Unlike Cursed, which resorts to blatant but unconvincing gore and violence, "The Wolf Man" (1941) gets its point across through suggestion, makeup and spooky sets.

Painfully stupid.

The Greeks have a word for Blackmail Boy: boring.

James Purefoy (“The Following”) makes a pretty decent bad guy. Olga Kurylenko (“The Water Diviner”) is passable as an action heroine. Neither of those facts makes Momentum any fun to sit through, crammed as it is with leaden dialogue and predictable plot turns.

Noooo! Anything but another slapdash horror film with a lazy plot that hinges on artificial intelligence!

Even if you overlooked the production values from a 1986 porno and special effects like something your nephew cooked up on his Mac, the movie's "Yay, money!" zingers are just a big bag of sad.

An Amsterdam mess.

Director Andy Tennant’s tone, by the way, resembles that of religious films, like last year’s “Breakthrough” with Chrissy Metz. Holmes is wholesome, and her third-wheel suitor, Tuck (Jerry O’Connell), is well-intended, if tortilla-flat. The music is cheesy and inspirational. But the whole thing is covered in materialist grime.

Please wipe this movie from my “Memory.”

It’s a tiresome, preachy, repetitive, disorganized and dismally unfunny attempt to appeal to Michael Moore fans. The overall temperature of their efforts is strictly room: Call this “Fahrenheit 68.”

For a film with the nuance of a nuke, Palmer’s by-the-numbers journey nods along like elevator music.

An alarmingly unfunny French comedy where the two main characters are constantly yakking on a cell phone at an airport.

Lovable misanthropes can be a lot of fun, but someone forgot to put in the lovable.

Yelchin is an immensely likable actor who does what he can, but his charm isn’t enough to save this awkwardly worded — and paced — wannabe thriller.

Hollywood isn’t just churning out crummy remakes of great films anymore — now it’s doing awful remakes of mediocre films. For evidence, see Overboard. Or, rather, don’t.

Fails to draw much humor from farcical situations.

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

A pathetic stoner comedy.

Ineptly directed by Simon West, the scare-free When a Stranger Calls is the worst of the seminal horror movies from the late '70s and early '80s that have been getting the remake treatment lately.

Preposterous, slipshod, unfunny and emotionally null.

The landscapes are exotic and Kilcher is erotic, but the film plays like a generic made-for-TV biopic.

The talented cast doesn't stand much of a chance in this rambling, pointless narrative.

Carousel is one of those tundra, dimly lit living-room movies that snobs defend as closer to “real life.”

Thirty years after "Annie Hall," the beloved actress is scraping below the bottom of the barrel with this desperately unfunny farce, in which she mugs and pratfalls in the worst performance of her entire career.

A maudlin and unintentionally hilarious romantic weepie.

It's a shame, because the actors are so much better than the threadbare material.

If we can agree on anything in this great divided land of ours, it's this: Mischa Barton can't act.

Overlong and not well-acted.