A bunch of IQ-challenged characters traipsing through a laughably bad scenario brought to life using silly dialogue, banal direction, and questionable special effects.

Siberia is effectively well-paced, offers instances of tension, and doesn’t cheat at the end.

Comes across as a cheesy, fundamentally unsatisfying experience.

If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.

Unfortunately, where the movie falls apart is in the storyline. While Spawn fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.

One doesn't expect intelligent scripting or deep characterization from Roland Emmerich, but the film's lack of energy, poor special effects, and monotonous pacing lead to an inescapable conclusion: 10,000 B.C. isn't only brain-dead, it's COMPLETELY dead. It's inert and without a heartbeat.

Zoolander would have been better left as a stand-alone cult classic.

The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.

Reading a Sparks novel allows one's imagination to enter the equation. Watching one of his stories adapted on screen has exactly the opposite effect: it neuters the imagination. This is soap opera, pure and simple.

It is, at best, an oversized, overbudgeted Saturday morning cartoon.

A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.

Although the film is clearly trying to follow in the footsteps of the Beatles' classic, it's several long strides behind, lacking the same sense of originality, spontaneity, high energy, and joi de vivre.

Unless you’re a fan of extreme sports photography, the 2015 Point Break lags behind its predecessor in most areas.

While the material forming the basis for The Crush can't make any claims of originality, there's certainly enough there to craft a decent film around. With a challenging story, a real script, and actors willing to take a few chances, The Crush could have been enjoyable. Essentially, all that would have been necessary for a success is a complete scrapping of the film that was actually produced. Even lovers of formula thrillers will find this picture hard to swallow.

One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.

Narratively incoherent and full of cheese and camp, this movie makes it clear that the mummy should have remained dead and buried.

Ed Helms, a Hangover veteran, is a perfect choice to take over the reins from Chase.

This is a painfully bad movie that thinks it’s trying to be Jackie Chan-meets-John Wick and flies so far wide of the target that it might have been shot by a blind man.

My Best Friend's Girl isn't just a misfire; it's a misfire compounded by a chain of miscalculations, and it's hard to figure out who this could appeal to (except, perhaps, Dane Cook's fan club).

Never boring. It is, however, frustrating.

He's still big and burly, but, at age 54, Schwarzenegger is starting to look a little too old to be involved in this kind of stuff. Action films are the province of younger stars.

All-in-all, what we have here is classic Seagal. And that means, for anyone who isn't an admitted fan, an uninspired outing.

This is one of those movies where you stay rooted in your seat just to see how bad it can really get.

There are some problems but most are related to the uneven screenplay and not the performances of Cage or his co-star, Robin Tunney.

Ghost House is a generally well-made but ultimately unsurprising excursion into the supernatural.

Allegiant tries to cram too little story into too much time. This results in dead spots and uneven pacing.

Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.

After My Life's in Turnaround, one could reasonably expect something more than this -- a Generation X picture that takes angst to absurd levels -- from Eric Schaeffer. Unfortunately, what we are saddled with is a whiney, talky, stagnant movie that's more pretentious than romantic, and more dull than funny. If Lucy Fell trips early on, and keeps stumbling for most of its ninety-two minute running length.

Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.

This is a rare time when young ones will get more out of a Sandler movie than their parents, who may have grown up with him when he was on "Saturday Night Live."

Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.

The movie is pretty much what you might expect from a big-screen adaptation of a once-popular '60s TV series: good-natured, appealing, and sophomoric.

As a motion picture (in the traditional sense of the term), Five Nights at Freddy’s is disjointed and ultimately unsatisfying but as part of a larger cog in a cross-platform franchise, it does everything (and more) that is expected from it.

The only arena in which Gulliver's Travels plays an adequate game is in visual effects.

Awake is short enough (about 85 minutes) that it doesn't wear out its welcome. It's not a good movie but it's silly and lively enough to keep most viewers from dozing off, even if that might be a more profitable use of their time.

It isn't difficult to identify those who will and won't like this film. There's plenty of violence, lots of fights and explosions, and the miniatures special effects work is impressive. A sizable portion of the Seagal crowd will likely be annoyed by the environmental message and the Eskimo religious practices because they interfere with On Deadly Ground's pacing. In the end, however, there's probably enough bang to overcome these flaws for Seagal's fans, if not anyone else.

This movie isn't bad in the way some incompetently made movies are bad; this is bad because there's much skill evident in a pointless endeavor.

Is this a movie or a feature-length advertisement for Qwest? We're not just talking one product placement; this brand name is nearly omnipresent.

The Space between Us is what it looks like when a promising premise is betrayed by a dumbed-down, hackneyed screenplay.

For a movie being touted as a sophisticated farce suitable for family viewing, North turns out to be surprisingly immature.

On those rare occasions when RV stumbles across a comedic moment that is legitimately funny, it drains the humor out of it by milking it dry.

It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.

The movie feels like a vanity production, although it's difficult to determine whose ego is being stroked by this expensive adaptation.

The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.

As a video rental, this film will probably play a lot better than it does at the local multiplex.

One of Mindhunters' strengths is that it's difficult to guess who the culprit is because Harlin and his screenwriters don't play fair with the audience.

Unless you're among those who admit to an inexplicable admiration for Shore, Son-in-Law will rate as one of the most unpleasant, grating experiences of the summer.

