Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.

As a streaming offering available as part of a subscription package, it might be considered an adequate way to pass 90 minutes but as a reason to venture out to a theater, it’s hard to imagine anyone willing to go to those lengths for something this forgettable.

Although there are numerous problems with Fifty Shades Freed, the third and final installment of E.L. James’ trilogy, the fundamental one is also the most obvious: the lack of a compelling story.

It packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline.

The Lazarus Effect begins with an intriguing premise then proceeds to squander all the early goodwill through a slow, inexorable descent into cheap horror gimmicks.

If there's the kernel of a good story buried somewhere deep in Cursed, it never pops. As werewolf movies go, this one is on par with "An American Werewolf in Paris," but at least that dud had plenty of gore and Julie Delpy's bare breasts to recommend it.

Teenage Mutant Ninja Turtles doesn't so much provide brainless enjoyment as it pummels the viewer into submission. "Shell-shocked" is a reasonable description of the experience.

A movie so inane that it fails to rise to the level of "good trash."

Most of the humor in Your Highness is obvious, tepid, and often crude. There are some amusing one-liners but the majority of the comedy makes one realize how brilliant "Monty Python and the Holy Grail" is.

This Means War is not funny enough to succeed as a comedy. It's not emotionally deft enough to succeed as a romance. And it's not exciting enough to succeed as an action film. It's a high-energy, fast-paced explosion of moments that can be edited together to make a compelling trailer.

This movie isn't afraid of venturing into the realm of bad taste -- in fact, it revels in it.

The 2018 Death Wish has been developed with a specific audience in mind – those who enjoy these kinds of thoughtlessly violent outings. The direction is workmanlike, although without the flourishes that have added some visual razzle-dazzle to similar orgies of brutality like "John Wick" and its sequel.

The movie is a pointless retread with nothing to recommend it beyond McShane’s commanding presence.

A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.

It's remarkably appropriate that Envy is about turds, because that's what the movie is.

Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo

Affable, but, as something with more ambition, it disappoints. Herek has once again found the feel-good path to mediocrity.

A delightfully loopy comedy about the hijinks that occur when families collide.

The best segments of the film occur early, as the setting is established with a dose of "Friday Night Lights" normalcy followed by an invasion that recalls "Independence Day."

To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.

There is a perverse enjoyment to be had from something this cheesy, although not enough of one that I can recommend sitting through it. Still, as bad as Creature is, it can be fun, although the level of enjoyment is probably in direct proportion to the viewer's level of intoxication.

What's missing from Blended? Two key ingredients: it doesn't touch the heart and it doesn't tickle the funny bone (at least not often enough).

Despite a few effective “gotcha!” moments and Pegg’s performance, the movie is too artificial and undercooked to work. Logic and consistency are often overlooked qualities in today’s cinema but when they’re ignored to this degree, their absence is noticed.

Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.

There's hardly an area in which Hot Pursuit is not found lacking. The comedy is unfunny with joke after joke falling painfully flat.

Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.

Suspension of disbelief is an oh-so-tricky hurdle for a movie like this to overcome and The Book of Henry fails to achieve it.

Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.

There's just one problem: it's not scary and it's not funny...Idle Hands transcends that mundane level of badness into the realm of gross ineptitude.

The picture is neither flawless nor foolproof, but it's smart and tight enough to keep audiences off-balance and entertained for the running length.

On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.

Several strokes short of a respectable finish.

This feel-good motion picture is intelligently written and expertly directed.

Although the problem lies primarily in the difficulties associated with condensing an epic tale into a short-ish movie, the lack of elegance with which that is accomplished makes Artemis Fowl a failure for anyone hoping for the next great fantasy film.

Sanders, however, has taken a deep dive into the world of pretentious horror, where every killing has to be as stylized as it is gory. His characters have no humanity, his romance has no sizzle, and the whole thing turns into a slog where style overwhelms substance to such a degree that there’s too little left of the latter to matter.

By-the-numbers, generic plots no longer work and that, unfortunately, is what Seventh Son delivers. Impressive set design and visuals, excessive CGI, and a loud score from Marco Beltrami can't fully compensate for bland character development and a predictable narrative that rushes along on a linear trajectory.

There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.

This is essentially a Steven Seagal movie without the Ponytailed One, and may appeal to those who enjoyed Seagal's rather bland, cookie-cutter action films.

