You wouldn't call The Boondock Saints II: All Saints Day a taut thriller. More like a fleshy, messy, jangled frenzy of shootouts and much discussion about the mechanics of romantic entanglements that bloom between prison inmates.

It really couldn't have been easy for Jason Lee ("Almost Famous") to keep a straight face while saying, "I'm not in this for the money.''

A wink of self-awareness might have made this a guilty pleasure; instead it's a howler along the lines of this fall's "Law Abiding Citizen."

William H. Macy lends a little class as a snail, but Smith nails it in the closing-credit outtakes: "Don't expect Robin Williams-caliber work."

Excruciatingly unfunny.

Strings together 60 amateurish short films to tell us drugs are cool, man.

A vile and laughless follow-up to Schneider's 1999 hit.

The Will Smith weepie Collateral Beauty couldn’t be more calculated and manipulative if it slapped you on the back, shoved a giant lollipop into your mouth and immediately tried to sell you a time share in Tampa.

Music is totally unwatchable.

To describe Love, Honor and Obey as a cross between "Duets" and "Snatch" doesn't begin to suggest how desperately unfunny this musical gangster comedy is.

This adaptation is so sloggy it feels like wading through thigh-deep snowfall, stained scarlet from all the gratuitous gore.

A tediously self-absorbed variation on "The Big Chill" and "The Return of the Secaucus 7."

It's pretty sad if you're a comic and Al Pacino is the funniest thing in your movie.

A schmaltzy, smutty and mean-spirited quasi-satire.

Not especially scary or funny, this lame comedy-thriller wastes a decent cast in a plodding tale.

Has its moments of interest, including two excruciating vocals by Arquette and Caan -- and a George Clinton score that contains a theme eerily similar to that of "American Beauty."

Pierre is at best competent as the star, director and writer of this good-natured compendium of ghetto movie clichés, which doesn't have an awful lot to offer in the way of laughs, pacing or originality.

The finished product looks like it was thrown together during a lunch break -- by a drunk person. The level of ineptitude on display in this urban version of "Three Men and a Baby" is simply gobsmacking.

The cheesy techno-thriller The Outsider is a blaring B-movie that doesn’t have much going for it, but it does have an engaging action hero in its leading man, a snarling Cockney badass named Craig Fairbrass.

A vague, syrupy soundtrack plays across scenes both current and past, making the whole thing feel like a bad soap opera.

A good cast equipped with cute names is forced to muddle through terminal whimsy in this less-than-magical adaptation of Aimee Bender's adult fairy tale, sluggishly directed by Marilyn Agrelo, who more successfully helmed the delightful documentary "Mad Hot Ballroom."

Desperately unfunny and unexciting.

Sickeningly violent and inane movie.

Arguably as effective as Ambien at inducing sleep, but possible side effects include uncontrollable laughter.

Rarely does a movie go so thoroughly wrong in so many ways.

Darkness Falls was formerly known as "Tooth Fairy," but could just as well have been titled "Dumb Then Dumber" for the way its plot makes decreasing sense even by the low standards of B horror flicks.

Someday, when gay Americans enjoy full equality, we can all hope their sexuality will finally stop being used as fodder for dopey, hopelessly contrived dramas like I Do.

Imagine “The Graduate” as rewritten by a golden retriever, and you’ll have some inkling of the intelligence level in the rom-com All Relative.