Countdown pretty much fails on every level that a horror film possibly can — the characters are uninteresting dullards, the story is idiotic, and the scares are nonexistent.

Alas, everything is wrong with Superintelligence, beginning with the misbegotten premise of Steve Mallory’s script.

Elizabeth Allen’s generically titled thriller, Careful What You Wish For, plays like a painfully stilted high school production of “Fatal Attraction.”

The screenplay is painfully incompetent, the comedy is puerile, and the direction limps along like a set of disconnected skits, with no sense of pacing or rhythm. It is genuinely painful to see some of the most talented and appealing actors in Hollywood, including Justin Long himself, wasted in a movie that shows such a lack of respect for the audience.

Shrill, frantic, and hideous to look at, “Gracie & Pedro: Pets to the Rescue” isn’t just one of the worst animated movies of the year—it’s one of the worst movies of the year, period.

The movie is an ambitious experiment, but a long and tedious one, and our revels end long before Mazursky's.

It’s painful to watch. Not because no one cares about Adam’s heartache. But because the movie is boring, trite, sexist tripe that wants to make the viewer empathize with a guy who’s actually pretty aggressive in his pursuit of loserdom.

I removed my eyeballs from my head as soon as I got back from Alice Through the Looking Glass and cleaned them in a sink. I could have left them in and only cleaned the fronts, but I didn't want to take any chances.

William Brent Bell’s Separation is an atrocious piece of work, a movie that fails as both a domestic drama and as a horror flick, and really feels like the kind of thing that everyone involved is going to have to discuss in therapy someday to get to the bottom of why it was even made in the first place.

There are bad movies, there are really bad movies, and then there’s “Lumina,” a film so breathtaking in its overall incompetence that one starts to wonder if it’s not intentionally so in the hope of being the next “The Room” or “Birdemic.”

Once you get past the horrifically casual racist stereotypes, non-existent character depth, incoherent plotting, clichéd dialogue, and baffling editing, what’s perhaps most insulting is how numbingly boring the whole affair ended up. If you’re going to make a movie this lazily, at least try to make it fun!

This is the horror movie equivalent of canned Spam: you could have it so much better if you tried harder (or at all).

Let’s just say I have been to wakes that have elicited more laughs.

A trite, and slavishly inoffensive romantic drama.

Corporate Retreat might be the worst movie of the year, not because it’s unpleasant, cliched, and gory, too, but because its filmmakers seem to have as little regard for their audience as they do for their craft.

The Forgiven consequently only succeeds as an ugly, empty-headed provocation.

The only thing preventing me from dubbing this one of the dumbest movies of any type that I have ever seen in my life is the fact that I am not entirely certain that something as shabbily constructed and artistically bankrupt as this actually qualifies as a movie in the first place.

Little more than an extended version of the kind of political screeds that can be found online with only a minimum of effort, this is just a terrible movie.

A cynical, and consistently unpleasant film with creators who try very, very hard to push as many of your buttons as they can.

If this film were a person, it would tell you it had a Black friend and voted for Obama twice. That’s how insultingly simplistic it is about race.

The film's nature as a work of propaganda would be more deplorable—or at least eyeroll-inducing—if it weren't so poorly blocked, scripted, performed, and choreographed. There is no joy in Seagal-ville, dear rubber-neckers, because pretty much everybody here has struck out.

It is another advocacy film without answers, pretending that the mere act of bringing awareness to a problem solves it.

The only thing holding me back from officially naming it the worst film ever is that it's so slapdash in its construction and inept in its execution that I am not entirely sure it should count as a film.

The action in Funhouse is consistently cheap and generally silly. That’s sort of the movie’s point, but it’s also sort of hard to care when everything else is so tacky.

DriverX is worse than just one of the year’s most vapid movies, it’s an out-and-out nightmare of late-stage capitalism.

It’s violence for cowardly voyeurs who want to make the people who annoy them just shut up in a way that’s silent, sterile, and thoroughly humiliating to the victim.

If Retaliation were a friend, you’d eventually avoid them.

The writing-directing team of Jason Friedberg and Aaron Seltzer now take aim at "The Hunger Games" with their latest effort, The Starving Games, and the fact that the title, as witless and uninspired as it may be, constitutes its humorous high-water mark should indicate just how ineptly they handle things this time around.