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

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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