10. “The Kissing Booth 2” (2020) — 210,925,000,000 hours
The sequel to The Kissing Booth.
Netflix
Elle juggles her long-distance romance with Noah, her evolving connection with her best friend Lee, and her love for a new classmate as college decisions loom.
Rotten Tomatoes reviewer score: 27%
Critics noted, “You can enjoy the film’s core premise and overacting as long as you realize that this pool is shallow.” — RogerEbert.com
9. “The Irishman” – 214.57 million hours (2019).
Netflix
In this celebrated film by Martin Scorsese, hitman Frank Sheeran recalls the secrets he guarded as a faithful member of the Bufalino crime family.
Rotten Tomatoes reviewer score: 95%
Critics stated, “While ‘The Irishman’ is similar to other mob films in terms of violence and betrayal, it is the product of a director who has earned the right to define this genre.” — NPR
8. “The Unforgiveable” (2021) — 214,710,000 hours
Netflix image by Kimberly French
A woman convicted of murder hunts for the younger sister she was forced to leave behind after being released from prison into a world that will not forgive her.
37% of Rotten Tomatoes critics gave the film a positive review
“A horrible and dismal melodrama… despite Bullock’s valiant efforts to play against type, ‘The Unforgivable’ is essentially forgettable,” observed the critics. — Salon
7. “Purple Hearts” (2022) — 228,690,000,000 hours
In “Purple Hearts,” Sofia Carson and Nicholas Galitzine star.
Mark Fellman/Netflix
“An aspiring musician agrees to a marriage of convenience with a Marine about to deploy, but a catastrophe suddenly renders their sham love all too real.”
Rotten Tomatoes reviewer score: 32%
Critics stated, “This super-cheap Netflix Original is so determined to please the algorithm that it would lack any coherent sense of self if it weren’t primarily intended as a platform for Disney Channel alum Sofia Carson.” — Indiewire
5. “The Adam Project” (2022) — 233,15,000,000 hours
“Adam’s Project.”
Netflix
After crashing into the year 2022 by accident, time-traveling fighter pilot Adam Reed partners up with his 12-year-old self to preserve the future.
Rotten Tomatoes reviewer score: 69%
What reviewers said: “It is a collection of concepts from past successful films that lacks cohesiveness. It is like viewing a film that has not yet been produced.” — Vulture
4. “The Gray Man” (2022) — 253,870,000 hours
Six is portrayed by Ryan Gosling in “The Gray Man.”
Netflix
When a shadowy CIA spy discovers damaging agency secrets, a psychotic rogue operative with a bounty on his head pursues him across the globe.
Rotten Tomatoes reviewer score: 46%
What critics said: “The film exists to set up sequels, to spend money on expensive location shooting, and to seem glossy and exciting; every harder edge has been sanded down to nothing.” — The Oceanic
3. “Bird Box” (2018) — 282,02,000,000 hours
The Bird Box
Netflix
Description: “Five years after an ominous unseen presence drives most of society to suicide, a survivor and her two children make a desperate bid to reach safety.”
Rotten Tomatoes reviewer score: 64%
Critics said: “Unfortunately, Bird Box puts these actors through rote motions, in parts so tightly typecast that they resemble recurring characters in a long-running television series.” — New Yorker
2. “Don’t Look Up” (2021) – 359,790,000
Meryl Streep in the film Don’t Look Up.
Netflix
Two astronomers embark on a worldwide tour to warn humanity of a planet-destroying comet racing toward Earth.
55% of Rotten Tomatoes critics gave the film a positive review
According to reviewers, the satire in McKay’s films is not particularly incisive, and over time they have settled into their preferred type of harangue. — Vulture
“Red Notice” (2021) — 364,000,000 hours
“Red Notice” stars Dwayne Johnson.
Netflix
“An FBI profiler investigating the world’s most wanted art thief reluctantly becomes his partner in crime in order to apprehend an evasive criminal who is always one step ahead.”
36% of Rotten Tomatoes critics gave the film a positive rating
What critics said: “Red Notice is sluggish and uninteresting, and it focuses more on the flaws of each of its headline stars than on their bankable charisma.” — The Vanity Fair