There are bad movies and annoying movies, and this one contains elements of both.

The resulting hodgepodge of unfunny, sophomoric humor and PG-13 T&A, frosted by a sheen of appallingly nauseous "drama," makes for such a noxious brew that it's amazing viewers stay in their seats for the entire production.

When it comes to comedy, Deck the Halls is remarkably tedious.

The most depressing thing about this movie is not that it's such a complete waste of time, but that there are people in Hollywood who think this kind of thing is what American movie-goers are interested in seeing.

“Hollow cash grab” is one way to describe The Grinch. Equally appropriate would be “soulless abomination.”

Sometimes, even a little gratuitous nudity can't save a movie. This is one of those occasions. Cosmopolis easily trumps "To Rome with Love" as the biggest disappointment of 2012 from an established director.

Devoid of life, intelligence, humor, and anything else that could entertain even the most undemanding viewer, this film is a perfect example of something that should have been shipped to landfills, not multiplexes.

Epic Movie is a waste of time. It's like a bad issue of "Cracked Magazine" come to life. It's not so much painful as it is sleep inducing.

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.

If Superman was an eagle streaking across the sky, Supergirl is the result of that eagle’s bowel movement.

Robinson's movie flip-flops back and forth between being inept and goofy.

It boggles the mind to consider that the fertile writing team of Alec Berg, David Mandel, and Jeff Schaffer, all of whom spent time scripting episodes of "Seinfeld," could turn out something as abysmally unfunny as Eurotrip.

Taken as a whole, it’s excruciating in ways that few would consider enjoyable.

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.

August Rush isn't just a bad movie - it's an aggressively bad movie.

By the end of the film, I was hoping everyone on two legs would die, preferably suffering as much on screen as I was in the audience.

One of the dumbest thrillers to arrive it theaters in a long time.

The worst action movie of the summer. I liked Bad Boys II a little less, but making the comparison is like distinguishing between a cow turd and a horse turd. And that pretty much sums it up nicely.

Watching this movie, I wished I knew how to use dental floss, a paper clip, and a crumpled movie ticket to break the projector.

It is a ghastly experience, and I left the theater feeling as if I had waded neck-deep through a stream of raw sewage.

The funniest movie of the year - a true laugh riot. Viewers will be holding their sides to contain the laughter. Forget Borat - if you're looking for something hilarious, this is the movie to see. What's that? It's not supposed to be a comedy. Oops.

This film is an absolute mess.

If there's anything to like about The Bounty Hunter, it's Christine Baranski doing a Joan Rivers impersonation.

This is quite possibly the most moronic motion picture I have seen thus far in 2013 and that's saying a lot.

This is a sit com. An ‘80s-style sit-com. A bad ‘80s-style sit-com.

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

We’re here for the nasty kills, the clever eviscerations, and the M3GAN vs. AMELIA rumble. And we get very little of any of those things.

The only thing about Victor Frankenstein worthy of praise is the set design. Visually, the movie is impressive but pretty pictures are better left to postcards.

There's nothing worse than a film which mistakenly believes it's the comic event of the year. For no legitimate reason whatsoever, When Nature Calls is full of itself to the point of being offensive.

Sliver will surely be among 1993's worst.

It has all the elements one would expect from a "so bad it's good" feature: cheesy dialogue, a script that could have been written by two chimpanzees, acting that would make a high school drama teacher cringe, and lots of tight female bodies poured into tiny bikinis. Despite all of that, however, I found Into the Blue to be a real trial.

Apparently, someone turned up the heat because The Snowman is a sloppy mess.

95 minutes of unrelieved tedium.

Watching Imagine That, I was beset by a feeling of intense depression. Is this what Eddie Murphy has become?

The waterlogged end product is an example of lazy writing and direction with the vague hope that perhaps the involvement of Dwayne “The Rock” Johnson will attract viewers.

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.

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 another one of those pointless action superhero movies that unfolds like a video game in which the viewer is unable to participate.

Unless you derive pleasure from watching Lohan being tortured, there's no reason to subject yourself to this movie. Besides, if that's your goal, all you have to do is turn on tabloid TV. There's Lindsay's living hell of a life, being broadcast 24/7.

Could it be argued that the movie is “so bad that it’s good”? I suppose, especially if you’re a connoisseur of cinematic guano. For me, Death Race is merely bad. I wouldn’t worry about finding a way to append the word “good” to anything associated with this film.

It's crass, cruel, and borderline offensive, but the laughs that could redeem all of that are missing. Material as bad as the tripe that comprises Norbit can be endured only if there's a payoff. In this case, the point seems to be that some actors will do anything for a buck.

It has been a long time since I came as close to walking out of a movie as I did with Confessions of a Shopaholic. Not only did I find this production to be irritating, unfunny, and lacking in entertainment value, but I found its underlying slavishness to a culture of consumption to be morally repugnant.

Even Charles Barkley's big-screen acting debut can't camouflage a wandering script built on formulas and cliches. As for John Travolta and Kirstie Alley, suffice it to say that their pets steal every scene, and, when the dogs aren't present, the furniture takes the honor. Look Who's Talking Now has about as much appeal as the pile that Rocks leaves on the back seat of James' cab.

This movie is bad from top to bottom, front to back, and start to finish.

If there's one thing this motion picture proves, it's that "The Naked Gun 33 1/3" wasn't the final insult from a founding ZAZ (Zucker/Abrams/Zucker) member; this is.

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

The gore is so badly done that it's borderline comical and poor lighting passes for "atmosphere."

