With its molasses pacing and bland direction, this film is an absolutely forgettable dud.

It's rare that a film is this devoid of characterization, rarer still that a serial killer horror is this lacking in tension.

Scream 7 injects nostalgia and self-referentiality like a weak drug, a stash of weed purchased so long ago it has gone so stale it crumbles to the touch.

Sykes brings what she can to the proceedings, but there's only so much she can do to make Undercard even slightly distinctive.

The creepy imagery in the first act improperly sells just how dull the movie ultimately ends up being for the majority of its overlong runtime, and while its snail-like pacing and lackluster acting fail to make its psychological themes land with anything more than a mute thud.

The only thing Harlin has done here is to remove the element of surprise. Without that, the film is nothing, nothing at all.

None of it works. I'll cut to the quick: The Moment is an unmitigated disaster.

Ultimately, there are few filmmakers whose work I admire more for its sophistication and undeniable humanity than that of Brooks, but this film isn’t just bad — it’s unbearable.

It hits the familiar beats that many find comforting, it has an undeniably adoring dog front and center for much of its runtime, and has a well-meaning enough outcome to its plot. But for those looking for something that doesn't quite literally skate the surface of its premise and characters, this is definitely not the film for you.

The dialogue is clunky and almost universally awkwardly performed, much more so than in the first movie. The tonal mix of horror and silliness feels more jarring than complementary, and the filmmaking, which could accomplish so much just by sticking to genre fundamentals, is often egregiously sedate.

The film is woeful from top to bottom.

Not to put too fine a point on it, but Peas and Carrots is amateur on almost every front, and whatever it has to say about finding one's proper role in society is hidden inside some utterly confounding plot devices.

Nearly everything Ritchson and James do in the name of comedy is forced and untethered from reality. Then again, so is the movie, so at least it's consistent.

Bull Run is so devoid of substance that much of it is taped together with ironic usage of stock photos and archival footage, as if to constantly point at the vapidity of its own enterprise.

The revelations of the film, once they come, are admittedly disturbing. But the route to get there is paved with blandness and awkward acting.

With Nuremberg, James Vanderbilt is less interested in showing Hermann Göring (Russell Crowe) as "normal," as he is in accentuating Hitler's right-hand man as a charming charlatan. But this intentionality is miscalculated, and the film, bloated as it is with jarring tonal changes and thickly laid-on sentimentality, tilts so far into humanizing Nazis that it seems, at times, to apologize for the behavior of the high command.

The chamber drama of a rich family in collapse is only successful as much as the context within which it exists, and, because that context is as slippery as it is, Anniversary just feels toothless.

Perhaps the lesson of the film is that regret is a waste of emotional bandwidth, but regret is easy to feel when the story is a fumbled as this.

What results is an utter slog from start to finish.

The twist is sufficiently tragic, but it is also mawkish. The structure is misguided.

Petsch and Scipio are both extremely attractive and breezy performers, but, the film is as sputtery as an old car on the fritz, failing to update its cinematic lineage in any conceivably positive way.

Bigelow's film, disconnected as it is from the very people this type of situation would actually harm, is a futile salute towards hope, which unfairly assumes powerful people's positive intentions, underscored here by largely cookie-cutter characters and a lack of complexity.

In the end, Waltzing with Brando will leave you with more questions about the man than you probably had going into it, which would be interesting enough if Fishman leaned harder into the murky waters of this particular celebrity's mythology. But, like the land upon which Judge tries to build an island escape, the film is in a constant state of drowning under its own ambition.

Unlike the comedy, Ungar does know how to shoot action decently well, and it's in those scenes when the film momentarily comes alive.

By the time the film turns off autopilot, it's far too late, and the ending lands with the dull thud of a long-rotted body wrapped in an old rug.

Trust is a disappointing and lackluster attempt at exploring a tense and important issue.

Year of the Fox is a movie far too marred by its narrative missteps to fully embrace its better parts. The dialogue becomes increasingly predictable and mind-numbing, which makes for a very misguided effort.

Red Sonja falls short of expectations from beginning to end; it only succeeds in following in the footsteps of the 1985 flop.

Even with a literary atmosphere and a steamy romance, the fact that My Oxford Year blatantly feels comfortable exploding emotional minefields for narratively unclear reasons clouds its potential success as a basic but inoffensive rom-com.

While she may not have been given the best material to work with, Meg Clarke proves to be one of the few bright points in The Banished as Grace.

Abraham’s Boys wants to drive home a message about violent legacies and the never-ending cycle of generational trauma, but the payoff feels incongruous with the setup, the final kill feels unearned, and the B-movie execution makes it unintentionally funny.

