The Five Worst Netflix Movies of 2023

If there’s one thing Netflix can boast about—and it does—it’s the quantity and variety of its releases. The content of its catalog far exceeds any other subscription service today. Not just in the number of new titles he adds to the lists every week. At the same time, in the ever-growing collection of original productions converted into a selection of multiple genres and plots.

However, despite its efforts, the platform does not always offer quality production. In fact, one of the most common criticisms it receives is that a large portion of the movies and series it offers are failed experiments. Some for being a mix between bad scripts and chaotic productions. In other cases, an effort to raise the quality by casting recognized actors, in stories without much depth. Finally, a serious issue with Netflix, It seems to be that he has failed to strike a balance between his ambitions and what he can actually do with the means at his disposal.

Something that was more apparent than ever in 2023. From fantasy stories that were more pathetic than cute, to boring romances with a grumpy tone. Netflix released all kinds of content that left a lot to be desired and disappointed both critics and the public. We leave you with a list of the five worst titles you can find in their catalog right now that make it into our worst of the year selection.

Director Christopher Landon tried to mix a supernatural story with a family drama and the result was a disaster of disturbing proportions. Tape we have spirit It’s a flaw in storytelling, with a plot full of logic and continuity errors. Which, combined with a visual section with digital effects, is so shaky that it’s laughable instead of awesome. All of the above causes the film to constantly move into the realm of ridiculousness.

But the worst is the chaos caused by adding dozens of different twists to the plot without the slightest sense and very close to an involuntary parody. From a father seeking redemption to a critique of instant fame. That, traversing crazy theories about the supernatural and even a kind of botched tribute Ghost busters by Harold Ramis.

Nothing is missing in this confusion, which culminates in perhaps the most needlessly sweet and predictable scene that demonstrates the general silliness of the production. As a reminder, the character played by David Harbour (Stranger Things), who visibly tries to cry but never succeeds in six different scenes. The icing on the cake.


Love and the generational changes that affect it will always be a good story. And it’s clear that director Kenya Barris was sure that mixing racial, religious and societal prejudices in the middle of romance was a good idea. Maybe it was, but with a less flashy script and no doubt a better sense of satire than the one he wrote with Jonah Hill. The latter also stars in this movie, which has clichés of romantic comedies They become a delirious mix of bad taste and artificial social commentary.

Because if there’s anything missing from this reckless vision of modern relationships, it’s a real sense of originality and spontaneity. Instead, Ezra (Hill) is more concerned with making it clear that his love for Amira (Lauren London) transcends all cultural barriers. So the premise focuses on how to deal with the bond that has to go through the inter-racial and inter-religious conflicts of origin. Ezra is Jewish and white, while Amira is a black woman who belongs to the Nation of Islam.

But whether it’s because the attempt at satire falls short of its ambitions or the lack of chemistry between the actors, the film devolves into a series of clichés. Even worse, it uses a type of humor that was out of date even a decade ago. For its ending—a happy one, of course—the film abandoned any attempt at coherence and decided to make people laugh. But it doesn’t really achieve that.

Agent Stone

For several years, Netflix has been planning to launch its own James Bond-style saga. AND film Directed by Tom Harper and starring Gal Gadot, it seemed perfect for it. The premise was simple, but with potential for future expansion. A double agent finds herself in the middle of a dangerous international scenario. That while he is looking for an intelligence facility that may be the key to a new balance of power in the world.

If the story sounds familiar, that’s because it’s practically identical to Mission Impossible: Deadly Sentence — Part 1 by Christopher McQuarrie. And what’s worse: some of its main action scenes are poorly disguised imitations of the dubious quality of the saga starring Tom Cruise. That, with a screenplay that goes on too long and one of Gadot’s most lackluster performances, who again puts himself in the skin of a flat figure with a wonderful physical shape.

In fact, the biggest problem Agent Stone, is that it drinks excessively from dozens of different references that end up blending together in a bad production. In the last stretch, when the plot seems to revolve around the same idea of ​​saving the world, something is evident. This is another failed attempt by Netflix in search of its great action saga.

Some in-laws take guns

Filmmaker Tyler Spindel took a comedy about complicated relationships between in-laws and mixed it up a heist movie. The result was to be a well-intentioned mockery of both romance and the great classic movie heist. Addition Some in-laws take guns It achieves neither.

In fact, the screenplay, a weak tale of a bank heist in a quiet town, never sinks into its strengths. Instead, he spends more time performing Adam LeVine’s twitches and winks, in a role tailor-made for him that lacks any grace anyway.

But the worst part is that the film wastes the presence of Pierce Brosnan and Ellen Barkin. The appearances of the titular father-in-law duo are actually the best in a film full of ordinariness and unfunny dirty jokes. In the end – cliche at alarming levels – love wins, but also the general bad taste that the argument displays to tell its premise.

Your house or mine

Debbie (Reese Witherspoon) leads a busy life as a single mother in Los Angeles. Peter (Ashton Kutcher), his former lover and now best friend, is a prosperous executive in New York. Things between the two are clear: they consider each other as brothers. Although it is evident that there is a major romantic connection between them.

At least that’s the premise of this movie, in which the central couple spend most of their time apart. And that’s without the script doing anything to use the space for the benefit of the story. In an effort to achieve what Nora Ephron Something to remember, the film focuses on how this fateful couple discovers their love at a distance. Which means empty conversations, unimportant revelations, and then suddenly awakening to a sense of no substance.

Whether it’s because of the actors’ apparent lack of interest in their characters or the fact that the plot doesn’t go beyond cooking scenes and phone calls, the film disappoints. There is a happy ending – inevitable and foreseen from the first scene – but none of the promise of the uplifting story its ambition suggests. The biggest problem with this forgettable and routine sitcom.

Receive from us every morning reporter. A guide to understanding what matters in relation to technology, science and digital culture.


Ready! You have already subscribed to this subscription

An error occurred, please refresh the page and try again

Also in Hipertextual: