Matt Donato

Quite simply, it’s impossible to “enjoy” a film that makes you feel even worse about the society we live in – especially when it’s so gobsmackingly unaware itself.

Pet Sematary: Bloodlines tastes a bit better than a nothingburger, but lacks seasoning that you’d hope for from something tied to Stephen King’s bibliography.

Hellboy feels editorially chopped to bits, tonally disjointed and created from clashing perspectives that make for the type of "dark, gritty" reboot that misunderstands why certain "dark, gritty" reboots end up working.

Obvious and sometimes aggravating no doubt, but still effective in raising blood pressure given a backstory so instilled with old-school cultism.

Tyler Perry never wants to scare you, and I assure you, he never will. Perry DOES want to make you laugh though, succeeding when jokes are bite-size and contained – but most scenes ramble on and on as Madea searches for multiple ways to land the same punchline.

Area 51 is everything that's wrong with not only found footage films, but also weak-minded sci-fi thrillers that think crazed talking heads and fuzzy shadows are scary enough.

Cabin Fever: Patient Zero certainly lives up to Eli Roth's gory standards, but individual enjoyment will hinge on one's love of schlocky B-Movie antics.

Brahms: The Boy II seems to want nothing to do with its original, which is an odd and detrimental outcome for your direct continuation of Brahms' ongoing story.

No lies; there are a handful of moments that strike a smile. That said, enjoyment is fleeting like the glee of biting into candy only to find, seconds later, that it's black licorice flavor.

It's a Frankenstein'ed monstrosity made of different horror approaches, except instead of bringing something to life, unrevivable ideas remain limp and useless.

Winchester is a familiar haunted house shuffle about an infinitely more interesting topic, but you must play with the hand you're dealt - win, lose or draw.

It’s not that Soisson created a terrible movie, but Cam2Cam is late to the party, brings absolutely nothing notable, and sits in the corner without making a peep.

Winnie-the-Pooh: Blood and Honey 2 takes the Terrifier 2 approach for a sequel with an absurd dedication to glorious slasher violence. It's inarguably better than the original, but that’s not saying all that much.

Bay's latest Transformer title is a daunting behemoth of a film and you can feel every ounce of dead weight, as sins of the past are committed without any signs of stopping.

This is one sluggish curse that wouldn't wake even Sleeping Beauty.

Like a flashlight that's running low on juice, you can feel the life oozing out of Nightlight with every faint flicker.

Many have done worse with similar setups, which isn't exactly a glowing recommendation - but hey, if you love Pierce Brosnan enough, you should be fine with I.T.

Borderlands is an abysmal waste of a beloved franchise that takes a kooky band of murderous misfits and drains the life out of their first adventure together. Eli Roth is no James Gunn, and this film has none of the lovable lunatics, awe-striking sci-fi visuals, and out-of-this-world storytelling of Gunn’s Guardians of the Galaxy trilogy.

History of Evil has something to say about the sad state of our nation–-and where it’s headed should we continue to regurgitate the same racist bile—it just doesn’t justify the means before its end.

Pierre Morel's uninspired work behind the camera goes hand in hand with the film’s nondescript title, dragging viewers through a moodless, toothless action hybrid that, at its best, plays as forgettably inept even with ammunition flying in all directions.

Five Nights at Freddy's 2 gives sequels, video game adaptations, and gateway horror movies a bad name.

Officer Downe is a vicious, violent bit of midnight madness that shoots first, and then shoots again for good measure. No need to ask questions.

You can’t fault an attempt to transform a viral sensation into the next bonkers realization of contemporary horror that exploits our ever-volatile online climate—but you can always fault a genre film that doesn’t do the chosen genre justice.

Categorizing Rings as "horror" would be a disservice to genre films, because at least the lowest of the low attempt a scare here or there.

Collateral Beauty is a Hallmark tear-jerker in the worst way, so out of tune with human emotion that it almost becomes satire.

Krazy House is "krazy" for all the wrong reasons.

Underworld: Blood Wars is the kind of mainstream horror I want to champion, but lackluster technical aspects nullify Kate Beckinsale's kick-ass performance.

Duchess is a flat and forgettable riff on Guy Ritchie classics that doesn't have an ounce of the wit, charm, or glorious mayhem.