It has all the elements one would expect from a "so bad it's good" feature: cheesy dialogue, a script that could have been written by two chimpanzees, acting that would make a high school drama teacher cringe, and lots of tight female bodies poured into tiny bikinis. Despite all of that, however, I found Into the Blue to be a real trial.

Apparently, someone turned up the heat because The Snowman is a sloppy mess.

95 minutes of unrelieved tedium.

Watching Imagine That, I was beset by a feeling of intense depression. Is this what Eddie Murphy has become?

The waterlogged end product is an example of lazy writing and direction with the vague hope that perhaps the involvement of Dwayne “The Rock” Johnson will attract viewers.

There's just one problem: it's not scary and it's not funny...Idle Hands transcends that mundane level of badness into the realm of gross ineptitude.

Aside from Snipes' well-tuned performance and a few clever scenes detailing superstar marketing, this picture is a veritable wasteland. Even watching the horror show that the real Giants have become during the 1996 season is more fun than this. The advertising slogan may be "fear strikes soon", but, when it comes to The Fan, fear, like the movie, strikes out.

This is another one of those pointless action superhero movies that unfolds like a video game in which the viewer is unable to participate.

Unless you derive pleasure from watching Lohan being tortured, there's no reason to subject yourself to this movie. Besides, if that's your goal, all you have to do is turn on tabloid TV. There's Lindsay's living hell of a life, being broadcast 24/7.

Could it be argued that the movie is “so bad that it’s good”? I suppose, especially if you’re a connoisseur of cinematic guano. For me, Death Race is merely bad. I wouldn’t worry about finding a way to append the word “good” to anything associated with this film.

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.

It has been a long time since I came as close to walking out of a movie as I did with Confessions of a Shopaholic. Not only did I find this production to be irritating, unfunny, and lacking in entertainment value, but I found its underlying slavishness to a culture of consumption to be morally repugnant.

Even Charles Barkley's big-screen acting debut can't camouflage a wandering script built on formulas and cliches. As for John Travolta and Kirstie Alley, suffice it to say that their pets steal every scene, and, when the dogs aren't present, the furniture takes the honor. Look Who's Talking Now has about as much appeal as the pile that Rocks leaves on the back seat of James' cab.

This movie is bad from top to bottom, front to back, and start to finish.

If there's one thing this motion picture proves, it's that "The Naked Gun 33 1/3" wasn't the final insult from a founding ZAZ (Zucker/Abrams/Zucker) member; this is.

It's not scary, it's not chilling, and it's not interesting.

The gore is so badly done that it's borderline comical and poor lighting passes for "atmosphere."

Trap is a house of cards built on a bed of sand in the middle of a hurricane. It flies apart and collapses almost immediately and the various plot threads are so thoroughly ripped to shreds that there’s nothing left at the end but the wreckage of a movie and the recognition that 105 precious minutes have been stolen.

Life with Mikey is a subpar piece of film making for which the producers' intentions are all-too- apparent. In slapping together a formula-riddled picture, they hope to cash in on the early-summer family-oriented audience (those that are questing for something to see before the re-release of Snow White and the Seven Dwarves). Considering the creative limitations of this project, such blatant marketing is patently offensive. Those with a yen to see something for the whole family can find hundreds of better offerings on video, and fans of Michael J. Fox would do better to peruse old episodes of Family Ties. At least back then, he appeared to care about what he was doing.

White Noise has nothing. You'll have a better time staying home, tuning your TV to a station that doesn't carry a local signal, and staring.

In truth, this feels more like a half-baked comedy sketch stretched far beyond its breaking point—until even the last traces of humor have leaked out like the gooey innards of a Stretch Armstrong toy that’s been tortured by a sadistic kid.

Maybe approaching The Unborn as horror is the wrong approach. Perhaps this should be seen as a comedy. It is quite possibly the most egregiously laughable high-profile supernatural tale since Roman Polanski and Johnny Depp impaled themselves on "The Ninth Gate."

With its canned, predictable action sequences and mirthless attempts at humor, it displays an ineptitude that is frankly shocking considering the talent involved.

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

Tracey Ullman is a bright spot in an otherwise sordid, murky production.

The Layover is an appalling movie.

Regardless of the reason, Borderlands arrives as a legitimate contender not only for worst film of 2024 but one of the worst videogame movies ever released.

Love Me isn’t bad in the sense that it is poorly assembled or incompetently shot. On a craft and technical level, it’s above average. But the narrative is incoherent and the philosophical meanderings lack depth and intelligence.