Under Lester’s aegis, Superman III loses its identity, never emerging as a true superhero adventure or a full-blown parody.

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.

A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.

An insult to anyone who has tragically and unexpectedly lost a loved-one in a similar manner.

Of course, the problem with Angels & Demons is that to get to the final 40 minutes, it's necessary to endure the first 90, and that would be defined as cruel and unusual punishment.

Despite a committed performance from lead actress Mackenzie Davis and a promising opening, the film quickly corkscrews into a death spiral of trite dialogue meant to obfuscate the lack of a coherent or meaningful narrative.

Demolition founders and its overt symbolism feels forced instead of organic. The production is uncomfortable and artificial, lacking internal logic and tonal consistency.

One could easily argue that, like many Ed Wood-type bad movies, The Faculty might be headed for the cult classic shelf in the video store. Unfortunately, it's not campy enough, and, worse, it seems to think it's being hip when it's just being dumb.

Although there are a few amusing instances when the film goes over-the-top with gore, those don’t save what’s ultimately a bad zombie apocalypse film with the undead replaced by robots.

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

It's hard to imagine anyone having the patience to sit through this movie except perhaps a handful of 11-year old boys seeking vicarious wish fulfillment.

Most of the laughs are unintentional, but the result is absurd and laughable.

Part music video, part bizarro psychological thriller, and part David Lynch-inspired descent into existential purgatory (I kept looking for Michael J. Anderson), the film’s weirdness is sometimes extreme enough to exert an almost hypnotic attraction. But, as good as he may be on stage and in a music studio, The Weeknd (a.k.a. Abel Tesfaye) is not a good actor.

The 2011 version of Conan the Barbarian looks cheap and feels rushed. The few good elements are dwarfed by a generic, nonsensical plot and shoddy storytelling.

A slow, meandering misfire of a movie.

Watching a misfire like Thunderbirds illustrates how impressive the "Spy Kids" movies are.

Want to see a movie where almost everything takes place on a bus? Try "Speed." Jeepers Creepers 2 isn't even worth a peek.

A bad movie. No amount of perfume sprayed on talk show audiences by Madonna and her husband can eliminate the stench of failure emanating from this motion picture.

Meet Joe Black has the dubious distinction of being the longest film to date of 1998. It is also one of the most tedious and bombastic.

The level of humor is sit-com-ish at best and the film's dramatic elements are bland and uninvolving.

Redundant and unnecessary.

The comedy is embarrassingly unfunny, the attempts at drama are badly acted and sometimes cringe-worthy, and the copious amounts of blood during the fight sequences fall short of being amusing while sabotaging any hope of taking them seriously.

Fans of the original will end up doing shot-by-shot comparisons. On every level, The Omen isn't just bad filmmaking, it's bad storytelling.

A fully disengaged brain is probably the key to enjoying Final Score. Employing even basic logic engenders a recognition of how truly stupid this screenplay is, especially when it comes to the resolution.

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.

It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.

The problem with Hostel Part II is the same flaw that afflicted Hostel: no tension.

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