The 10 Worst Netflix Movies of the Last 10 Years

Over the past decade, Netflix has produced a huge number of movies – roughly 14,000! They release new original films almost every week, adding up to a massive catalog. (Just a heads-up, I’m not great at math, so it’s worth verifying those numbers.)

Let’s be realistic: not every movie Netflix makes can be a winner. No company, not even one as big as Netflix, consistently produces perfect content. While they’ve definitely made some excellent films, there are also bound to be a few that just aren’t very good.

What’s great about Netflix is its huge library – around 470,000 movies and shows. That means you don’t *have* to watch things you don’t like, as long as you know what to avoid. I’m going to try and help you with that now. You can thank me later.

Here’s a list of ten of the most disappointing movies Netflix has released in the last decade – based on what I’ve watched, of course. It’s impossible to see everything on Netflix – there are almost 9 million original films! This list includes everything from scary movies and cartoons to concert films and action blockbusters. The common thread? They’re all pretty bad, and you can watch them on Netflix right now. Honestly, with so much else to choose from (over 16 billion titles!), you’re probably better off picking something else.

The 10 Worst Netflix Movies of the Last 10 Years (2016-2025)

10. Heart of Stone (2023)

The movie *Heart of Stone* starts with a promising concept: a new computer expert on a spy team is secretly a seasoned agent like James Bond. To really make this work, you need an actor who seems unassuming, so their sudden transformation into an action hero is surprising and allows for some genuinely funny moments – similar to how Bob Odenkirk was used in *Nobody*. Unfortunately, the film quickly abandons this clever idea about 40 minutes in. It then becomes a standard action movie about artificial intelligence, covering similar ground to *Mission: Impossible – Dead Reckoning* but without Tom Cruise’s energy or any interesting discussion about how digital effects compare to practical ones. The film’s central AI, “The Heart,” is portrayed as simply good, and the action sequences are, predictably, mostly uninspired CGI.

9. Lift (2024)

At this point, people like to make easy jokes about how bad Netflix movies feel like they were extruded from some data port by a malfunctioning AI, but Kevin Hart’s downmarket Ocean’s 11 knockoff Lift really seemed like it was assembled from a checklist of things all Netflix blockbusters must possess, including…

A generic title of no more than three words.
Bland digital photography without style or panache.
Big-name stars who are not too big to take a low-effort, high-salary paycheck.
A plot that involves a bunch of international locations in countries where Netflix sells subscriptions.
At least one sequence where they clearly never went to said international location and shot the entire thing on an obvious green screen instead.

8. Trigger Warning (2024)

In *Trigger Warning*, Jessica Alba stars as a highly skilled CIA agent who goes back to her hometown and uncovers a plot involving a valuable mine and a dishonest senator. With Redbox gone, movies like this end up on Netflix, often recommended to people who watched *Rebel Ridge*. However, even if you liked *Rebel Ridge*, this isn’t a movie you’ll want to see.

7. Red Notice (2021)

Up until its release, *Red Notice* was Netflix’s most costly film, featuring Dwayne Johnson, Ryan Reynolds, and Gal Gadot in a globe-trotting adventure centered around a mysterious artifact. Despite the charisma of its three leads, the script failed to give them any compelling dialogue or character development. One scene, set during a bullfight, is particularly jarring – it’s visually unappealing and clearly relies heavily on special effects. It doesn’t even appear that Reynolds and Johnson were filmed together, and the scene doesn’t use a real bull or bullfighting arena.

6. Your Place or Mine (2023)

This streaming movie feels like the filmmakers relied too much on its stars, Reese Witherspoon and Ashton Kutcher. The plot is thin: Witherspoon’s character travels across the country for a one-week accounting class – a strange premise when online courses and local options seem readily available. When her babysitter cancels, she asks her incompatible best friend (Kutcher) to watch her son, despite having another friend with kids (Tig Notaro) who’s conveniently available. These small, illogical details add up. Ultimately, though, the movie’s biggest problem isn’t the plot; it’s that the script isn’t funny and Witherspoon and Kutcher have zero chemistry. The scenes feel flat and rushed, and it’s hard to root for them as a couple – they just don’t seem like a good fit!