There are good things to be said about The Spirit, but not enough of them to outweigh the bad.

If you're tired of routine, "feel good", Hollywood fare and are looking for something a little Tarantino-ish and a lot unusual, Feeling Minnesota will leave you feeling pleasantly surprised.

The result, while not horrifically bad, is as mediocre a motion picture as you're likely to find in a multiplex this season. It's tough to hate the movie because it doesn't generate enough emotion for that kind of passion.

You may find sperm jokes hilarious, but it's doubtful you'll find them hilarious in The Babymakers, which has serious composition problems.

"The Hangover" was high octane fun. "The Hangover Part II," despite its repetitive nature, was enjoyable. The Hangover Part III is some kind of hideous experiment in mass consumer torture.

If ever there was a movie that could cause even the most restless sleeper to fall into a deep slumber, this is it.

In a summer of high-octane action and testosterone-boosted thrills, this movie is out of its league.

Offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.

It's badly directed, poorly edited, and features some of the most unconvincing acting this side of a soup commercial.

Like many genuinely awful movies, Queen of the Damned has the ingredients of a cult film.

Expend4bles feels like a movie that never should have been made for a franchise that, having lain dormant for nine years, didn’t deserve a resurrection.

White Noise has nothing. You'll have a better time staying home, tuning your TV to a station that doesn't carry a local signal, and staring.

The Electric State has an epic look but that’s increasingly common in any movie with sci-fi elements. But, aside from the special effects, it feels unfinished, with the actors groping to inhabit barely-there characters. What does it say when Mr. Peanut has more personality than either of the main characters?

Instead of vying for a so-bad-it’s-entertaining categorization, it falls squarely into the hell of cinematic mediocrity.

Turns out to be hopelessly mediocre -- a poorly scripted, preachy fable that forgets about unfolding a coherent, believable story in its zeal to spread propaganda.

No one in their right mind goes to an Adam Sandler movie for any reason other than to laugh, and Grown Ups delivers.

Maybe approaching The Unborn as horror is the wrong approach. Perhaps this should be seen as a comedy. It is quite possibly the most egregiously laughable high-profile supernatural tale since Roman Polanski and Johnny Depp impaled themselves on "The Ninth Gate."

The ending is weak, and may be the result of the filmmakers writing themselves into a corner and not wanting to conclude things in a burst of nihilistic excess. Yet, even though it's a cheat, it retains a degree of resonance.

Two if by Sea has a drab, dreary tone that's due as much to the unenthusiastic performances as to the bland direction. If anyone was having fun making this film, it doesn't come across. Star Wars' gold droid C3P0 had more humanity than all of Two if by Sea's characters combined. Because I never cared about Frank or Roz, the "feel good" ending left me cold. And, to think, I wasted over an hour and a half in a theater with this movie when I could have been outside shoveling snow.

Sadly, as apt as comparisons to "Underworld" might seem, I, Frankenstein can't even clear that very low bar.

You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.

The "special effects" employed to have the animals' mouths form words might have been state-of-the-art 20 years ago, but they're outdated today, and the gorilla looks like a guy in the monkey suit that was abandoned after the 1976 version of "King Kong." I guess CGI was too sophisticated for the technical crew.

She Hate Me is a mixed bag, but at least it's interesting and almost never boring.

Basically, this film is stale -- as unappetizing as week-old bread. With much better fare of this sort available on video (Airplane, The Naked Gun, etc.), renting a tape will be more satisfying, not to mention cost-effective. Loaded Weapon 1 is good for a few laughs, but there's no compelling reason to spend $5+ to see such a feeble feature-length comedy.

The similarities between Daddy’s Home 2 and last week’s release, "A Bad Moms Christmas," are striking. Not only are the two films sequels to successful first installments but they follow the similar template of bringing back the most popular elements of the first movie, stirring veteran actors into the mix, and finishing everything off with a big kumbaya moment.

In general, thrillers are among the easiest movies to do poorly and the hardest to do well. Body of Evidence takes the easy road, and ends up as a shambles. This is the kind of poor effort that's difficult to forgive.

So bad that it will annoy and/or bore those who have minimal standards and a high tolerance for sewage.

