Not only is this take on human relations unoriginal, it's also sophomoric and blatantly untrue.

What I saw was a racially suspect disaster and another exploitation of Black pain for cheap, lazy thrills. Good Madam is a bad movie.

The cast's heroic exertions fail to save Flower from its own worst tendencies.

Films don't get much dreggier than No Escape, a dreadful and creepily exploitative would-be thriller, low-grade trash that it is too silly and stupid to be as offensive as it frequently comes close to being throughout.

This movie isn’t just tone-deaf, it’s ass backwards.

It doesn’t help that the plotting and tone of “Duchess” are so exaggeratedly stupid that the whole thing plays almost like a parody of Ritchie instead of an homage, one that goes on for what feels like forever – it’s overlong at nearly two hours, and I swear to you it feels twice as long.

Even by the low standards of this type of live-action, family friendly comedy, Show Dogs is especially lame. It’s actually kind of amazing that it’s getting a theatrical release at all.

The plot of Mad Women is ridiculous, unmotivated and "shocking," but that wouldn't be an issue at all if there had been some attempt at style, or mood, or a point of view.

Midnight in the Switchgrass is the type of crime thriller that’s so full of cliches that it becomes one big cliche itself.

The film may be completely worthless from an artistic standpoint but it certainly can’t be beat from a convenience standpoint.

Worst of all, nothing in The Final Project has any personality.

The only crime here is cinematic. It’s not often one sees a film as vile, ugly, and deeply incompetent as Olivier Megaton’s The Last Days of American Crime.

Night of the Hunted might have been a productively grim exercise if it didn’t feel like Alice’s dilemma wasn’t just a pretext for more ostensibly shocking talking points.

Films don't have to feature likable people to be successful. Far from it. But a film has to let us know why we want to watch these people. Like its lead character, In Stereo does not want to do the necessary work.

A Haunted House 2 tones down the gay jokes but ups the streak of animal cruelty.

There’s a lot of walking and talking, but this thing never really moves fast enough, not even during its action scenes.

America has long had its wildest forms of fantasy and comfort fueled by promises about things that are not of this world. Stuff we can’t confirm until we die. An afterlife, the pearly gates. After Death follows this tradition, with a cadre of talking heads who had incredibly traumatic physical instances that are bundled here as Near-Death Experiences that prove the existence of God and Heaven.

The most impressive thing about Pierre Morel’s film is how it takes two actors as generally likable as John Cena and Alison Brie and makes them such bland avatars for actual people that they fade into the dull background of action-comedy noise this “movie” tries to achieve.

A work so completely devoid of wit, style, intelligence or basic entertainment value that it makes that movie based on the Angry Birds app seem like a pure artistic statement by comparison.

For those who like their romance movies filled with unnecessary mysteries, murdered dogs, poached lobsters and the ghosts of deceased little girls, Dirt Music will fit the bill. All others need not apply, not even if you’re into the kind of Nicholas Sparks-style drama this movie shamelessly marinates in for an interminable 105 minutes.

The plot is completely forgettable and Story’s direction is atrocious here. He can’t balance the numerous attempts at unfunny comedy with the sudden outbursts of extreme gunplay. The action sequences lack any sense of excitement and only once do the stars of comedy and action align.

It’s tedious at best, almost unwatchable at worst.

The worst American film I've seen this year.

Bad movies are common. Shockingly bad movies, ones that are so incompetently conceived and executed as to force one to question how they got made, are less so, despite what Angry Film Twitter might have you believe. Safelight is a jaw-droppingly bad movie, a film that doesn’t have characters or a plot.

Not that anyone watching #Horror is likely to care in the slightest about who is doing the killing and who will survive.

The problem — and wow, it's a big one — is that none of these actors have material firm enough to shape into a bona fide performance.

Any degree of sleaze requires a little wit, and Yummy has none. As it struggles to be even mildly significant in the sprawling history of zombie stories, it eventually leaves viewers with a movie that's just plainly ugly.

Please take me away from this horrible movie.