Embarrassingly bad - the kind of slapdash exercise that gives even Hollywood formula a bad name, while doing little justice to the sport.

Boasts one of the most ludicrous plots ever committed to digital video.

Watchable even when what's going on makes no sense whatsoever.

It isn't a really good movie, but there's real talent in it.

A root canal seems a more pleasurable way to pass two hours than this interminable vanity knockoff of "Traffic" about troubled Angelenos.

The one highlight is Julia Nickson, who breathes life into the role of Ethan's evil stepmom.

Most damning of all, the dark mystery hinted at throughout is revealed so lazily it lands with zero impact. It’s long been clear that Cage has opted for quantity in his movie roles, but maybe a little quality control wouldn’t hurt.

At the risk of sounding 100, I think it’s regrettable this film had to be shot in digital 3-D. Both those formats actually do a frustrating disservice to the depiction of the action, making them look choppier, more flickery and occasionally blurrier than they would otherwise.

Within five minutes you’ll guess why John Cusack, not overly encumbered with big film roles these days, didn’t return for the sequel: The script is monotonous, meandering and witless.

This mess was directed with no skill whatsoever by Jesse Dylan, whose father, Bob, once urged us all to get stoned.

About two-thirds of the way through, a stupid, hyperbolic sensibility takes control of the project, running it screaming off the rails.

Calling Boys and Girls the year's worst movie makes it sound more entertaining than it actually is.

It’s often hard to figure out who’s winning, much less care about it. One thing is certain: Nobody is going to be demanding a rematch.

If there is anything positive in The Girl Next Door, it is the brave performance by Auffarth, who is in her early 20s. Other than that, there's little reason to see the movie. Unless, of course, you get off on watching the sexual exploitation of underage girls.

The considerable comic talents of Alison Brie (“Community”) are squandered by this exhaustingly quirky indie romance.

The movie takes us on a journey to an ugly, contentious period in our misty, ancient past - all the way back to four months ago, when "Apocalypto" came out.

A repugnant little indie black comedy, poorly acted in hideous-looking digital video, guaranteed to send audiences fleeing for the nearest shower.

Small fry will learn an important lesson taking in the recycled storylines of Ratchet & Clank: Like nearly all recycling, it’s garbage.

Desperately unfunny.

Excruciatingly lame and laughless romantic comedy.

Features some good acting, but most of it doesn't ring true.

The pretentious and unrelievedly glum first feature from music-video and advertising director Nenad Cicin-Sain, The Time Being looks sharp, but it’s about as dramatically satisfying as watching paint dry.

Pretty and pleasing, but no more. A bon-bon, not a meal.

I have no idea how to blow up a two-page fairy tale into 100 minutes of blockbuster, but frankly I was hoping for more backstory about the titular cape in Red Riding Hood. Thread count? Machine washability?

A slapdash, sporadically funny cross between the infamous “Ishtar’’ and the mercifully forgotten “American Dreamz.’’

Even with appearances by such dependable performers as Toni Collette, Stellan Skarsgård, Christopher Plummer and Jean Reno, the interminable Hector and the Search for Happiness will most likely inspire audiences to search for the exit door.

An appallingly unfunny and unromantic romantic comedy.

As for Gooding, he's sadly gone to the dogs -- Snow Dogs has got to be his most humiliating role since "Lightning Jack."