The star and the more overwrought aspects of the plot are mainstream but the philosophical implications will not appeal to those who prefer easily digestible cinematic portions. It's also true that the more deeply one considers the movie's themes and structure, the less sense it makes.

It's a wretched attempt at entertainment, ephemerally redeemed only by the appearance of several attractive girls.

Peppermint isn’t preaching a message; it’s intended as escapist fun. The problem is, there’s nothing “fun” about sitting through this 100-minute exercise in robotic butchery.

The movie has little to recommend it and more than a few things to encourage those who pursue quality cinema to stay away.

Boring and repetitive.

Part music video, part bizarro psychological thriller, and part David Lynch-inspired descent into existential purgatory (I kept looking for Michael J. Anderson), the film’s weirdness is sometimes extreme enough to exert an almost hypnotic attraction. But, as good as he may be on stage and in a music studio, The Weeknd (a.k.a. Abel Tesfaye) is not a good actor.

--- Ho, ho, ho - the joke's on anyone who pays to see this.

The film is critic-proof and it will find an audience, but it's hard to imagine even the film's target demographic (teenage boys) being overly enthusiastic about the product. It's disposable entertainment of the worst kind.

Overall this is a compelling and sometimes disturbing motion picture.

The level of quality is such that this does not deserve a theatrical distribution and will only find appeal among pre-teen kids or those who have been fans of the games since their inception more than a decade ago.

The movie isn't entirely successful as a romance or as an adventure, which makes the experience of watching it feel shallow and hollow, sort of like the stars and the plot.

At least the werewolves in Red Riding Hood have teeth and, when in human form, they don't parade around shirtless.

In order to show the "happiness" noted in the title, director Peter Chelsom ventures into some dark territory to provide a contrast. This results in a surprisingly unpleasant scene of torture and deprivation that may shock some viewers expecting to see a lightweight Simon Pegg dramedy about the meaning of joy.

It's watchable, but barely.

Unappealing for children and adults alike, The King and I will likely bring families together in their mutual boredom.

If you take The Postman at face value - that it's a straightforward, post- apocalyptic adventure tale, then it could seem like one of the worst movies of the year, if not of all time.

It's not scary, it's not chilling, and it's not interesting.

This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel -- pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue.

Hitman: Agent 47 might offer a passable diversion for action junkies but, for everyone else, it's best avoided.

Halloween 5 is the movie that pushed the Halloween franchise into the generic slasher film category.

Two agonizing hours of lifeless, mind-numbing hogwash.

We have entered generic action movie territory and the idiosyncrasies that made the series special at the outset have been leeched out, papered over, or turned into obligatory inserts.

One of the most positive comments that can be made about Hick is that it advances Chloe Grace Moretz's claim to be one of the best young actresses emerging into today's spotlight.

About as frightening as Walt Disney's Haunted Mansion.

Even Cowgirls is as close to an unwatchable film as there is available at this time in the theaters.

Howard the Duck is a bad movie. It doesn’t work as a comic book adaptation, a comedy, an action/adventure film, a fantasy/science fiction pastiche, or a combination of any of the above. The humor is juvenile. The action is cheesy and unexciting. The costume is embarrassing. The script feels like it was cobbled together by people with no knowledge of comic books but who were pretending expertise.

As action-thrillers go, this one provides what the previews tease. Maybe that’s enough for an evening’s mindless, throw-away entertainment, but I can’t help but be disappointed that the filmmakers couldn’t have brought something more inventive to a genre that too often relies on worn-out tropes.

Murphy in particular deserves better, but at least she got a boyfriend and a paycheck out of the deal. No such benefits await those who sacrifice both cash and time to see this movie.

For anyone who saw this movie while yet unaware of its horrifying potential for stealing money and time, you have my condolences. For those who stubbornly proceed while knowing the awful truth, you deserve what you get. Don't expect any sympathy from me if you're arrested while trying to burn the film or kill the projectionist.

Today, it feels like a parody and at times slips into “so bad it’s enjoyable” territory.

The concept may not be bad, but there are times when the execution borders on embarrassing.

It's tired and dated with too few laughs to justify the stultifying attempts at drama and the impossible-to-swallow plot contortions.

Although the satire is biting and the tone is irreverent, Drop Dead Gorgeous lacks the killer script and top notch performances necessary to make this a wholly successful production.