It seems like the world is now appreciating the full range of what the horror genre offers, including exceptional acting and insightful social critique.
Previously this year, Demi Moore’s chic and unsettling movie titled “The Substance” garnered her a nomination for Best Actress at the Academy Awards, marking a comeback in Hollywood.
As the movie was up for the prestigious Best Picture award, it became one of a select few horror films to even be nominated in that category. Notably, only one horror film has taken home this prize – “The Silence of the Lambs” in 1992.
Moreover, films such as “Alien: Romulus”, “The Girl With the Needle”, and Robert Eggers’ “Nosferatu” gained notable Oscar nominations in March, signaling a thrilling change in currents for horror films finally receiving their well-deserved recognition – particularly during this era of “elevated horror”, a term that remains somewhat contentious.
While cultural perspectives may be evolving, it doesn’t automatically guarantee that every horror film is successful. Quite the contrary, the year 2025 demonstrated this point by releasing a series of underwhelming and less terrifying movies.
Some failed miserably at the box office, resembling a lifeless robot toy, while others were either uninteresting or absurd, making us struggle to finish them despite the high cost of video-on-demand rental. (Until Dawn, when I finally get around to watching you…) A few, such as Popeye the Slayer Man, Peter Pan’s Nightmare in Neverland, and Screamboat, were so cheap and cheesy that they weren’t even worth adding to our watchlist.
It’s quite chilling to note that this year-end, we can expect the terrifying roster of 2025’s scariest horror films to expand significantly.
The Worst Horror Movies of 2025
Until Dawn
In my opinion, the film “Until Dawn” finds me following a band of college companions who find themselves ensnared in a loop of terrifying supernatural events while searching for one friend’s lost sister. Beyond this straightforward outline, the storyline becomes entangled in a web of disjointed plotlines, puzzling twists, and minimal character growth. Among these less appealing characters, actress Ji-young Yoo stands out with her eccentric self-proclaimed psychic abilities. Despite an ensemble cast that leaves much to be desired, some intriguing creature designs offer a tantalizing glimpse of what the movie could have been if its writing matched the wit and ingenuity of a masterpiece like “The Cabin in the Woods.”
Regrettably, I must acknowledge that the cinematic version of “Until Dawn” bears little resemblance to its captivating, atmospheric 2015 video game counterpart. Alas, this 2025 haunted house production runs out of time before it can make a lasting impact on me.
The Woman in the Yard
In “The Woman in the Yard,” a family struggling with the tragic loss of their father is haunted by a mysterious, veiled woman at their remote farmhouse. The concept is intriguing, and it must be said that the acting is exceptional, particularly from Danielle Deadwyler as a frantic mother under pressure and Peyton Jackson as a young boy burdened with more than his share of responsibilities. However, the film falls short in delivering the intense horror scenes its genre suggests. The movie’s excessive emotional symbolism and slow-paced plot develop too slowly, potentially leaving viewers feeling frustrated due to a lack of resolution.
M3GAN 2.0
In essence, while the upcoming film titled “M3GAN 2.0” is technically a sequel to the 2023 sci-fi horror comedy “M3GAN,” it deviates from pure horror and leans more towards action with horror undertones. This description might be slightly misleading because it resembles a “Terminator 2” clone, where the initially terrifying doll transforms into a somewhat heroic figure, joining forces with her creator to combat a formidable, militarized AI antagonist.
The film retains the vibrant flair and witty dialogue reminiscent of “Child’s Play,” elements that made the first movie so engaging. However, “M3GAN 2.0” faces criticism for its convoluted storyline and sudden shifts in tone, which may displease ardent fans who were charmed by the original’s campy horror ambiance.
The Ritual
Have you come across the tale about the two priests bound by trauma, one with a tumultuous history, the other grappling with his beliefs, entering an exorcism? I’ve heard it too. This religious suspense film seems overflowing with exorcism tropes more than a bible could contain. It claims to be based on real events! One of the priests is a cynic who has grown disenchanted with the Church! A young woman in a white nightgown levitates above her bed and speaks in unknown languages! Despite boasting an impressive cast that includes Al Pacino and Dan Stevens, The Ritual essentially retells every possession and exorcism film you’ve previously watched, offering no fresh perspectives on the sanctuary.
Bloat
In the horror movie set in Japan, a family’s peaceful vacation takes a terrifying turn when their youngest child appears to be possessed by a vicious water spirit known as a kappa after a close call with drowning. However, the J-horror concept and webcam narrative (similar to Unfriended or Searching) may not create the intended suspense due to their overused nature. Regrettably, this modern interpretation of Japanese folklore struggles to stand out amidst unengaging characters and predictable storytelling that makes it hard to empathize with any character or on-screen event. In reality, the real kappa legend is far bloodier and captivating compared to what’s presented in the film.
Opus
As a movie enthusiast, let me share my thoughts about this intriguing plot: A young reporter receives an invitation to the secluded estate of a former pop star turned cult leader who vanished years ago. Now back with a new album and fervent followers, it seems like we’re in for a gripping psychological thriller with some profound ideas. However, what initially appeared promising soon turns into a tiresome, substance-lacking mystery, bogged down by cardboard characters lacking depth.
John Malkovich, as always, brings his unique charm to the table as a pop star reminiscent of Elton John, but even his captivating performance can’t rescue this film from feeling like an out-of-tune imitation of A24’s superior work in ‘Midsommar’.
Fear Street: Prom Queen
I found myself thoroughly enjoying parts one to three of Netflix’s “Fear Street” series when it debuted on streaming platforms in 2021. The series, with its heavy doses of nostalgia and chills, was an enjoyable yet uneven interconnected horror trilogy based on R. L. Stine’s book series of the same name. However, the fourth installment failed to capture the same magic.
