hell? Not making things any better is a simply ridiculous ending that just about abandons all hope for the movie's success.

Cannibal Women In The Avocado Jungle Of Death would be one of those B-movies that has a message to get across, and it does so with a few actors and a script that's surprisingly well thought out, if to a cornball degree.

Cats’ special effects render director Tom Hooper’s star-studded adaptation of the Broadway classic a lifeless disaster, though a few of its more charismatic cast members, namely Judi Dench and Idris Elba, manage to get a few licks in to add an alluring, ironic camp value.

Despite solid performances from Zac Efron and Ryan Kiera Armstrong, Firestarter feels stifled in story and presentation.

Kate Siegel does her best to elevate a simplistic thriller that follows all the same beats you're accustomed to.