This movie is the worst kind of offender: it thinks its funny and clever, but it is neither. The filmmakers have mistaken banality for wit and silliness for humor, and that doesn't begin to address how visually clunky this motion picture is.

The film has a nihilistic tone and its gallows humor may turn off more viewers than it seduces. Not since "Killer Joe" has a film exerted this mix of attraction and repulsion.

Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.

The only thing that differentiates it from far too many other uninspired rom-coms is that some of the material is funny and there is an occasional edge to the repartee. Beyond that, however, it's a cookie-cutter movie, and the cookies are pretty stale.

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

The "characters" vary from slightly annoying to unbearable - this is a film in which a viewer can be forgiven for rooting for the old video game icons to annihilate humanity. God help us if the best savior we can muster is Sandler.

This a neutered Garfield, one part tomcat and three parts pussy, recognizable only by his orange coat and love of lasagna. This feline's got a serious case of mange.

Beverly Hills Ninja is essentially a one-joke film.

Despite being one of the shortest theatrical releases of the year, clocking in at about 75 minutes (not counting end credits), The Happytime Murders feels overlong. That’s probably because the plot is nonsensical and pointless.

The problem here isn't as much the talent in front of the camera as it is the weak and hackneyed script. Vampire in Brooklyn is in need of an infusion (or should that be transfusion?) of originality and creativity -- two qualities that are blatantly absent.

What we get is a mediocre remake of a mediocre original – not exactly must-see cinema.

It's astounding how a movie this long could accomplish so little.

Did You Hear about the Morgans? Yes and, to be perfectly frank, I wish I had been spared the experience.

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.

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.

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

In terms of storytelling, excitement, and overall entertainment value, Blacklight is a black hole.

I wonder if Gamer might make a good game; it certainly doesn't make a good movie.

Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.

For better or worse (emphasis on the latter), it was unlike anything else on the multiplex landscape. In 2017, it’s becoming difficult for Bay to distinguish his brand of brain-dead spectacle from the brain-dead spectacle of many other sequels, prequels, and remakes.

This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.

The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.

A sloppy, poorly focused comedy.

Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.

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.

A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.

The result is sometimes enchanting, but, more often than not, it's frustrating, because the disparate elements of the plot never quite gel.

At its best, Terminal is a tasty, tangy parfait – a kaleidoscope of neon-tinged visuals and a twisty storyline with a tortured time line.

Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.

Perhaps surprisingly, it's no better or worse that the other superhero movies of 2015.

Twisted is a D-grade thriller with an A-list cast. It's a disappointment from start to finish...But, in the final quarter-hour, it committed the unpardonable sin of insulting my intelligence.

Despite being rooted firmly in "chick flick" territory (with a high "cuteness" index), it has the capacity to please to viewers of both genders who appreciate the genre.

The lackluster acting and horrendous dialogue don't help.

Echelon Conspiracy is a more evocative title than a movie this stupid deserves.

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.

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.

Sadly, Madame Web fails to rise above its pedigree as a lesser superhero movie. It does nothing to convince viewers that there’s value to be found in a story not featuring a marquee comic book character.

This film is unable to involve, entertain, or titillate. Basically, it stinks.

The kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it.

Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.

Every once in a while, a movie comes along that is so boring and pointless, that those faithful movie-goers who never walk out on a film have to find some alternative to watching the mind- numbing stupidity unfolding on the screen.

A horror film that starts out creepy but ends up disjointed and borderline- incoherent. It's a shame that the final product isn't a little better packaged because, unlike many lame entries into the genre, this one actually contains a few interesting, philosophically titillating ideas.

Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.

Taken 3 is exactly what one might anticipate from an unnecessary sequel in a mediocre franchise.

Looking back at Psycho Killer as a whole, the missteps in the final 20–30 minutes easily overwhelm some of the earlier, better material. It's tough to recommend this even as a streaming time-waster.

Just plain bad. Boring. Unwatchable.

With its grim tone and sickening content, this gruesome gore-fest might have limited appeal for "Death Wish" lovers who wished Charles Bronson hadn’t been such a wimp.

The film has energy but isn't well paced. Nothing about it quite gels.

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

Director Rick Friedberg (who made the "bad golf" videos with Leslie Nielsen) has crafted a dreadfully unfunny comedy that takes Naked Gun-like sketches and rehashes them without a whit of style or energy.

It is neither deep nor intelligent, but it's not intended to be either. The saving grace of the otherwise generic product is that Bell's vivacity and Duhamel's rakish charm allow the viewer to root for them.

In R.I.P.D., we have a legitimate train wreck of a motion picture: a film that doesn't work on any level. It's not funny. It's not exciting. It's not engaging. It's a waste of time and money.

Once it gets beyond a hard-to-swallow setup and into the meat of its story, Boxing Helena is surprisingly involving...The movie discloses its terms early, and expects the audience to buy into them, making no apologies for what it is or intends to be.

