Instead of offering engaging storytelling, it give us flashes, bangs, bad dialogue, and a mountain of fakery (a reminder that things that work in comic books don’t always translate to the silver screen). It’s sound and fury signifying nothing except to expose another chink in the once-impervious armor of the MCU.

It's a cloying, humorless motion picture whose only assets are the work of Jim Henson's Creature Shop and a couple of good one-liners by a pair of rodents.

This film makes the common mistake of showing in great detail things that would be more terrifying if left to the imagination. As a result, the only thing disturbing about The Haunting is how discouraging the end product is.

The way in which I Feel Pretty presents its message is one of the film’s biggest problems. If there’s something less subtle than a sledgehammer, it applies here.

The movie mandates complete gullibility and vacuous attention in order to work on any level.

The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.

For a strangely-titled, female-oriented drama about mothers and daughters bonding, try "The Joy Luck Club" and leave Ya-Ya as a phrase uttered by one-year olds who have yet to learn how to talk.

Schumacher doesn't leave an imprint on the film -- it could be the work of any second-rate director.

Lockout is painful. Not painful in the way Uwe Boll or "Sex and the City" movies are painful. But painful enough that I kept waiting for Nicolas Cage to show up. Or Katherine Heigl. Or, god forbid, both.

Nothing short of a disaster -– easily one of the worst movies of the year.

Misses the mark.

This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.

One doesn't expect intelligent scripting or deep characterization from Roland Emmerich, but the film's lack of energy, poor special effects, and monotonous pacing lead to an inescapable conclusion: 10,000 B.C. isn't only brain-dead, it's COMPLETELY dead. It's inert and without a heartbeat.

A tedious, incoherent bore.

The movie has little to recommend it and more than a few things to encourage those who pursue quality cinema to stay away.

Even for those who have an orgasmic reaction to kaiju confrontations, far too little of the film is devoted to them and the overreliance on CGI leeches away the immediacy and awe associated with the spectacle. This isn’t as bad as the 1998 Godzilla misfire but it’s perilously close.

All-in-all, what we have here is classic Seagal. And that means, for anyone who isn't an admitted fan, an uninspired outing.

Boring and repetitive.

Regardless of whether you're a fan of the 1950s series or not, it's doubtful you'll get more than a few halfhearted chuckles out of this lifeless retread.

The screenplay is so incredibly dumb that it’s never possible to suspend one’s disbelief sufficiently for the movie’s high points to offer more than a fleeting moment’s satisfaction.

I wonder if Gamer might make a good game; it certainly doesn't make a good movie.

This isn't just typical, unchallenging Hollywood drek -- it's typical, unchallenging Hollywood drek made by people who don't care, for people who don't care.

Speed 2 can be numbered among the worst second chapters ever made.

Is this a movie or a feature-length advertisement for Qwest? We're not just talking one product placement; this brand name is nearly omnipresent.

Everything in G.I. Joe: Retaliation is perfunctory - technically proficient but soulless. It's not exciting. It's boring.

John Tucker Must Die is toothless. The jokes are obvious and unfunny, the storyline goes nowhere that's interesting or unexpected, and the only chemistry happens in a science lab.

Devil will do little to dispel the growing belief that Shyamalan is a one-trick pony whose horse has keeled over. The laughter during the trailer was sadly prescient; the film is a joke.

The screenplay fails to provide any reason to care about the characters or their circumstances, so we sit in a theater seat, trying not to be hypnotized by all the flashes of light in the muddled brown-and-white environment or lulled to sleep by the inane babbling that passes for dialogue.