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“Cabin Pressure” (2003) is the cinematic equivalent of being stuck on the tarmac forever with a dying paperback and a screaming air vent. It’s not just dull; it’s aggressively, proudly dull—an unviewable mess that mistakes droning cockpit chatter and recycled stock footage for suspense. If turbulence were interesting, this movie would still find a way to taxi around it.

From the opening minutes, the film announces its priorities: beige sets, beige lighting, beige characters speaking in acronyms about systems we never see break in any satisfying way. Scenes repeat like safety demonstrations—pointless, bloodless, and performed by people who look like they’ve already mentally clocked out of the shift. The “action” is mostly cross-cutting between bored faces and a model plane that’s never given a convincing sense of scale, speed, or danger. You can practically hear the temp track begging to be replaced by something—anything—with a pulse.

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Clive Barker’s Nightbreed is the cinematic equivalent of an overstuffed trunk at a goth rave—wildly imaginative, beautifully adorned, and totally incapable of deciding what it wants to be. Packed with jaw-dropping creature designs, luscious makeup work, and a thrilling Danny Elfman score that pulses with dark fantasy energy, Nightbreed sets the table for a full-course horror feast. Unfortunately, the meal comes out half-cooked thanks to tonal confusion and a protagonist who drifts through the story like a half-deflated pool float.

Adapted from Barker’s novella Cabal, the film tells the story of Boone, a tormented man drawn to the subterranean world of Midian—a hidden city of monsters, outcasts, and literal night-breed. It wants to be a dark fairytale, a slasher, and a misunderstood superhero origin story all at once. And it kind of is... but not in a good way. Serial killer subplots rub awkwardly against messianic chosen-one arcs, while police shootouts interrupt poetic monster mythology. It’s like watching Hellraiser crash into X-Men, then take a wrong turn through Copland.