The Strangers - Chapter 3 is the weakest entry in a flat and tedious trilogy.

A woeful interpretation of the Brontë classic, the star power of which dims the truly violent nature of this tragic story of love and vengeance.

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

The Strangers – Chapter 2 makes a couple of minor improvements on the first film, but it’s ultimately just as slapdash as its predecessor.

As a horror-comedy, Ick commits the sin of not being remotely haunting enough to make for a decent horror movie or anywhere near funny enough to be a good comedy.

In House on Eden, TikTok stars make found-footage horror that forgets the scares.

With no new ideas and little filmmaking panache, Don’t Log Off is a tedious attempt at computer screen horror that fails to make the most of its format.

Shadow Force is more like the idea of a movie than a movie proper, totally generic and completely inert.

Ayer and Stallone's script is messily realized and cornily directed – even its violent fight sequences fail to measure up to the impressive feats of action we're so used to seeing Statham serve up.

I Heart Willie is an overcomplicated, underdelivered, and all-around disappointing public domain slasher that can’t even get rudimentary filmmaking techniques right.

Jackie Chan has some fun playing himself in Panda Plan, but this family action movie falls flat.

The Michelle Yeoh fronted spin-off movie Section 31 is 100 minutes of generic schlock containing only trace elements of Star Trek.

The movie surrounds its mismatched stars with a whole lot of shockingly inconsistent special effects, preaching a sentimental yuletide message even as it looks like the height of soulless commercialization.

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.

“Random” aptly summarizes Harold and the Purple Crayon, with its patchy subplots, distracting amount of dialogue added after filming was wrapped, and geographic cluelessness.

The Strangers: Chapter 1 might freak you out if you aren’t old enough to remember The Strangers, but where its predecessor was subtle and interesting, Renny Harlin’s reboot chooses to be ridiculous and boring.

Tarot seems perpetually uncertain about whether it should play its thinly conceived premise for laughs, or actually pursue real scares. It winds up with neither, stumbling around in the dark and turning its small ensemble into a crude means of timekeeping for its surprisingly sluggish 90-minute runtime.

A weak script and boring performances make the Netflix fantasy film Damsel a real slog, torpedoing its attempt to be a subversive spin on classic adventure tales. Any sense of wonder or magic is diluted by cheap-looking CGI and its overly repetitive action sequences.

Expend4bles is a crushing disappointment that lacks any of the nostalgia, charisma, and charm that made the franchise appealing in the first place. Perhaps worst of all, this failed mission is boring. There is no pleasure taken in saying this once highly entertaining action franchise is well past its AARPrime. It would have been great to have rounded the series off with a fifth entry, but after this flat and uninspired effort, the franchise doesn’t deserve that last hoorah.

Hardcore genre fans might appreciate a few of the gorier moments, but they also might agree that a movie called Beaten to Death should not be as drearily maudlin as this.

The Flood is only tolerable with beers, friends, and low expectations.

The Disney+ documentary Stan Lee is a bland work of corporate propaganda that glosses over or outright ignores Marvel’s controversies

Sam Mendes assembles a creative dream-team for Empire of Light, but ends up with one of the most soulless prestige pictures in years.

Maneater proves that shark horror flicks need to be more than just a finned predator in any form and dead bodies — execution matters, especially when your animated shark looks this ugly.

Neither polished enough to be engaging drama, nor campy or exploitative enough to be effective horror, They/Them is a plodding, tensionless, and ultimately cowardly movie. Even if it had something worthwhile to say, it would have no idea how to say it.

Mother/Android tries to bring an emotional heart to the robot uprising genre, but it’s so laden with tropes and short on personality that it’s hard to care about the characters. What little novelty exists comes far too late in the long, slow movie.

There's Someone Inside Your House tries to make you think it's got a catchy, viable gimmick when in reality it's empty and unsatisfying.

Even if you loved Host, skip Dashcam, Rob Savage’s provocative but woefully shallow, ugly, and cruel follow-up.

Kate is a bland and unoriginal action movie that fails to make us care about its title character.

The Protégé is so bad that it feels like it has to be on purpose.

It’s astonishing that the helmer of The LEGO Batman Movie followed that vibrant, funny, and wildly entertaining offering with an action movie that is such an inane eyesore. And yet that turn still makes more sense than the plot of The Tomorrow War.

A sequel that hopes to court Saw fans and mainstream audiences alike, Spiral: From the Book of Saw is likely to alienate them both. It’s a hollow imitation of the series, unable to meet its most basic visual and narrative expectations. It’s also a bad film in general, which tries to tell a socially relevant story that it can’t seem to handle.

Cosmic Sin is an excruciating watch, top to bottom, featuring an absolute mess of camera work, scenes where actors don't interact with one another, and bottom barrel sci-fi leftovers.

Monster Hunter runs just over an hour and a half but feels about twice that long thanks to its listless, meandering plot devoid of a central focus or any meaningful world-building.

The psychological thriller-horror film Antebellum mishandles its sensitive & painful subject matter on multiple levels.

The pacing drags through action set-pieces left obscured by messy compositions and limp, over-stylized visual choices. New Orleans, as the film’s setting, is wasted while the film’s gritty concept fails to deliver the desired intensity.

The Iron Mask is a mess of cultural ideas that not even Jackie Chan or Arnold Schwarzenegger can make work.

Bad CGI takes away everything real about the relationship between man and dog in this inherently flawed, technically focused adaptation of Jack London’s age-old classic. Not even Harrison Ford, charming as he may be, can rescue this cynically made film from emotional bankruptcy.