5. The Electric State (2025)

There was a lot of talk about the $320 million Netflix spent on this sci-fi film directed by the Russo brothers – and it probably wasn’t worth it. Even if it had cost half that amount, it still feels like a waste of money. *The Electric State* simply doesn’t look good; the characters and visuals are bland and uninspired. The story follows a young woman (Millie Bobby Brown) traveling across a desolate, robot-filled landscape to find her brother, with help from Chris Pratt, who seems to be playing the same tired action hero role with an odd haircut. The film’s core story, based on a book I haven’t read, doesn’t make much sense, but it might be forgivable if the movie was at least visually appealing. Unfortunately, it isn’t.

4.Rebel Moon — Part Two: The Scargiver

The first part of Zack Snyder’s sci-fi film, released at the end of 2023, was enjoyable because it focused on assembling a team and exploring strange worlds with unique aliens and technology. However, the second part, titled *Rebel Moon – Part Two: The Scargiver*, is essentially one long, drawn-out battle. Snyder’s overuse of slow motion makes it feel slow and repetitive – I actually had to watch it three times because it kept putting me to sleep. At least the film delivers on its promise of intense violence and scarring! I’m sure the director’s cut, *Rebel Moon – Chapter Two: Curse of Forgiveness*, is an improvement, but I’m not in any hurry to see it.

3. Texas Chainsaw Massacre (2022)

I don’t have a background in real estate, city planning, or politics, but I’m skeptical of a plan to sell an abandoned, isolated town to wealthy millennials. The idea is to turn it into a trendy spot with a comic book shop and a brunch restaurant, but who would actually go there? And, just so you know, the town’s only current resident is Leatherface! Does he even *like* brunch? It’s basically the premise of the latest *Texas Chainsaw Massacre* movie.

Also, slasher films often show killers moving silently, even though they’re huge. But wouldn’t operating a chainsaw be pretty loud? They tend to make a noticeable buzzing sound, after all.

2. Diana: The Musical

When the Broadway musical about Princess Diana was originally set to premiere, the pandemic forced its creators to record it without an audience instead. Though it eventually opened on Broadway in late 2021, that recording first appeared on Netflix, seemingly as a way to promote the show.

However, it quickly became a source of fascination for those who enjoy unintentionally funny or over-the-top entertainment. Some parts of *Diana: The Musical* are even more bizarre than the famously strange *Cats* movie – at least *Cats* didn’t rhyme ‘thrilla’ and ‘Manila’ with ‘Diana’ and ‘Camilla.’ Instead of treating Diana’s life as a tragedy, the musical takes a surprisingly cheerful approach. It’s hard to believe so many people approved a song where Prince Charles sings “Darling, I’m holding my son, so let me say ‘Jolly well done!’” *Diana* closed on Broadway after just 33 performances, but *Diana: The Musical* will remain available on Netflix indefinitely.

1. Marmaduke (2022)

I can’t recall ever seeing a more visually unappealing animated movie than *Marmaduke*, and I hope I never do. It honestly feels like it was made simply to move money around, or as a last-ditch effort to keep the rights to the project from expiring. Surprisingly, despite the terrible animation, the movie boasts a talented voice cast including J.K. Simmons, David Koechner, and Pete Davidson. It’s baffling – did they not see the script or the awful character designs? What could have motivated them to participate? *Marmaduke* is just plain bad. I wouldn’t even recommend it to the kids who used to tease me – their bullying was actually more imaginative than this movie.

The Best Horror Movies of the Last 10 Years (2015-2024)

The Witch (2015)

Often called “elevated horror,” thoughtful and artistic horror films existed before Robert Eggers’ first movie, *The Witch*. However, *The Witch* truly broke new ground with its dark, immersive atmosphere and surprising story. Featuring Anya Taylor-Joy in her first film role, it tells the story of a deeply religious New England family, considered outcasts even by their strict Puritan neighbors, whose isolation and beliefs lead their daughter to explore the occult. *The Witch* doesn’t rely on jump scares or typical horror tropes; instead, it creates a disturbing and unsettling feeling, like you’ve glimpsed something forbidden and deeply unsettling.

Raw (2016)

French director Julia Ducournau made a striking debut with *Raw*, a coming-of-age horror film about cannibalism that’s sure to shock even seasoned horror fans. The story centers on a vegetarian entering veterinary school, where brutal hazing awakens an insatiable craving for meat. She eventually begins to act on these desires, with terrifying consequences. The film cleverly links a young woman’s exploration of her sexuality to the disturbing, physical urge to consume what she loves, and it features one of the most memorable twists in recent horror cinema.

