Only the commitment from the always-solid Michael Ealy saves it from being one of the worst movies of the year, although just barely.

Sonic the Hedgehog is the worst kind of bad movie: it's too inoffensive to be hated and too wretched to be enjoyable.

And while I understand the anger that animates Awbrey’s script, anger doesn’t excuse its overall weak argumentation, not to mention its rampant plot holes.

What chafes is not so much the vulgarity (although it is as relentless as it is unfunny) but the movie’s intractable infatuation with it.

One True Loves is so frustratingly superficial that it fails to gain a modicum of sincerity.

This narcissistic quality is the film's true undoing.

The film proves to be just another retread of “spooky” Catholic-themed horror tropes without adding any insight or originality to the subgenre.

Christian readers and audiences are the base here, but it’s hard to imagine that this incarnation of the story will persuade anyone else to find the Lord unless they’re sitting in the theater praying for the dialogue or special effects to improve.

A film with this incendiary of a title needed to have more to say about being LGBT in a hostile environment.

Of course, all films, good or bad, are good or bad in their own way. I don’t know, though. All I See Is You seems extra-uniquely bad somehow.

It is all very terribly tiresome.

Most of the jokes in Tone-Deaf are variations on this gag: Harvey is a sentient fossil while Olive is an entitled brat. “Fine People On Both Sides” might have been a more apt title for this dud.

It offers surface level scares without the undercurrent of humanity needed to make them register.

CBGB ain't no party, it ain't no disco, it ain't no foolin' around. It also isn't authentic for a second, and it provides zero insight into the birth of the New York City punk scene in the 1970s.

It’s flimsy and forgettable without tension or investment to inspire.

It's ambitious, but with such hand-holding dramatic direction and a dreary visual palette that never creates terror out of random corn stalks, it couldn’t be more dull.

This is a glacially paced movie, filled with sickly picture postcard imagery that seems designed to put you to sleep.

There may one day be a great movie made about John Gotti. This one ain’t it.

Although presumably meant to be a modern-day version of the classic conspiracy thriller "The Conversation," Paranoia is so vapid that it plays like "Antitrust" sans the food allergies.

Warrior Queen is not the first movie about this subject to be helmed by a woman — “Manikarnika” was co-directed by star Kangana Ranaut — nor does it feature a stand-out performance like those other movies do (Ranaut is very good in “Manikarnika”). So while I suppose you could do worse than The Warrior Queen of Jhansi, I know you could do better.

This "Goodnight Mommy" replicates the basic story beats of the original but leaves out all of the tension, ambiguity, and nasty invention that made that earlier effort so effective in the first place.

What drew this cast to this film? One that boils its characters down to cardboard copies of real people whose only aim in life is traditional heterosexual, Christian, nuclear family units without any defying characteristics beyond their roles within those units.

It moves at a breakneck pace to get to its primary plot, but neglects the emotional backdrop required to really invest. Indulgence itself is the film’s greatest lack.

Here is a movie that wants to traffic in Coen Brothers-style nihilism yet lacks any of their storytelling skill.

While there's undeniable creativity in the film's visual and metaphorical aspects, there's a glaring neglect in the power needed for this film to find its own voice.

Besson’s extra-schlocky sensibilities seem ideally suited to his star, but he never gives Jones anything worth showing off.

In the end, the wafer-thin story amounts to the same nihilistic slop that Phillips served up in the first “Joker,” albeit remixed, genre-wise.

The Twin just treads water with B-movie style until it gets to the deep ending. And that’s where the whole thing drowns in its lack of ambition and execution.