By making the key participants in The Valley an Indian-American family with many traditional values and customs, Kariat emphasizes the universality of the problem.

This is a bad film - at times it’s nigh unwatchable - but that doesn’t matter in the grand scheme of things.

Akin to watching a bad sit-com that never ends.

The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.

Where About Cherry fails is in its depiction of interpersonal relationships. Nearly all of them are flat and uninspired.

The sad truth about After Earth is that not only is it difficult to find things it does well, but there are numerous examples of outright incompetence dotting the landscape.

Unremarkable. A more honest description would be to label it as mirthless, pointless, and banal.

Boring and uninspired, this movie gives ghost stories a bad name.

The tone, which veers uncertainly between dark comedy and suspense, is uneven, and the characters are not vivid enough to stabilize the load of a shifting, runaway plot.

The storyline is at times muddled and incoherent. This won't bother readers much since they have the "inside track" on what's happening. Then again, the narrative is so predictable that maybe it doesn't matter.

Levy and Jackson save the day, and the film. The Man isn't great entertainment, but it contains enough laughter-provoking material to make it worth a look.

Straight viewing could result in brain damage.

Director William Friedkin has created a stylistic picture, but this is an example of style without substance.

The storyline is generic apocalyptic science fiction and feels a lot like an uninspired fusion of "Independence Day" and the TV mini-series “V”.

Too often, the film is more like a soundtrack with visuals than a well constructed, fully developed motion picture.

For all of its existential posturing, Being Human ends up being a rather shallow motion picture.

As a romance, a drama, or even a sports movie, The Longest Ride never reaches a satisfying destination.

We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.

If I see another send-up of Sharon Stone's character in Basic Instinct, I think I'll walk out of the theater. It wasn't funny the first time, and, by now, it's gotten downright annoying. Who cares if she uncrossed her legs without any panties on? Let's move onto something new. Belaboring that issue is like watching this movie: pointless.

The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.

Isn't just bad, it's very bad.

Aside from Snipes' well-tuned performance and a few clever scenes detailing superstar marketing, this picture is a veritable wasteland. Even watching the horror show that the real Giants have become during the 1996 season is more fun than this. The advertising slogan may be "fear strikes soon", but, when it comes to The Fan, fear, like the movie, strikes out.

This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.

The movie is populated by dislikeable individuals doing unpleasant things but isn't redeemed by the vein of viciously black comedy that made "The War of the Roses" and "Bad Santa" such devilish pleasures.

Has some promise as a throw-away, lighthearted romance. Unfortunately, once those elements are gone, what's left only has a running time of about 13 minutes.

This is as excruciating a movie as is likely to be experienced by anyone, anywhere. It isn't merely that the story is insulting, the characters are bland, the action is dull, and the CGI is everywhere - it's that all this goes on for nearly three hours. That's three hours of your life you'll never get back.

There's a sense that a much better movie is trying to get out but it never attains escape velocity.

After this disgrace, it's time to shut the hills' eyes for good.

However, once you realize there's no "pleasure" to be had from something this wantonly dumb and idiotically constructed, all that's left is "guilt" - guilt that you actually spent money to see this.

Tarnishes the image of its predecessor but the original Independence Day wasn’t all that good to begin with.

Chock full of high-tech action, with a lot of chasing and shooting and explosions.

There's some potential in this storyline, but the movie doesn't do much with it besides giving Martin Short an opportunity to put on the fat suit.

Warcraft provides the shell of a great fantasy adventure saga but never effectively goes beyond that. This is much more like the bad fantasy of the 1980s and 1990s than the better brand we have recently become accustomed to.

An individual’s appreciation of Cats may rest on a previous love of the stage play; others are more likely to throw up a hairball than purr in contentment.

The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.

A turd of T-Rex proportions, Land of the Lost makes one remember last summer's "Speed Racer" fondly.

Although Sinister 2 continues the story begun in Scott Derrickson's creepily effective "Sinister," it feels more like an unnecessary retread than an organic extension of the original.

Few authors have been as badly victimized by Hollywood as King; this is just another title to add to the list.

The script isn't just "dumbed down," it's lobotomized.

Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."

Disgusting, offensive, and utterly without merit. And, on top of that, it's boring and pretentious.

The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés.

Aspen Extreme is a predictable, pointless melodrama -- a kind of Top Gun in the snow. Ski enthusiasts might be tempted to see the film based on subject matter alone, but, unless they're undiscriminating about the quality of their movies, I would caution against it. Even as vicarious entertainment, Aspen Extreme is feeble.

The moment Showtime begins to take itself even remotely seriously, it loses whatever edge it might have had -- and that occurs less than 15 minutes into the proceedings. The best time for Showtime is no time.

Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.

Unfinished Business is bad - not epically bad but bad enough. Little contained in this misfire of a film works and the few successful things are dragged out to the point where they die a lingering death.

Perhaps the biggest (and most noticeable) fall-off from the first film is the lack of chemistry between Reynolds and Jackson. The two never connect. Rarely have I seen the volcanic Jackson look so disinterested; this is the closest he’s ever come to phoning it in.

Chernobyl Diaries is afflicted with a fatal flaw that damages many horror films: after a better-than-average setup and a promising first half, everything falls apart.

One problem with Repo Men is that there's not enough material to sustain a 111-minute motion picture.

The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!

Regardless of how low your expectations are regarding Fired Up!, it will still surprise you, and not in a good way.