Greenland 2: Migration drops the grounded tension that made the first film work and replaces it with nonstop, hard-to-believe chaos. The plot leans on impossible coincidences that keep sparing the same family while the rest of the world conveniently falls apart, making the stakes feel fake instead of suspenseful. Weak CGI and a constant escalation of nonsense turn this into a sequel that actively undercuts what people liked about Greenland in the first place. | © Lionsgate Films
Asteroid City looks exactly like what you’d expect from Wes Anderson, and that’s the problem. The visuals are immaculate, and the cast delivers, but the characters feel thin, and the story never gives you a reason to care. If you’ve already seen a lot of his work, this one plays less like a fresh idea and more like a style you’ve already had enough of. | © Focus Features
Morbius sits in that awkward space where nothing is outright awful, but almost nothing works either. The story is painfully predictable, the character arcs go nowhere, and the movie somehow feels both too long and weirdly rushed at the same time. Jared Leto does what he can, and the visuals are fine, but the bland writing makes this feel like a placeholder rather than a film worth your time. | © Sony Pictures Releasing
Fast & Furious 9 finally gives up any pretense of physics, logic, or restraint. The stunts are so outrageously impossible that they play more like unintentional comedy, with characters openly joking about realism while doing the exact opposite. It looks slick, and the cast shows up, but once the laughs fade, there’s nothing here except another reminder of a franchise that ran out of road years ago. | © Universal Pictures
Jurassic World: Dominion throws realism out the window and never looks back. Dinosaurs suddenly sprint through snow, chase motorcycles at highway speeds, swim like torpedoes, and behave however the scene needs them to, science be damned. Instead of leaning into what made Jurassic Park special, the movie borrows beats from spy thrillers and space operas, slaps dinosaurs on top, and hopes spectacle will distract you from how little any of it makes sense. | © Universal Pictures
Star Trek: Section 31 feels like another missed read on what makes Star Trek actually work. Even with a strong cast, the direction leans into the same shallow, flashy ideas that already dragged Discovery down, stripping away the franchise’s sense of purpose and intelligence. Instead of expanding the universe in a meaningful way, it plays like an awkward detour that does more damage to Star Trek’s legacy than it adds to it. | © Paramount Pictures
Godzilla vs. Kong somehow turns the simple promise of giant monsters punching each other into a slog. The plot is a mess, the dialogue is painfully dumb, and the human side story feels shoved in purely to justify screen time no one asked for. If you’re looking for a fun, brain-off spectacle, this one oddly manages to be loud, expensive, and still boring. | © Warner Bros. Pictures
The Matrix Resurrections has a clever premise that almost works, then slowly buries itself under half-finished ideas. The new Matrix-as-a-video-game concept makes sense, but forgettable side characters, weak action, and oddly low-energy fight scenes drain it of momentum. By turning the Neo-and-Trinity romance into the entire point, the film feels predictable and unnecessary, like a sequel that exists simply because it can. | © Warner Bros. Pictures
Jeepers Creepers: Reborn somehow sinks lower than a franchise that already hit rock bottom. The CGI is laughably broken, the Creeper goes from intimidating to outright embarrassing, and the whole thing looks rushed, like post-production happened the night before release. It wants to be a fresh start, but ends up feeling like a cheap, confused knockoff that accidentally turns horror into unintentional comedy. | © United Artists
Eternals aims big but gets lost in its own mythology almost immediately. The story raises huge cosmic questions about duty, creation, and free will, then stretches them across a bloated runtime that feels far longer than it needs to be. Between the slow pacing, muted humor, and ideas that never quite land, it plays more like homework for MCU fans than a movie you’d actually want to revisit. | © Walt Disney Pictures
The Kissing Booth 3 throws away whatever character growth the series had been building and replaces it with rushed, half-hearted drama. The movie keeps insisting its characters are “maturing,” yet they bounce between relationships, act selfishly, and repeat the same mistakes like nothing ever stuck. By the end, it feels less like a conclusion and more like a desperate scramble that undercuts the trilogy instead of giving it a meaningful send-off. | © Netflix
Winnie the Pooh: Blood and Honey feels less like a movie and more like something pushed out before it was remotely finished. The editing, sound mixing, and camera work are so sloppy that even the kill scenes are confusing, which defeats the entire point of a low-budget horror flick. The idea of turning a public-domain childhood icon into a B-movie slasher is fun on paper, but the execution is so amateurish it never should’ve made it past the editing room. | © Altitude Film Distribution
Madame Web feels like a big-budget warning sign about what happens when bad scripts keep getting recycled. None of the characters are likable, the villain barely registers, and the whole thing plays like a clumsy setup for sequels nobody asked for. Sitting through it is a chore, and the idea of paying for a follow-up feels more confusing than exciting. | © Sony Pictures Releasing
Snow White somehow manages to make a nearly 90-year-old classic look better by comparison – and that’s not a compliment. The visuals were off-putting from the very first trailer, and the finished film never fixed that awkward, garish look people were already mocking online. Instead of feeling like a fresh take or even a respectful update, it plays like another hollow remake that reminds you why this whole live-action experiment keeps wearing out its welcome. | © Walt Disney Pictures
365 Days isn’t so much a story as a string of clichés stitched together and played completely straight. The dialogue is awkward, the characters act like cartoon villains and lovers rather than real people, and the crime lord angle is impossible to take seriously without laughing. It looks glossy and clearly wants to shock or seduce, but once that surface wears off, there’s nothing underneath to justify sitting through it. | © Netflix
The 2020s have delivered plenty of great movies, but also a surprising number of expensive misfires. Big budgets, familiar IP, and nonstop hype don’t mean much when the story, characters, or basic filmmaking fall apart. These are the films that promised a lot, burned time, and left audiences wondering how things went so wrong.
