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.

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

The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.

What happens when movie producers cross "Three's Company" with "Masterpiece Theater?" The result would be similar to what Touchstone Pictures has provided with Casanova, a farcical romantic comedy period piece.

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.

Happy Death Day 2U is a passable way to throw away 100 minutes if you’re willing to turn off your brain and pretend it’s making sense.

Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.

A script that, at its best, is inconsistent, and, at its worst, is laughably implausible and riddled with obvious flaws.

In a way, it’s almost worth recommending Men for the first 70 minutes. At that point, a quick exit would preserve the illusion that this is some sort of modern horror classic. For those who stick around, however, the final assessment isn’t likely to be nearly as favorable.

Another Simple Favor feels lazy and overplotted, and it definitely overstays its welcome.

The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.

At its best, Bad Santa 2 feels like an echo of its predecessor. At its worst, it’s unfunny, crass, and uncomfortable (not in a good way).

Insultingly, Frankenheimer concludes the movie with a short sermon about the fine line that separates man from beast. If the director actually wanted to get this point across, he should have worked it into the film rather than tacking it on as an afterthought. It is, after all, an integral aspect of the source material. That it has been so thoroughly excised from the main plot isn't The Island of Dr. Moreau's only problem, but it's symptomatic of the flawed mindset that went into planning this occasionally incoherent and ultimately disappointing motion picture.

Are you weary of the high-octane, CGI-heavy action offered by the Fast and Furious series? If so, then it would be hard to find any reason to recommend the film.

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.

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.

This isn't a family-friendly film - anyone over the age of about 8 will immediately recognize that significant chunks of the story don't make sense.

Here Comes the Boom is stale and vanilla. We know we're in trouble early when the first joke fails.

Sluggish, conventional, and almost completely lacking in energy.

I'll be among the first to admit that Timothy Dalton is a fine actor. But giving a solid performance has little to do with being a good James Bond, and, as accomplished as Dalton is, he's a failure as 007 in The Living Daylights.

It's not so much a bad film as it is a disappointing one. A very disappointing one.

When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.

The problem lies in the screenplay which latches on to the few clever and/or funny elements in the film and runs them into the ground via repetition.

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 just because it follows a formula slavishly but because it does so without verve or passion.

Despite a slow start, the movie eventually slips into a congenial flow. Unfortunately, Guarding Tess ends up derailing because of a ill-conceived ending that has something to do with a silly kidnapping subplot.

The quality of the writing is more than a notch below that of our show. Most of the jokes aren't as witty, and the laughs come less frequently. Maybe it's because so many of the things they do in the movie are lifted directly from the show, but a lot of stuff seems stale.

The film is preposterous to the point of distraction, where the necessary level of suspension of disbelief exceeds the capacity of a normal, thinking person.