There's an appeal here, for sure, but if you're not 8 years old you may never figure it out.

Williamson's script, which he also directed, is spiteful and shallow.

Dispiriting mess. The movie is bad in a boring way: tepidly paced, disjointed and lacking any emotional hook.

This film never had any business being stretched into a feature, much less one running 106 minutes. At that length, Biosphere is soporific and repetitive and puts viewers in the position of always being two steps ahead of it.

Setting out to make a cult movie is almost as strange as setting out to make a camp movie. Or setting out to make a movie that's so bad it's good. If you know you're doing it, you're not really doing it.

A handful of acting moments aside, Being Flynn is a drama without much in the way of rewards.

Take the worst things about independent movies - the wallowing in an unpleasantness, the narrative unsteadiness, the next-to-no story. Then combine those with a hefty dose of light comedy. The result: the big, fat tonal mess that is Happy Tears, a charmless film about two sisters who come together to care for their demented father.

The tone of “The Exorcism” is deadly serious, but one wonders if the premise might have worked better as a scary comedy rather than as a scary drama.

By the end, I was adding my own internal "Deadwood"-style profanities to McShane's clean dialogue. "For the sake of the (God-@#$%) kingdom, cut it (the @#$%) down!" Movies about mile-high beanstalks shouldn't require additional audience imagination.

In the end, what we have here is a Tarzan movie made by people who don’t understand the appeal of Tarzan. He’s about joy and abandon and the fantasy of living in harmony with creation. He’s not about the struggle in the Congo.

There’s really nothing else to say about Gold, beyond one general point: It is illustrative of what’s particularly fun about being a critic in January. For most of the year, bad movies have the same general ailments. But in January, they have exotic diseases. They have things wrong with them that you’ve never seen before.

The effort is undermined with crass humor, mugging and slapstick.

It has a weak story that provides no tension, feeling or interest. Its opening action sequence is just a long, drawn-out dud, filmed by director John Moore in the worst modern style of quick cuts and smeary, jittery photography.

A convoluted mess, but there have been worse.

As weird as it sounds.

To put it bluntly, Wiig and McCarthy are funny, but Kate McKinnon and Leslie Jones aren’t. McKinnon, in particular, is shockingly out of place, and she helps drag down the movie.

Although the movie doesn't turn the Zodiac saga into a slasher film, it has the look of a straight-to-video movie, or at best a Project Greenlight production.

Brutally dumb canine comedy.

Despite good reviews at this year's Sundance Film Festival, this is the kind of squishy lost cause that gives liberal guilt a bad name.

Higher Learning says nothing new or challenging and is too naive to inspire controversy.

The thriller is populated by the usual dimwits who stumble into horrific situations and don't have the good sense to leave, and it tries to pass off some of the sorriest excuses for zombies ever seen.

With almost nothing else going for it, the sequel will likely be a disappointment to everyone except 10-year-old barf joke aficionados and a few stoned adults.

A bigger mess than the gas crisis.

The best thing that can be said for “Kinds of Kindness” is that it’s never quite boring, despite being 164-minutes long and lacking much of a story.

The picture gives us two protagonists and sets up a situation in which only one of them can have a decent life. Then, having devised this sour souffle, the screenwriters find no adjustment to make it palatable. The resolution is flip, at best.

A childish, empty effort.

Filth & Wisdom is dead in the water, an excruciating bore even at a compact 84 minutes.

With no subtitles to explain what's going on in Yu-Gi- Oh!: The Movie, there's no reason for adults to come anywhere near it.