Trap is a house of cards built on a bed of sand in the middle of a hurricane. It flies apart and collapses almost immediately and the various plot threads are so thoroughly ripped to shreds that there’s nothing left at the end but the wreckage of a movie and the recognition that 105 precious minutes have been stolen.

Life with Mikey is a subpar piece of film making for which the producers' intentions are all-too- apparent. In slapping together a formula-riddled picture, they hope to cash in on the early-summer family-oriented audience (those that are questing for something to see before the re-release of Snow White and the Seven Dwarves). Considering the creative limitations of this project, such blatant marketing is patently offensive. Those with a yen to see something for the whole family can find hundreds of better offerings on video, and fans of Michael J. Fox would do better to peruse old episodes of Family Ties. At least back then, he appeared to care about what he was doing.

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.

In truth, this feels more like a half-baked comedy sketch stretched far beyond its breaking point—until even the last traces of humor have leaked out like the gooey innards of a Stretch Armstrong toy that’s been tortured by a sadistic kid.

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."

With its canned, predictable action sequences and mirthless attempts at humor, it displays an ineptitude that is frankly shocking considering the talent involved.

A catastrophe. This motion picture is an embarrassment to all involved.

Tracey Ullman is a bright spot in an otherwise sordid, murky production.

The Layover is an appalling movie.

Regardless of the reason, Borderlands arrives as a legitimate contender not only for worst film of 2024 but one of the worst videogame movies ever released.

Love Me isn’t bad in the sense that it is poorly assembled or incompetently shot. On a craft and technical level, it’s above average. But the narrative is incoherent and the philosophical meanderings lack depth and intelligence.

Chock-full of unfunny humor, bland characters with nonsensical motivations, and tedious subplots, the entire endeavor might have been shelved if not for the participation of De Niro, Uma Thurman, Cheech Marin, Jane Seymour, and Christopher Walken. A cast like that doesn’t get swept under the rug or sent direct-to-video.

A dreadful, hackneyed piece of cinema.

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

Any time Disney tries their hand at live action, though, the results are usually pretty poor. Just not this bad.

The element of high camp that makes for enjoyable "good trash" isn't present.

A comedy without a single funny joke, Mafia Mamma will likely go down as one of the year’s worst theatrical releases.

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

A lame collection of dumber-than-dumb gags, the quality of Big Fat Liar is on par with that of the worst television sit-com gorged to four times its normal size.

Travesty.

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.

The result is an atrociously unfunny, unromantic, and unpleasant product.

Disney has struck once again, taking a passably entertaining cartoon and turning it into a motion picture so lifeless that it's almost unwatchable.

Perhaps the only way to approach Abduction that will not result in a 105-minute boredom-induced coma is to think of it as a comedy, preferably with a drinking game attached. There are laughs to be had, although none of them are intentional.

This is as witless as movies come -- an unamusing, moronic blend of horrible acting and inept screenwriting.

A godawful teen-magnet utterly devoid of entertainment value beyond the lure of its popular, photogenic cast and the dubious attraction of playing the “guess who gets it next” game. The little bit of cleverness that ends the film comes far too late to save this movie.

Doesn't have the decency to end when it should.

When the end credits roll, it’s hard to decide whether the most appropriate feeling should be disgust, despair, or despondency. This is one of 2019’s worst films.

In a way, it's probably unfair to blame director Tamra Davis exclusively for this debacle. After all, she's toiling in the shadow of a would-be multi-media superstar, making her essentially a hired gun.

Too much of Jason X plays it straight, and that means boredom. Murder and mayhem of this sort quickly becomes monotonous.

If ever a romantic comedy is going to fail at the box office, this is it. The movie isn't a guy's thing, a girl's thing, or anybody else's thing.

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.

Defined by three characteristics. It is as stupid as a decapitated worm. It is as irritating as a mosquito buzzing around one's head. And it is as funny as "Schindler's List."

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

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

This feels a lot like some of the recent, unwatchable Adam Sandler offerings: boorish, unfunny comedy colliding with saccharine, quasi-dramatic filler.

There's no evidence of craftsmanship or energy. Everything, from the plot to the execution, is plodding and obligatory.

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

Despite having the same title and a similar premise to a 1980 Jamie Lee Curtis flick (kids getting slaughtered on prom night), this is NOT a remake. In fact, it really doesn't have much of a plot. It's basically "The O.C." with a body count.

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.

Jennifer's Body mixes, matches, and crosses three popular genres: horror, comedy, and teen angst. Unfortunately, it fails at all of them - and "fails" might be too kind a term.

More galling and tedious than funny.

They could have called this Paranormal Inactivity.

For acting to be this bad in movie not directed by Michael Bay or George Lucas, it has to be intentional.

This is a fairly standard-order bad taste movie, replete with all the characteristics of the genre: grotesque, over-the-top violence; copious blood and viscera; gratuitous, uncensored nudity; and borderline-pornographic sex.

I can think of bad slasher sequels from the ‘80s that were more engaging than this one.

Asian horror remakes are typically not screened for critics, and Shutter is no exception. The studios know what they have: watered-down, lifeless shells of motion pictures devoid of characters, drama, or anything remotely resembling horror.

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.

The ineptitude of the movie's drama is matched only by the failure of its humor.

I like Steve Buscemi. I really do, which is why it's such an disagreeable task to write a review that condemns his directorial debut as a waste of film. I'm not talking about a good idea gone awry, I'm referring to something that's rotten to the core.

Fox should be paying potential viewers not to walk out of this turkey. The plot has all the depth and originality of a video game without the fun of the interactivity.