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.

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

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

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

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

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

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

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

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.

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.

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

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

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

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

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

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

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

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

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.

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.