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

When the movie goes “boo!” and the viewer tries hard to stifle a yawn, something has gone wrong.

A sloppy, poorly focused comedy.

The result is not entirely uninteresting, but it suffers from some ill-advised decisions. In fact, the film's "hook" may be its greatest detraction.

The storyline is at times muddled and incoherent. This won't bother readers much since they have the "inside track" on what's happening. Then again, the narrative is so predictable that maybe it doesn't matter.

Spenser Confidential is a perfect Netflix movie – a mid-budget action/thriller featuring a recognizable star and not requiring much in the way of attention or dedication from a viewer.

Criminally underwritten characters result in actors like Hugh Jackman, Sigourney Weaver, and Dev Patel (Slumdog Millionaire) having little to do.

Those who have seen Richard Lester's '70s tongue-in-cheek version of the adventure should avoid this one, lest they feel compelled to hurl popcorn and invectives at the screen.

Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.

The Midwife has two things going for it: Catherine Frot and Catherine Deneuve. There’s no disputing the quality of acting in this film, at least insofar as the leads are concerned. Unfortunately, almost everything else in Martin Provost’s staid character study falls considerably short of the bar set by the two Catherines.

One of the year's most uninspired inspirational stories.

Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format.

Instead of being truly awful, it’s simply mediocre, although one could argue that’s the last word a comic book movie wants to have applied to it.

Mortal Kombat II falls victim to the same problems that have derailed many a game-to-movie translation: overemphasizing fan service and spectacle over a solid narrative.

This is a character we have seen a million times before and Eastwood brings little that's new or original to the part. The movie as a whole can be labeled with the same criticism.

12 year old boys will love the result. That’s not a good sign for anyone who has passed beyond their teenage years.

It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.

People who are addicted to romantic comedies will find something to like about this movie, with its theme of fate brining two unhappy people together. More cynical viewers will point out that nothing in this film makes enough sense to warrant such a lofty interpretation. For the most part, I agree with the latter group. The Night We Never Met is best remembered as the movie we never attended.

Unfortunately, because of a variety of missteps, Bushwick never achieves what it sets out to do. It’s undone by a litany of bad decisions and the underlying weakness of the core material.

For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.

Striptease is a curious mix of eroticism, comedy, and drama that, instead of blending into a pleasing whole, has a tendency to separate and curdle.

The film is too light and juvenile to be viewed as some sort of darkly subversive satire in which the director is laughing at those of us who take it all semi-seriously.

Everything about director Rachel Lee Goldenberg’s film is bright, garish, and peppy. Although watchable as a sort of mindless flashback, it doesn’t work as a movie.

Most of the movie involves Rogen interacting with Rogen and this is problematic on a number of levels. First, neither version of Rogen has a good feel for the shifting tone of the movie. Secondly, without another human to play off, Rogen is frequently stiff. Or, to put it another way, he has zero chemistry with himself.

Aloha is Crowe's worst film-to-date, eclipsing "Elizabethtown" for that distinction and raising questions about whether the director has lost his touch (á là Rob Reiner).

This is the kind of movie that isn't even worth renting when it comes out on video because, with the possible exception of Michael Lerner and Omar Epps dancing to show tunes, you've seen it all before.

Comes across as a cheesy, fundamentally unsatisfying experience.

It's dull, childish, and uninspired.