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

This is a tedious and insulting motion picture. The only ones likely to be surprised by the payoff are those who understandably dozed off fifteen minutes into the proceedings.

Eye for an Eye is one of three pictures currently in theaters about parents coping with the deaths of children. Both of the others, The Crossing Guard and Dead Man Walking, are vastly superior, and the latter, a thoughtful examination of some of the same issues that drive this film, makes Eye for an Eye look like puerile rubbish. Despite paying lip service to high ideals, Schlesinger's movie has no moral compass, and is only interested in delivering cheap thrills. And, while there's a place for that in movies, appropriating this particular storyline for such a base intention feels uncomfortably like a defilement.

Surprise of surprises, Revolver turns out to be worse than "Swept Away" - and not just by a little bit.

This film is like a shiny, red apple that's rotten to the core -- despite slick direction and a glossy sheen, it reeks of decay. Showgirls isn't a good drama, a good thriller, or even good pornography.

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.

Enough is Apted at his most commercial, and, unfortunately, his least compelling.

Gods of Egypt is often sloppy and fails in many ways but the cheesy momentum is hard to resist.

Director Sidney J. Furie, whose previous career high-point was either The Ipcress File or Lady Sings the Blues, fumbles the tone as badly as Richard Lester did in Superman III, veering drunkenly from action/adventure to comedy. Gone is the sense of naïve grandeur that made the original Superman such an endearing production.

The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.

This is easily the worst filmed version of anything penned by the prolific author.

Mr. Deeds is flat, except on those rare occasions when Sandler reverts to form or when John Turturro steals one of many scenes.

It represents a missed opportunity on every level. As a black comedy, it fails. As a satire of the bloated wedding industry, it fails. As a drama about friendship triumphing over all, it fails.

Like the candy from which it gets its name, Jawbreaker is fun at the start, but can turn into a chore to complete.

Uninspired and painfully familiar.

If there is another challenger for worst entry of 2007, I don't want to see it.

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

Speed 2 can be numbered among the worst second chapters ever made.

Everything about Staying Alive is cliched: characters, story, dialogue… There’s not a single original or interesting thing to be found. Even the music is tired and, although Travolta evinces the same physicality he showed in Saturday Night Fever, the sense of joy is gone.

Godsend is godawful.

Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.

Pretentious and manipulative, the movie bludgeons viewers with its new age philosophizing and its desire to be considered meaningful.

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

Temple shows a better path for horror films to follow but the screenplay is too threadbare and the characters too poorly developed for it to really work. This is about 2/3 of a solid effort – unfortunately, the other 1/3 was never made.

Despite being mediocre and largely forgettable, Couples Retreat is not unpleasant, although it's easier to recommend it for home viewing than for a trip to a theater.

It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.

There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.

This is as dreadful a holiday offering as you're likely to find this year. A lump of coal would be more welcome.

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

Friday the 13th is neither tense nor frightening (although, to be fair, it is at times creepy and atmospheric, due in part to budgetary limitations that led to a low-key style).

Getaway is pretty much a 90-minute car chase. That's it.

Not an abomination, although it is uninspired and insipid. As such, it's perfect television fare.

A preposterous thriller where the only thing more disappointing than the ending is the 93 minutes it takes to get there.

The biggest shock of this new movie re-imagination is that it makes the original seem fresh and smart by comparison. Perhaps that makes this whole endeavor nothing more than TV producer Aaron Spelling’s posthumous fantasy.

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.

Chris Elliott is appallingly bad as the title character. Although his role cries out for an over-the- top performance, Elliott's grating personae cancels out any positive contributions he can offer in that area.

If there's a blessing, it's that the sequel isn't appreciably worse than the original - but that's slim praise considering how bad the first one was.

The result, while not entirely devoid of entertainment value, doesn't work as a whole.

A frustrating crime thriller that incorporates too many plot threads into the overall narrative at the expense of character identification, suspense, and emotional heft.

Life Itself starts out with great promise – a dizzying first act that creates the tapestry of a character’s life by offering a kaleidoscope of moments from his past. It’s poignant, effective, and punctuated by actions that are breathtakingly sudden and unexpected. However, after the strong beginning, the movie takes a conventional turn.

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.

The Informers is nihilism for nihilism's sake; a bleak and borderline-unwatchable collage of misanthropes, self-absorbed a**holes, and pathetic weaklings as they struggle to move forward during the early 1980s in Los Angeles.

The Last Airbender is an insult to anyone with a triple-digit I.Q. and a willingness to use it inside the confines of a movie theater. This is bad filmmaking and bad storytelling. It also sounds what should be the death knell to M. Night Shyamalan's career.

Chase, like his Vacation movies, are things of the past. This is a series that should have died with the '80s. Instead, inexplicably, it has limped on into the '90s.

It's moderately engaging for the first half-hour, somewhat trying during the second half hour, and virtually unbearable over the final twenty minutes. It's a marginally recommendable film for kids, but not necessarily for parents.