There's something seriously wrong when you assemble actors this good -- and can't believe a single stilted word coming out of their mouths.

Bad in ways that are almost endearing, St. Trinian's does offer the spectacle of Rupert Everett mincing around in drag as a headmistress bedeviled by Colin Firth, as an education minister and former lover who wants to shut down her out-of-control school.

Young men and fast cars are automatically stupid together, but even if you set your intelligence level at “off” — and you should — you’ll get a hangover from this cocktail of 200-proof stupid, clinking with moron ice cubes and with an idiot cherry on top.

Some of the powerful characters you thought were good are evil and vice versa. It’s like “Wicked,” but wretched.

Aims straight for the tear ducts as well, but this weepie is a dry well.

Possibly because Heigl is one of the producers, the most beautiful woman in the film -- the stunning Christina Hendricks of "Mad Men" -- dies in an off-screen car crash barely before the opening credits are over.

If you thought Matthew Broderick looked uncomfortable playing “himself” in “Trainwreck,” wait till you get a load of the actor portraying a married man who wonders if he’s gay in Neil LaBute’s mean-spirited comedy Dirty Weekend.

A weird mash-up of disaster, horror and dystopia genre pictures, Aftershock fails to make the Earth move.

A clueless Mundhra tackles the subject with a heavy hand and a contrived script. The result is a daytime soap mixed with a second-rate women-behind-bars flick.

Barely watchable, despite the presence of such pros as Michael McKean and Jane Lynch.

This partially animated, charm-free atrocity is awful enough to instantly cure any remaining nostalgia for the rodent trio.

Halfway through, the jokes stop - the laughs never began - and give way to a tiresome thriller.

As sensuous as its title, Silk is an exquisitely felt love story that unfolds as delicately as a blooming flower. And as slowly.

Struggling for the same vibe as male-bonding comedies like “Diner,” Growing Up & Other Lies instead feels like a really long beer commercial, except beer commercials usually contain at least one witty idea.

Robert Zemeckis’ film “Here” is an object lesson in how to take a touching idea and make an extremely annoying movie out of it.

A formula flick that should have tapped out in the script stage.

It’s a wispy movie that does not end so much as peter out, and it could have benefited from a little more humor and a little less heinous male behavior. Miller and Farahani, though — both sometimes used previously as decoration — give strong performances as women bonding over their delight in both movement and their own beauty.

This blithe inattention to authenticity is perversely endearing, and the whole (overlong) shebang is so jolly and well-intentioned, that it's kind of fun. It's just not very good film-making.

Who needs a big budget when you have a quirky script, an energetic cast and a soundtrack that features Union 13, the Blondes, Future Pigeon and Omega Man?

Their heads spun 360 degrees. They vomited up green sludge. They violently shouted curse words...No, not the demonically possessed girls in “The Exorcist: Believer” — the awful movie’s furious audience.

The less you know going in, the more you'll enjoy it. Suffice it to say that it's a hugely entertaining thriller disguised as a chick flick.

It's fine for kids, though, and it doesn't try too hard.

The script is garbage, the voice acting is wooden and the songs are as infectious — and deadly — as the Mister Softee jingle.

It’s long, dumb and there’s nothing below these high-school students’ conspicuously perfect complexions.

Watching Penn pump iron and denounce capitalism for two hours would be roughly as illuminating as this monotonous Euro-thriller.

Only really little tykes will find the surplus of pratfalls and poo and fart jokes a hoot.

When Will I Be Loved would rate no stars except for Campbell's brave, totally committed performance -- which deserves a far better movie than this.

So over the top that it often plays like a parody.