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.