A prefabricated example of shoddy workmanship.

Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.

I have never been a fan of the original Carrie, but, despite the different slant offered by The Rage, there's not enough new material here for me to like the sequel any better.

Several strokes short of a respectable finish.

It is possible to make an engaging action/adventure picture of this sort, but The Scorpion King isn't it. The movie isn't godawful, but it's far from inspired, and, as I sat through its 90 minute running length, I found my mind wandering.

An amateurish effort that boasts direct-to-video characteristics, the latest version disappoints in almost every production aspect.

This lame animated fable, despite having "direct-to-video" written all over it, was released by Disney, in an act of unparalleled greed and desperation, into multiplexes.

The Devil Wears Prada 2 is harmless enough, although it exists more as an afterthought than a legitimate continuation of a story that was fully told twenty years ago after the first 105 minutes.

The primary sin isn’t that Blue Beetle stinks the way really bad movies do but that it is so deeply mired in mediocrity that it’s tough to find a reason to care about its existence.

The narrative contains some clever moments but the resolution somehow feels like a cop-out, perhaps because we’ve seen it so many times before.

And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.

Seen today, Going My Way looks and feels like a quaint, old-fashioned production that deserves to have been forgotten long ago.

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.

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

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.

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

Perhaps in the hands of a visionary genius in touch with their inner child, it might have been possible to achieve something better than an overlong throwaway distraction for a preschooler. In the hands of these filmmakers, however, it feels like a soulless cash-grab – an attempt to tap into the family-friendly frenzy that has emerged this summer.

Instead of a satire, they give us a tired, tedious victory-for-the-underdog story, and the unevenness of Ferrell's comedy makes it less appealing.

Unfortunately, much of what's good about Promised Land is easily forgotten as a result of the preachy, impossible-to-swallow final 15 minutes in which the protagonist is subjected to character assassination, the screenplay turns into a sermon, and narrative intelligence is discarded in favor of a message.

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

Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.

The most likely facial expression to be elicited by Mona Lisa Smile is a grimace.

The Beach House is a middling horror film with aspirations of recalling The Fog or The Mist but lacking the screenplay to come close to either.

Unfortunately, the film stumbles, offering too few legitimate scares and displaying an overreliance on traditional horror movie clichés.

With more attention to detail, this could have worked, but the time travel aspects are so badly executed that the movie as a whole falters and eventually rips apart at the seams.

The storyline is all over the place, with numerous unresolved subplots sprouting out of thin air and being left hanging (presumably to be resolved in future movies).

Ant-Man and the Wasp offers nothing close to what we have come to expect from entries into the MCU. Plodding, repetitive, replete with technobabble nonsense and lifeless action, this is easily the worst-written of any of the 20 MCU offerings and may be the worst all-around film featuring a Marvel superhero since Sony rebooted Spider-Man.

Let me admit to loving the premise behind Supervized. The problem is that a movie needs more than a great premise – it needs to grow and nurture that idea, and that’s where Supervized falls short.