Sacha Baron Cohen is a decently funny man who makes decently funny movies. He also made “The Brothers Grimsby.”

This movie was written by Cohen and Phil Johnston. Or rather, Cohen and Johnston wrote a declaration of war on good comedy everywhere and decided that it looked a little like a movie script. Nearly every joke falls flat on its face, and the comedy seems a lot more desperate and grasping than Cohen usually is capable of. And that is saying something.

The story follows two brothers, Sebastian (Peter Baynham) and Carl (Sacha Baron Cohen), who were inseparable in their childhood. After being adopted by different families, Sebastian becomes a James Bond-esque super spy, while Carl becomes a poor, idiotic football hooligan in northern England. Carl tracks down Sebastian 28 years after their separation, desperate to reunite with his beloved brother.

However, true to form in these kinds of films, he ruins his brother’s life through a series of really dumb, allegedly comedic antics. For some reason, Sebastian does not immediately realize that his brother is an annoying, dangerous and horrendously stupid obstacle in his life and brings him along in a quest to save the world from a stupid plot by stupid villains who could not matter less.

This is the kind of film with no redeeming qualities. It is not even “so-bad- it’s-good.” The movie suffers from the greatest sin a movie, especially a comedy, can commit: it is really boring. The jokes try to be edgy and offensive, with Cohen going back to the well that made him well- known in the first place, but for the most part the jokes fail to surprise, disgust or affect in any way. It is an 83-minute long film that is about 85 minutes too long.

Louis Leterrier “directed” this train-wreck, and this should not come as a surprise. After the crime against cinema that was “Clash of the Titans” in 2010, Leterrier made a big mistake: he demonstrated he had basic competence with “Now You See Me” in 2013, a movie that wasn’t that bad. Clearly, he felt like he had failed in his goal to be the least notable director in Hollywood, and had to take the worst project he could possibly get his hands on to reclaim his throne.

Cohen is just as culpable, however, of knowingly inflicting this film on the public. This is an actor who was once raising eyebrows and making headlines with “Borat,” who has spent the rest of his career trying to prove that that film’s success was a fluke. His character here is the least interesting, least funny and somehow least intelligent role. Cohen has clearly decided that he doesn’t want to do anything worthwhile with his life and career, and his fixation with the anal cavity is too juvenile for anyone old enough to see this movie to get a laugh out of.

The only people I can think of that would get a laugh out of this are infants who cannot understand spoken language, and who might accidentally laugh at something else going on in the theater when this movie is showing. The only redeeming quality that this film has is that it ends. Final score: 1/100.