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5 worst Netflix movies of the year, ranked

A woman points a gun and stares in "Rebel Moon: Part Two - The Scargiver."
Clay Enos / Netflix

As Netflix continues to distribute seemingly every original movie they can get their hands on, the streaming giant has once again delivered some lackluster new flicks.

Though the year may only be half over, Netflix has already presented multiple films that let down audiences or failed to appeal to them. While there are still more films scheduled for release this year, here are the five worst Netflix movies of 2024 so far.

5. Rebel Moon: Part Two — The Scargiver (2024)

Staz Nair and Djimon Hounsou in "Rebel Moon: Part Two -- The Scargiver."

Directed by Zack Snyder, this sci-fi blockbuster delivers the climactic battle between the rebels of Veldt and the evil Imperium that was set up in the first movie, 2023’s Rebel Moon: Part One — A Child of Fire. This sequel experiences the pitfalls seen in the original film, lacking character development and leaning too heavily on expositional dialogue, slow-motion sequences, and recycled Star Wars tropes.

The Scargiver presents many epic and eye-popping moments one would typically see in a Snyder film. But like its predecessor, it does so without a solid narrative adhesive, just like the first film. In all fairness, this film is only the shorter version released before Snyder’s three-hour director’s cut, Curse of Forgiveness, which will hopefully rectify this cut’s shortcomings.

4. Unfrosted (2024)

The cast of "Unfrosted."

Jerry Seinfeld’s longtime love for Pop-Tarts manifested itself in this fictionalized and cartoonish account of the toaster pastry’s creation, featuring the bitter rivalry between Kellogg’s and Post food companies, as well as a cereal mascot uprising. This glossy spoof of the 1960s food industry barely gets by with its star-studded cast and wacky brand of dad humor.

Unfrosted does manage to conjure some laughs thanks to its talented actors, some clever jokes, and cultural references. However, if audiences were expecting the Seinfeld version of Anchorman from this film, their hopes were likely shattered after watching it.

3. Atlas (2024)

Jennifer Lopez in "Atlas."

The sci-fi action flick Atlas follows an AI-hating analyst (Jennifer Lopez) as she is forced to pilot an AI mech suit to apprehend a robot terrorist (Simu Liu) on a distant planet. Though it reached Netflix’s Top 10 list in nearly a hundred countries, popularity doesn’t necessarily equal quality.

The movie may feature a top-notch cast and impressive visuals, but it is still a by-the-numbers action blockbuster with a formulaic story and trite dialogue. Atlas does make a unique and relevant commentary about whether we should use AI, but it is ultimately buried in a film that seems to belong more with the gun-toting blockbusters of the ’90s.

2. Trigger Warning (2024)

Jessica Alba in "Trigger Warning."

Trigger Warning follows a Special Forces officer (Jessica Alba) who returns to her hometown after her father’s surprise death, only to learn that a family of arms dealers led by a corrupt senator (Anthony Michael Hall) is responsible for it. Produced by Thunder Road Films (John Wick, Monkey Man), this movie was described as a female-led mix of First Blood and John Wick.

This pitch sounds promising on paper. But unlike those two films, Trigger Warning ended up being just another dull, lower-tier action flick despite reaching Netflix’s Top 10. The film yields some beautiful shots and some decent fight scenes. However, the story and its characters are unremarkable, and the cast fails to grab audiences with the material they were given. It also lacks enough artistic action and emotional depth to rival the films it aspires to be, let alone stand out from them.

1. Lift (2024)

Kevin Hart smiles in "Lift."

The flashy Kevin Hart Lift vehicle follows a ragtag team of art thieves when they are forced to pull off a daring heist on an airborne plane to retrieve a stash of gold being delivered to an evil billionaire.

Despite being helmed by veteran film director F. Gary Gray (Friday, Straight Outta Compton), Lift plummets just as it takes off because of its bland dialogue, unfunny jokes, one-dimensional characters, and a convoluted story. What stings even more is that it fails to utilize Hart’s comedic talents, leaving his character all but devoid of genuine appeal. All in all, this film will likely lose its audience before the heist even begins.

Anthony Orlando
Anthony Orlando is a writer/director from Oradell, NJ. He spent four years at Lafayette College, graduating CUM LAUDE with a…
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