A clichéd and flat out boring film that doesn’t even approach the mediocrity of director Jim Gillespie’s 1997 pic in the same genre, "I Know What You Did Last Summer."

Summing up, yes, the effects are shockingly bad here, but the real tragedy is that this is a good story that was made into a movie by the wrong people.

The gags are flat, and the plot twists aren’t enough to keep the film moving.

Sometimes the only funny stuff is in the trailers, but not so here. Kristen Johnson was especially adept at stealing some scenes.

With his preferences for static, colorless visuals and exposition-laden dialogue over conversation, director Valette has now set the bar for the worst film of 2008.

Thoroughly irritating little film.

With its cheap scares, its defiant lack of special effects, and the most blatant usage of a red coat as a stand-out prop since Schindler’s List, Godsend is as much an experiment-gone-wrong as its Frankensteinesque plot.

Not to chastise the movie for simply being rude or crude -- since "The Wedding Crashers" proved that hormone-raging '80s throwbacks can still be harmless fun -- but this contemptible sex-com redux should be taken to task for how its infantilized yucks give license to entertaining closed-minded acceptances of very real human ugliness.

Kranks is the type of grim holiday movie that reminds you of all that is noxious and insincere about the Christmas season and then chases it down with a sickly-sweet reversal

With its ho-hum hero and lackluster love story, The Order would likely be one big implausible bore if it wasn't for production designer Miljen Kreka Kljakovic.

I do hate to say it -- it's really a drag, but why did they let this Cat out of the bag?

If raunch-comedy maestro Judd Apatow had not just an evil, but an evil-and-untalented twin, this grotesque excrescence would be his signature work.

Lacks the heart that might otherwise have breathed life into the pointless shtick.

Yet another ill-conceived big screen videogame adaptation.

Amid every action cliche in the book, outmoded stereotypes, and a plot derivative of every futuristic drama made in the last fifteen years, Ultraviolet comes off as nothing more than a pale copy of better, more inventive films.

Uncomfortable, offensive, and boring.

One of those celebrations of idiocy that never seem to go out of vogue.

I can’t say I was too surprised by how risible, grotesque, and incoherent I Know Who Killed Me is. But I can’t say I was prepared for its pretentiousness. If the picture has any use at all, it’s as a case study in what happens when the talentless attempt to emulate the inspired.