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.