From the opening scene, 'Flight Risk's dreary tedium makes a mission out of turning viewers into flight risks in their own right.

Falling despairingly into the franchise trap of meta-irony, Sonic the Hedgehog 3 will be remembered as an attempt of self-sabotage.

An artistically and emotionally hollow shell of a superhero film, 'Kraven the Hunter' leaves little for Sony to take pride in.

Boarding the long-steamless train of the infamous SSU, Venom: The Last Dance spreads the franchise's desperate joylessness to a nauseating degree.

With a weak script and choppy editing, "Uglies" struggles to bring its dystopian world to life, wasting the potential of its cast and source material.

Alexa, send this underbaked, untethered failure back to the cutting room.

Sometimes, something so bad happens that a terrible sadness is carried with it and the soul can't rest. 'The Crow' is one such bad something.

Immaturely crafted and an insult to children's media, 'Harold and the Purple Crayon' should have gone back to the drawing board, and perhaps stayed there.

Unless you are resolutely, shamelessly committed to the exact same palate and moodboard as Costner himself, this first entry in the 'Horizon: An American Saga' series is a death sentence.

Much like the AI we know in the real world, 'Atlas' is unable to turn its wealth of potential into much of anything worth engaging with.

Tarot is at once a disciple of The Tower; apathetic, disgraceful, ruinous, and an utter, mirthless catastrophe.

Put the shovel down while you can, Zack Snyder; 'The Scargiver' is a humiliating addition to the sci-fi genre, Netflix, and its viewers' memories.

We might as well let AI make the soulless nostalgia fare at this point; you'd get roughly the same result as 'Ghostbusters: Frozen Empire,' and that $100 million budget could have been spent on movies worth spending it on.

Imaginary is decidedly unscary, lamentably messy proof that horrendous scripts dwarf even the brightest premises on the creative food chain.

Madame Web's disastrously-woven pile of flaws exceeds the descriptive limits of not only the English language, but of the very collective of contrived sound itself.

A discordant Frankenstein's monster of a film in its own right, 'Lisa Frankenstein' certainly acts like it's interested in doing something, but it doesn't seem to have the first clue on what that something is.

An average, predictable script is rescued from being truly irredeemable by an excellent cast of voice actors and a few bright jokes.

Keeping in mind that the mantra of Clerks III is to live your life with the knowledge that it is precious, don’t waste it watching Clerks III.

Persuasion is a disastrously misguided Jane Austen adaptation that condescends, talks down to, and tries to hand-hold its audience at every turn.

Morbius is a huge step backwards for Sony's Spider-Man Universe, and the worst Marvel-branded movie to come along in a long time.

This culture clash comedy is a car crash only John Cena survives.

There isn’t a shred of originality or inventiveness to be found anywhere in the DNA of Midnight in the Switchgrass, but the performances from Fox, Hirsch and Lukas Haas as the unnervingly creepy and very murderous Peter are deserving of much better material. That being said, it’s exactly what you’d expect from a modern era Bruce Willis effort, even if he’s barely in it at all.

Despite the best efforts of McCarthy, and a winsome Spencer as her sidekick, Thunder Force is more like Shazam! Lite. It wants us to laugh at genre tropes, but this crude and unoriginal dreck is just comedy Kryptonite.

The Tax Collector flings blood, guts, testosterone and Latinx characters to the wall to see what sticks. And in many ways, it pulls that off, especially when all those things are literally splattered on walls.

You Should Have Left is a perfect example of how "forgettable" horror cinema is somehow more tedious than something that goes out in a blaze of failed ambition.

Brahms: The Boy II seems to want nothing to do with its original, which is an odd and detrimental outcome for your direct continuation of Brahms' ongoing story.

The Turning is a failed ghost story on almost every conceivable level with a third act that's flat-out unforgivable.

Black Christmas deserves to be a better slasher satire propelled by empowerment than the messy, tonally obstructed holiday dud we're gifted.

Between the split bones and compulsive carnage, a disjointed script, co-written by Stallone and Matthew Cirulnick, makes Rambo: Last Blood mindless and messy.

3 From Hell is an ugly example of too much wicked style over zero intended substance.

One can say that Faulkner is unfilmable, but any work will be unfilmable when it is being adapted by a talentless director. In this case, the fault of the film’s issues stem completely from Franco and not at all with the difficulty in Faulkner’s writing. Hopefully, after two failed outings, the actor will learn to leave Faulkner’s masterful work alone. Although knowing him, I wouldn’t be surprised to see him try his hand at adapting one of the author’s works again.