Get Out (2017)

It’s no surprise that *Get Out* belongs on any list of the best horror movies. Jordan Peele’s first film is a creepy and twisted story inspired by the subtle but damaging ways racism manifests today. The villains aren’t interested in simply eliminating their Black victims; they want to *become* them, taking over their bodies and identities while trapping their minds in a terrifying mental space. All of this unfolds within a thrilling and suspenseful ride that keeps you on the edge of your seat until the very end. While Peele’s later films, *Us* and *Nope*, are equally thought-provoking and significant, *Get Out* is often considered his masterpiece.

Mandy (2018)

Panos Cosmatos’ film *Mandy* is a strikingly original and bizarre blend of action, horror, and fantasy. Set in a strange, misty version of the Pacific Northwest, the movie follows Red (Nicolas Cage), a lumberjack and war veteran, as he seeks vengeance for the abduction and murder of his girlfriend, Mandy (Andrea Riseborough), by the leader of a dangerous cult. Armed with a crossbow and a gleaming silver axe, Red embarks on a violent quest for revenge, creating a truly unforgettable and unique cinematic experience – a vision of love and vengeance unlike anything else.

Hereditary (2018)

Everyone remembers where they were when they first saw Ari Aster’s debut film, *Hereditary*. Like his later film *Midsommar*, it starts with a particularly shocking and disturbing scene. What makes *Hereditary* so effective is that its supernatural horror feels deeply rooted in real-life trauma. It understands that demonic possession isn’t the *worst* thing that could happen – especially when compared to the unimaginable grief of accidentally causing a loved one’s death.

Host (2020)

Host is a remarkably effective horror film that’s also a standout example of the ‘screenlife’ genre, and a significant achievement in filmmaking. The entire movie takes place during a Zoom call between friends who are quarantining in London during the 2020 Covid-19 lockdown. When they decide to hold a virtual séance, a sinister spirit enters their homes, and they begin to disappear one by one. Director Rob Savage uniquely guided the actors remotely, having them film themselves using their own equipment and encouraging improvisation based on a basic story outline rather than a traditional script.

The Empty Man (2020)

As a horror fan, I’ve always been fascinated by films that take risks, and *The Empty Man* definitely fits that bill. It’s a really strange, layered movie – the kind you keep thinking about long after it’s over, and it just gets more complex the more you unpack it. It originally came out in theaters in 2020, but it didn’t really click with audiences or critics at first. It was only when it came out on home video that it found its audience and developed this dedicated cult following. The story centers around James Badge Dale as a detective investigating a series of disturbing suicides, which leads him down a rabbit hole of cults and personal tragedy. Honestly, it’s one of the most original and ambitious horror movies to come out of a major studio in a long time.

Titane (2021)

Julia Ducournau first gained attention with her film *Raw*, but she truly made a splash with *Titane* – a movie famous for its premise of a woman developing an intimate relationship with a car. However, the film is much deeper than that shocking element. It’s a thought-provoking exploration of gender, identity, and what it means to be human in a world increasingly shaped by technology, reminiscent of the work of David Cronenberg. The story follows Alexia, who has a titanium plate in her skull from a childhood accident. She’s a serial killer who works as a dancer, becomes unexpectedly pregnant by a car, and goes on the run, ultimately assuming the identity of a firefighter’s missing son and giving birth to a baby that’s part human, part machine. *Titane* is truly unique and stands out as one of the best horror films in recent years.

Skinamarink (2022)

Kyle Edward Ball’s film *Skinamarink* is a truly divisive horror movie – people either find it terrifying or incredibly dull. The story centers on two children stuck in a house where an unseen presence removes doors and windows and floats objects in the air. While the premise itself isn’t overly frightening, the film’s unique style creates a deeply unsettling atmosphere. Shot with a grainy camera in long, dimly lit takes – often illuminated only by the TV – *Skinamarink* makes you feel like anything could be hiding in the darkness. Be warned: you might never look at a toy telephone the same way again.

I Saw the TV Glow (2024)

Jane Schoenbrun’s new film, *I Saw the TV Glow*, is a truly original horror movie. It follows two isolated high school students who connect through their obsession with a mysterious supernatural TV show. When one of them vanishes, she reappears years later with a shocking claim: they are actually the characters from the show, and their reality is a fabricated world controlled by the show’s villain. The film thoughtfully explores themes of loneliness, the power of nostalgia, and questions of identity, making it both unsettling and strangely comforting. Schoenbrun is quickly becoming one of the most innovative and exciting directors working today.

2025-10-13 18:30