While the story at the center of it all proves intriguing, the execution dulls the narrative to the point of ruin.

We’re only halfway through the year, but I wouldn’t be surprised if Bride Hard ends up being the worst movie of 2025.

I was mildly intrigued by the plot progression in The Other, but it did not redeem itself from a thematic perspective.

Unfortunately, the filmmaker's style lacks the same panache or intrigue as many other creature feature directors before him, which could partly be attributed to Gator Lake being his feature directorial debut, but also could just be that the movie's modest budget prevented some of his grander ambitions from coming to fruition.

With The Ruse , writer-director Stevan Mena aims to go for a more grounded and slow-burning thriller, but unfortunately, it lacks any kind of burn or tension.

Given The Furst Brothers are clearly aiming for an over-the-top and ridiculous tone, I'm sure the awful CGI was part of their vision, but rather than feel like a tongue-in-cheek genre film, it instead makes the movie one of the best it's-so-bad-it's-good horror films I've seen in a long time.

The Trouble with Jessica's cast still can't overcome just how unlikable their characters are.

Though the actors have little to work with, they're a game ensemble, potentially making them the only redeeming quality of Hell of a Summer​​​​​​.

While I am all for a genre-blended film, I found the movie's tonal clashes to be so extreme that it was hard to stay aligned with any character's internal experience.

We're dumped into the action, and the action doesn't even have the courtesy to be good.

This story alone is gripping enough to warrant further study, but this documentary has very little in the way of actually exploring the case so much as it focuses on the conspiracies surrounding it.

The script may be the film's rotten foundation, but no one element can take all the blame for its emptiness.

The film's dialogue is insincere and cookie-cutter, failing to deliver naturalistic character growth. And surmounting its inefficacy at simulating humanity is perhaps Old Guy's most glaring action movie sin: it's truly boring.

The result is an incoherent, messy, and disappointing movie.

It could've made for a sharp comedy, but there's an ickiness that overwhelms the whole movie.

From start to finish, the movie feels like a half-baked idea which never had time to be refined or improved.

Alarum fails on all counts, and the few positives aren't successful in bringing the movie out of the gutter.

This shocking horror comedy is a train wreck that you can’t look away from. Whether the filmmakers intended this to be the case is a question on its own, but I’m sure Krazy House will acquire a following.

For fans of Murray's career, The Merry Gentlemen gives the actor another chance to shine in an otherwise unremarkable movie.

There's lots of bells and whistles, but in attempting to deconstruct and reconstruct Christmas spirit there's just never enough charm to carry the spell.

It’s a film so soulless I questioned the point of it.

The film is unable to sustain any tension and is seemingly afraid of its own potential for violence, despite gesturing toward the creative weapon choice that is practically a bar for entry into the slasher genre.

Terrifier 3 has a real lack of tension that all the sawed-off limbs in the world can't Frankenstein together.

I don’t go out of my way to drag films, as there is so much time and effort put into every project, and a film of this caliber was likely made with the best of intentions. But intending to craft a pitch-black dark crime comedy is different from actually executing one well. And Riff Raff just doesn't land.

The surface-level script and refusal to commit to any character's development make the story and characters shadows of what they could have been.

The rom-com idea was solid, strong actors like Hale delivered, and chemistry between the leads was there. This can go a decent part of the way, but without more character development, direction, and a clear focus for the film, it's hard to offer much in terms of praise.

If you've ever wondered what a remake of PrettyWoman written and directed by Guy Ritchie would look like, then Duchess (2024) is the film for you.

The saving grace of the film all comes down to Jay Will’s breakout performance. Rob Peace simply does not work without him. Will’s charisma and dedication towards showcasing the light that Rob was offers a comfort to me that this film as a whole failed to provide.

Lumina is an impressively incoherent film.

This zombie horror that sees Lundgren’s tough mercenary lead a crack team of gamers into a zombie-ridden city is nowhere near as funny as that description may sound, playing things disappointingly straight and making for one of the actor’s more forgettable outings.

Despite the movie's obvious problems, it's hard to deny that Emma Roberts and Tom Hopper do their best to make Space Cadet a generally charming ride to watch.

If the lazy scripting and oversaturation of identical scenes were not enough, Blackwater Lane also lacks any sense of novelty.

When it comes to horror, sometimes originality isn't necessary; what's key are the scares, and how everything unfolds. Unfortunately, Tarot falls flat in the former category, and the latter isn't particularly engaging.

Larry Fessenden's Blackout is a frustrating bouillabaisse of two completely different movies that happen to be playing at the same time.