The Dead Don't Die is a procedurally bland zomcom with little genre personality, playing as if Jarmusch invents a subgenre horror fans haven't been watching for decades.

The Amityville Murders wastes historical reverence on a paint-by-numbers ghost story that relies too heavily on eyesore animated effects.

Replicas lacks vigor in its plot, intelligence in its science, depth in its ethics, and humanity all around. It’s a disaster.

There’s just enough cleverness in Escape Room to enjoy that this bad-horror-movie experience becomes more discouraging than droll.

Unfriended: Dark Web takes all the most engaging and horrifying techno-horror qualities from Unfriended and wipes the cache disappointingly clean.

No ifs, ands or Bubs about it, the memory of Day Of The Dead: Bloodline will decay at lightning speed. There’s nothing new here that Romero didn’t do better, only a downgraded horror watch with lesser value.

Lacking in imagination or genuine scares, Jeepers Creepers 3 falls tragically short on just about every front.

Area 51 is everything that's wrong with not only found footage films, but also weak-minded sci-fi thrillers that think crazed talking heads and fuzzy shadows are scary enough.

It lives up - or rather down - to its title, sending its stars on a hedonistic road trip with a pink Mini Cooper's worth of sexist, racist, homophobic and ugly jokes for company.

This isn’t a new breed of terror, just another neutered reboot churning all the same mainstream gears.

Unforgettable is a "How Not To" guide for romantic thrillers, passionless and without tension when it comes to the conflict at hand.

Perhaps the most egregious aspect of Sandy Wexler isn’t its bland or annoying characters, its cookie-cutter story or even the same cheap physical comedy Sandler had become known for. No, the biggest problem very well may be its 1990s setting.

Brimstone is undeniably idiosyncratic, but it’s also an unpleasant, dull and indigestible film.

Positioned as a quirky antidote to Hollywood wedding comedies, the awkward, tonally inconsistent Table 19 ultimately turns out to be more of the same.

Before I Fall makes a simple plot into this convoluted, aggravating mess of emotional turmoil that lacks a shocking amount of direction.

It's a shame Silent Hill: Revelation suffers the same doomed fate as most modern horror movies, bumbling through a shockingly disconnected screenplay which strings together moments that could have been salvaged otherwise.

Categorizing Rings as "horror" would be a disservice to genre films, because at least the lowest of the low attempt a scare here or there.

Resident Evil: The Final Chapter proves that there's nothing left in the tank of this grossly nondescript zombie-shootin' franchise.

The Snare is so without substance that you might not even remember watching it.

Pitchfork is defined by a country dance sequence with full boot-stomping choreography - not a great sign for a horror movie.

Coin Heist is like Ocean's 11 meets The Breakfast Club, but minus the charm, character and ambition.

The Bye Bye Man is an unfathomably inept horror film; one that’s an obvious byproduct of The Babadook/It Follows brand of horror success. It is, without apology, one of the emptiest, nonsensical haunted thrillers ever to fail genre audiences.

There are two movies here, neither of which are given a chance to develop into something worthwhile.

Any fans hoping that Assassin's Creed would break the long streak of poor video game adaptations are bound to be disappointed by this nearly incomprehensible mess.

It’s a practically criminal waste of acting talent, it looks and sounds terrible, and (despite being all cod-philosophical) is dumb as a box of rocks. Avoid avoid avoid.

A listless cast and a crushingly flat script fail to illuminate the lives of high-wire electrical workers in Life on the Line, which instead resorts to tired story beats and a false sense of self-righteousness.

Army Of One is a waste of talent across the board.

Much like its central characters, Nerdland is a dismal, unfunny failure, wasting all its potential and entirely unaware that it is every bit as stupid as the stupid people it so despises.

Max Steel may promise a change of pace from all the Marvel and DC adaptations, but it’s subpar to both those shared universes on every level, telling an origin story that brings little new to the table and a cast that deserves far better.

The characters are despicable and insufferable, but worse yet, interchangeable and not particularly interesting.

Even those who are deathly afraid of clowns will have trouble finding enjoyable bouts of horror in this survival thriller.