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.

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.

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.

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.

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

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

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.

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

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

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

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.

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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

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

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.