The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.

There are a lot of other bad things I could talk about -- the overblown score, the silly portrayal of the police, the bad dialogue, the poor lighting in almost every scene -- but I think it's pretty clear how few virtues Striking Distance has. In fact, one of the movie's few positive aspects is that it's too loud to fall asleep during, which is surely what most people would do if their attention was based on story and character.

This unexceptional and uninteresting story of a self-pitying borderline-personality teenager verges on being unwatchable as a result of McDonald's decision to bombard the audience with extraneous images in lieu of telling the story.

At best, this is a late-night time-waster to be watched on Prime Video when all better options have been exhausted.

A misfire in far too many meaningful aspects, The Book Thief is so bad that it's tough to decide whether it's better used as a sleep aid or watched while under the influence as an object of derision.

The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.

Stay away from Birth not because of what goes on (or doesn't) in a bathtub, but because this is not a very good movie.

The Thirteenth Floor shows what can happen when film makers fail to recognize that they need more than a concept to establish a full-length motion picture.

Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.

It's either a failed experiment or a movie that was rushed through production so Allen could fulfill his one project-per-year commitment.

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 movie is frequently incomprehensible and, on those occasions when it makes sense, the viewer may wish it didn’t.

This is a bad film - at times it’s nigh unwatchable - but that doesn’t matter in the grand scheme of things.

Sanders, however, has taken a deep dive into the world of pretentious horror, where every killing has to be as stylized as it is gory. His characters have no humanity, his romance has no sizzle, and the whole thing turns into a slog where style overwhelms substance to such a degree that there’s too little left of the latter to matter.

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.

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.

Take away the film's attitude, and you're left with "Son of Van Helsing."

Wild Wild West isn't just a bad adaptation of a TV series; it's a bad film.

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.

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.

Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.

Undemanding movie-goers on the lookout for a movie featuring pretty people in a vapid rom-com that might find this movie to their liking. For everyone else, this is decidedly not “all that.”

The movie is a pointless retread with nothing to recommend it beyond McShane’s commanding presence.

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.

"The Hangover" was high octane fun. "The Hangover Part II," despite its repetitive nature, was enjoyable. The Hangover Part III is some kind of hideous experiment in mass consumer torture.

Where's John McClane when you need him? If nothing else, the main character from the two Die Hard films would have livened up proceedings in this pathetically inept psychological thriller.

Orphan is being marketed as a horror movie, but that's misdirection. It's more of a standard thriller in the "evil amongst us" mode, about a group of people who inadvertently admit a psychopath into their midst.

I didn’t laugh once and the movie’s stylized and satirical tone defused any connection I might have felt for the characters. Perhaps if the proceedings hadn’t dragged on well past the two-hour mark, it wouldn’t have seemed like such a chore to sit through.