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.

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.

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.

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.

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.

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 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.

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

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

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

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.

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.

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.

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.

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

Michael, or Bohemian Jacksody, is a film of listlessness and inhumanity that can’t help but suck the energy out of the room. No matter where you come down on Jackson as a person, this film is entirely the opposite of what he was, both as an iconic performer and a controversial tabloid figure. Who would have thought that such a carefully controlled, estate-permitted biopic might actually do more damage to an artist’s legacy by making him so uninteresting?

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

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 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.

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.

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

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.

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.

Roger Moore's second outing as 007 does not do the subject matter justice. Or the character. Or any paying member of the audience.

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.

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.