This movie is the worst kind of offender: it thinks its funny and clever, but it is neither. The filmmakers have mistaken banality for wit and silliness for humor, and that doesn't begin to address how visually clunky this motion picture is.

The film has a nihilistic tone and its gallows humor may turn off more viewers than it seduces. Not since "Killer Joe" has a film exerted this mix of attraction and repulsion.

Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.

The only thing that differentiates it from far too many other uninspired rom-coms is that some of the material is funny and there is an occasional edge to the repartee. Beyond that, however, it's a cookie-cutter movie, and the cookies are pretty stale.

When it comes to comedy, Deck the Halls is remarkably tedious.

The "characters" vary from slightly annoying to unbearable - this is a film in which a viewer can be forgiven for rooting for the old video game icons to annihilate humanity. God help us if the best savior we can muster is Sandler.

This a neutered Garfield, one part tomcat and three parts pussy, recognizable only by his orange coat and love of lasagna. This feline's got a serious case of mange.

Beverly Hills Ninja is essentially a one-joke film.

Despite being one of the shortest theatrical releases of the year, clocking in at about 75 minutes (not counting end credits), The Happytime Murders feels overlong. That’s probably because the plot is nonsensical and pointless.

The problem here isn't as much the talent in front of the camera as it is the weak and hackneyed script. Vampire in Brooklyn is in need of an infusion (or should that be transfusion?) of originality and creativity -- two qualities that are blatantly absent.

What we get is a mediocre remake of a mediocre original – not exactly must-see cinema.

It's astounding how a movie this long could accomplish so little.

Did You Hear about the Morgans? Yes and, to be perfectly frank, I wish I had been spared the experience.

In a way, it's probably unfair to blame director Tamra Davis exclusively for this debacle. After all, she's toiling in the shadow of a would-be multi-media superstar, making her essentially a hired gun.

If ever a romantic comedy is going to fail at the box office, this is it. The movie isn't a guy's thing, a girl's thing, or anybody else's thing.

A catastrophe. This motion picture is an embarrassment to all involved.

In terms of storytelling, excitement, and overall entertainment value, Blacklight is a black hole.

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

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.

For better or worse (emphasis on the latter), it was unlike anything else on the multiplex landscape. In 2017, it’s becoming difficult for Bay to distinguish his brand of brain-dead spectacle from the brain-dead spectacle of many other sequels, prequels, and remakes.

This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.

The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.

A sloppy, poorly focused comedy.

Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.

It's crass, cruel, and borderline offensive, but the laughs that could redeem all of that are missing. Material as bad as the tripe that comprises Norbit can be endured only if there's a payoff. In this case, the point seems to be that some actors will do anything for a buck.

A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.

The result is sometimes enchanting, but, more often than not, it's frustrating, because the disparate elements of the plot never quite gel.

At its best, Terminal is a tasty, tangy parfait – a kaleidoscope of neon-tinged visuals and a twisty storyline with a tortured time line.