While Hurley’s skill as a filmmaker was in question for the majority of the movie’s runtime, there are around 10 minutes near the end that hint that, with some work, he could hone his skills further.

Caleb Landry Jones, who plays the hopeful hero, is brilliant, but the rest of the cast dulls his performance and turns something with promise hollow.

Damsel is a lifeless experience. The filmmakers have assembled all the constituent parts of an interesting fantasy adventure film — genre-bending premise, a starry cast, locations with character, and some creative creature design — but the connective tissue is paper-thin.

The film refuses to linger in these quieter, well-acted Ritchson scenes, often in favor of a scene with Sharon. Swank is not necessarily bad in the role, but the film works too hard, and to minimal avail, to manipulate us into sympathy for her overbearing personality.

It’s a difficult film to take seriously, as it buries its potential in absurd drama, dialogue, and sequencing.

Its endless, unfunny humor is tiresome and obnoxious, the commentary is short-lived, and jokes related to Sam’s unpreparedness are repetitive.

Madame Web is boring, unimaginative and dated, despite being one of very few superhero movies centering on female superheroes. All in all, Madame Web is a superhero movie you can absolutely skip.

The Shift is a Hallmark movie at best and will do nothing for those who are uninterested in faith-based cinema. As a work of science fiction, it does little to make the audience think.

Unlike prior "house party" movies, Project X says nothing meaningful about its subject matter, and instead paints teens as an unlikeable and, worse yet, reckless bunch of automatons that would risk injury to themselves as well as others just for a passing glance from a pretty girl.

Poolman is an unfunny spoof of neo-noir thrillers with hazy direction, even messier storytelling, and unbearable dialogue.

The heart of the problem is The Monkey King makes its central character, whose story has been told and retold for hundreds of years, uninteresting. Without that spine to hold it together, everything collapses.

Fangs Out is not great and hardly promising, but there is an admirable quality to it that you can’t help but embrace.

Assassin Club has the benefit of starring a relatively well-known actor, but even Golding can't save this movie from its mediocrity. Any hope Assassin Club had of being good is squandered within the first ten minutes.

Johnny & Clyde is a chaotic, unamusing mess.

Paint could’ve been funny; it could’ve had more heart; it could have even been more fun and ridiculous, with something interesting to say. But it's a mess from start to finish.

On a Wing and a Prayer will certainly find its audience and pays respect to a man who did the impossible, but as a viewing experience, it misses the mark at every turn.

Despite a stellar cast, Marlowe doesn’t rise to the occasion, stumbling along without ever finding its footing.

Despite a committed and great performance from Jennifer Connelly, the themes of co-dependency and toxicity within mother/daughter relationships were simply not executed well. It goes without saying, but this is one of the biggest disappointments in recent memory.

There is too much history — both in terms of the characters and the mythology — for newcomers to truly appreciate the events of the film. But it's unlikely to fully satisfy even the diehard fans either, even if there's some wicked enjoyment to be had seeing the Teen Wolf characters finally get to swear.

Something from Tiffany’s lacks a good enough script and the chemistry it needs to make anyone want to sit through another holiday rom-com.

Taurus plays like a personal project, but that doesn’t make it good. However, Baker should take pride in knowing he has a future in acting; he just needs to pick better projects.

This is a terribly unfunny venture, which fails at the film’s only job.

The film tends to bite off more than it can chew, and the end result is a colossal disappointment.

Unfortunately, the film lacks any style, substance, or suspense despite a killer performance from Tom Pelphrey.

Spirit Halloween: The Movie is a missed opportunity at best and totally unnecessary at worst.

The Curse of Bridge Hollow hopes to hide a clunky, unfunny script behind the veneer of a solid filmmaking apparatus, but it manages to test one's patience even at a merciful 89 minutes of runtime.

Sadly, Dig has little to offer audiences other than its magnificent soundtrack.

Wire Room is a crooked cop action drama that plays out like a low-budget, straight-to-VHS schlock from decades past

Summering is a slow and ultimately boring mystery that does little to portray youth in a meaningful way.

With nothing of substance to chew on, the only thing a (committed) viewer can do is strap in for the 90-minute runtime and wait to hear a tune they like - and hope that, once it's over, they emerge earworm-free.

The film is unsure if wants to be a portrait of a man on the verge, a slasher, or a psychological chamber piece, and it ultimately fails to live up to any of these ideas.

Most of all, the movie reaffirms the fact that we still don’t have the iconic, big-budget Hart movie his career has been working towards.

The only real saving grace is the cast, who end up guinea pigs in a test of how difficult it is to overcome underbaked material.