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.

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.

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

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

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 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.

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

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?

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.

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.

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

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.

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

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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

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.

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.

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