The Turning damns itself with good ideas turned bad and a flat-out ugly execution. Its talented cast can’t save it from cheap scares, poorly edited set-pieces, and a bad twist that leaves a worse taste in your mouth.

The talents of Robert Downey Jr. and the all-star voice cast are wasted in the disastrous mess that is Dolittle.

Tim Story takes a classic movie franchise and drains it of all the action, sex and topicality that made it worth revisiting in the first place. Jackson, Roundtree and Usher have star power to spare but they’re asked to perform embarrassing and ignorant comedy routines, and the action is so unremarkable that the movie can’t even rely on that spectacle to compensate.

Director Robert Zemeckis hits a new artistic low with Welcome to Marwen, a film that mistakes schmaltz for substance and employs downright boring novelty animation in a hackneyed attempt to stir the emotions.

The imagery is creepy and the pacing is brisk, but the story is a faded carbon copy of other, better serial killer thrillers, and the new additions to the Hellraiser mythology rob the Cenobites of their deviant allure and otherworldly menace.

The scares are ridiculous, the plot makes no sense, and you’ll probably spend the whole running time wishing someone would spill a drink on their keyboard and erase the movie's hard drive.

As usual, Adam Sandler presents a mean-spirited comedy, but an unengaged cast and uninspired writing also make The Week Of a bore.

Although inspired by an interesting post-modern true crime story, and featuring an unexpectedly depressive performance from Jim Carrey, Dark Crimes is a dull, dark, depressing film with very little on its mind.

Game Over, Man! is a sloppy production, with screaming and bullying used as a placeholder for actual jokes. The characters are such enormous jerks that they probably don’t deserve to succeed, at anything, so it’s hard to want to follow their adventures through an entire film.

Death Wish takes the serious topic of vigilante violence and reduces it to melodramatic hero worship, and it’s not even particularly good at that. The action is forgettable and the plot barely holds together.

Red Sparrow is too disturbing and brutal to be popcorn entertainment, and by trying to make the uncomfortable storylines and interminable torture sequences palatable for the audience, it completely undermines its ability to operate as a serious drama.

Fifty Shades Freed concludes the trilogy as it began, with a romance you can’t believe in, endless montages of affluence, lousy dialogue, weak plotting, and - admittedly - a heck of a lot of sex.

One of the worst, most inexcusably poor movies Clint Eastwood has turned out in his career behind the camera and a possible contender for one of the worst films of the year. The 15:17 to Paris is so bad in so many ways that it’s impossible to recommend and that’s a crying shame.

Daddy’s Home 2 seems like just another cookie-cutter comedy, but its heart is in the wrong place. It’s mean-spirited and half-hearted, and more than that… it’s just not funny.

The Snowman is a detective vs. serial killer thriller devoid of any thrills.

My Little Pony: The Movie falls apart in the end because it resolves its conflict the way that conventional blockbusters do, and not in the way that My Little Pony does.

Leatherface is the worst Texas Chainsaw Massacre movie ever.

Killing Gunther is an astonishingly unfunny film considering the level of sheer comedic talent involved in it. Its lack of energy or character development keeps the film from ever finding its groove.

It’s a sincere, and sincerely inept motion picture, and that combination makes Friend Request the exact opposite of scary. It makes it unintentionally hilarious.

The Nut Job 2 is one of those rare examples in which the sequel is technically better than the original, but it’s still not a compliment.

There are a few occasionally effective scares along the way, but the cliched characters and downright idiotic motivations make 47 Meters Below sink before it even has the chance to swim.

Overall the biggest problem with What Just Happened is that its character studies and conflicts are so far inside the eye of Hollywood's celebrity-clad storm that its melancholy calm completely fails to interest anyone.

The only question Paul Schrader's murder mystery will leave you with is how long before you fall asleep?

You know you are in trouble when the back cover of the DVD boasts that "There'll be a lot of thrillin' before Steel himself can start chillin'."

The movie is frantic in fits and starts, but still remarkably tedious for such a slapstick comedy. It expends an astounding amount of time and energy setting up both its jokes and physical comedy routines, many of which are tired, watered-down iterations of material done better by Sellers.

Sliver is a godawful movie - not worth a wank, much less a watch.

There are a couple of entertaining action sequences, including the climactic battle between the cop and the Predator. The special effects, all shot on film, and the makeup effects, are top-notch for the time they appeared, so as a historical record the movie is interesting. But it just doesn't have enough meat to sate a hungry hunter.

Probably the only terrifying thing about this ludicrous excuse for a horror film – besides the fact that it's from the director of The Exorcist – is that Friedkin doesn't seem to realize it's a dreadful picture.

I'm not going to lie to you here, this movie is a steaming pile of you-know-what. The acting is horrendous, the story is the most cookie-cutter clone of every movie after Star Wars as you can get, and the effects are downright laughable. Even an easy effect such as a laser blast looks bad here.

So, to sum it up, Superman IV: The Quest For Peace is only slightly better than being trapped in a bear hug with Jan DeBont, and several steps below having an esoteric conversation with the Ghoulies.

If you're in the right mood and watching with others who can appreciate the art of a bad movie, A New Beginning is somewhat of a laugh riot.

The movie's inherent flaws and jumble of subplots and side characters barely make a scratch into the stereotypes and cookie-cutter story.

Maybe if it looked like Edwards cared about the movie it might have been something more. Even so, without Clouseau, what The Curse of the Pink Panther brings us is staged prop humor, and a number of indignities courtesy of the make-up and wardrobe departments.

The Return of The Pink Panther is so devoid of life that NASA wouldn't bother to send probes to investigate it.