Set in the late 1980s, this slasher film doesn’t just embrace ’80s nostalgia; it leans on it heavily. The movie focuses on the prom queen candidates at Shadyside High who are hunted down by a mysterious killer during their senior dance. This plot might seem familiar because you’ve likely watched similar movies numerous times under various titles. Unfortunately, “Fear Street: Prom Queen” is derivative and lacks substance, featuring flat characters and an irritating reluctance to embrace the camp that should be intrinsic to its setting, thus failing to live up to expectations.
The Worst Movies of 2025 So Far
8. Snow White
In a surprising twist, Disney managed to conceal the fact that “Snow White” was a musical so well that I didn’t realize it until we were seated in the theater and the characters began singing. Interestingly enough, one of the film’s standout aspects turned out to be its music, and I found myself appreciating Gal Gadot as the wicked Evil Queen. However, the CGI Seven Dwarfs in this modern adaptation were strikingly unnatural, particularly Dopey who seems to have been created by an AI following the instruction “what would Alfred E Neuman look like as a Chad.” Everything concerning these characters, along with all attempts to make Snow White a more proactive heroine (despite her still needing to take a lengthy nap in the third act because this is a remake), significantly diminished an otherwise visually appealing and sonically pleasing movie.
7. The Alto Knights
In the movie “The Alto Knights,” it remains unclear as to why Robert De Niro took on both leading roles. It’s one thing to cast an actor as twins, identical siblings, or a father and son with similar appearances. However, in this case, De Niro portrayed two entirely different characters who aren’t related. This unusual casting decision seemed more of a marketing ploy than adding value to the film, as Warner Bros. could promote it as an opportunity to witness Robert De Niro going head-to-head with himself. Apart from that gimmick, there wasn’t much else noteworthy about this uninspiring gangster film written by Nicholas Pileggi (of “Goodfellas” fame) and directed by Barry Levinson.
6. Opus
The film “Opus,” set in an industrial complex, is a letdown. It stars Ayo Edebiri as a novice magazine journalist who’s invited to the comeback album launch of a ’90s pop superstar (played by John Malkovich, who seems miscast for the role). The pop star resides on a vast estate with numerous admirers.
The film attempts to delve into the cult-like mentality that’s prevalent today, but it’s not original in this aspect, as movies like “Midsommar,” “Hereditary,” “The Master,” and “The Menu” have already explored this theme recently. Unfortunately, “Opus” doesn’t offer anything fresh, even in the dinner scene where the pop star’s followers share a single roll of bread one by one. This could be seen as a symbol for watching “Opus” after these other movies: By now, there’s not much left for viewers to do but pick through the remaining bits.
5. Love Hurts
The most significant letdown of the year thus far is “Love Hurts,” which halted Ke Huy Quan’s promising career resurgence abruptly. It’s not Quan who’s at fault; he delivers an outstanding performance as a former assassin compelled to return to his old ways to safeguard the woman he adores (played by Ariana DeBose, whose post-Oscar success outshines Quan’s, reminiscent of Olivier in his heyday). Despite Quan’s convincing portrayal as an action hero underdog, the rest of the movie falls flat, and it appears that scenes have been removed to the absolute minimum (the runtime is only about 80 minutes including credits). The script fails to provide sufficient context for why Quan and DeBose’s characters would develop feelings for each other despite their contrasting personalities, aspirations, and age gap (DeBose is nearly two decades younger than Quan).
4. Fountain of Youth
In this piece, we’re discussing a movie featuring top-tier stars such as John Krasinski, Natalie Portman, and Guy Ritchie, who is directing. However, despite the star-studded cast, the film feels more like an expensive screensaver rather than a genuine motion picture. It’s so dull and predictable that it seems almost designed to be background noise instead of something to engage with. Krasinski and Portman portray estranged siblings on a quest to find the legendary Fountain of Youth. The narrative combines elements of Indiana Jones, Uncharted, and an extremely uninteresting Banana Republic commercial. This film relies heavily on the fact that it will be watched by people who have already subscribed and are merely seeking something to watch in order to justify their subscription costs.
3. Hurry Up Tomorrow
In this movie, Hurry Up Tomorrow, it’s suggested that the life of a globally recognized recording artist like The Weeknd might not be as exhilarating and glamorous as people believe. Instead, we see a melancholic portrayal of The Weeknd (played by Abel Tesfaye) who appears to lead a monotonous existence filled with sporadic music performances, dismal gatherings with his manager (portrayed by Barry Keoghan in a one-dimensional role), and moments where he weeps in front of a mirror. The storyline also includes a subplot about an ardent fan (Jenna Ortega) who abducts Tesfaye. This film is a long, dreary tale that, if The Weeknd ever considers the challenges of being a rock star, might make him yearn for the job of a film critic.
2. The Electric State
In this rephrased version, the essence of the original text remains, but with a more conversational tone and simpler language:
1. Star Trek: Section 31
As a movie critic, I must confess that I haven’t delved into every episode of each Star Trek television series, but I have had the misfortune of watching every feature film the franchise has ever produced. Among them all, Star Trek: Section 31 stands out as the low point. The production values are shoddy, the dialogue is abysmal, and the action sequences are chaotic. What truly disappoints me, however, is that it seems to misunderstand what truly defines Star Trek – its optimistic ethos and insatiable intellectual curiosity. Who needs a Star Trek series that’s as intellectually vacant as most other sci-fi?
Once upon a time, Star Trek led the pack in this genre; other franchises sought to emulate it for its innovative characters, storylines, and visual aesthetics. However, based on Section 31 – a blatant rehash of Guardians of the Galaxy on a TV budget – those days appear to be distant memories.
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2025-07-08 17:26