WRONG! We named the 10 Worst Netflix Movies of 2021 …

In the same way that Netflix delivered incredible productions throughout 2021, it has also stepped on the ball several times and bet tokens on forgettable titles that did not live up to the expectations generated.

From the poor adaptation of “The Woman at the Window”, a psychological thriller which, in fact, did not honor the original material, to the hateful romantic comedy “Amor Sem Measure”, which has become the scene of countless controversies. , we’ve separated the ten worst original movies released by the streaming giant this year.

Check out the 10 worst Netflix movies of 2021, according to CinePOP:

Although she has some very good titles in her career (like “Could You Forgive Me?” And “Mission Godmother”), Melissa McCarthy has been involved in some productions that could easily be eliminated from her filmography – and one of ‘Between them is the recent drama’ Um Nest for Two ‘. Even doing her best to overcome the weak script with its versatile interpretation, the problem with the feature film was getting carried away by over-assumption and wanting to deliver it. more than he could, plunging into a shallow and tiring soap opera melodrama.

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Joe Wright and Amy Adams are two of the most acclaimed names on the entertainment scene, but even the sheer size of the performers hasn’t saved “The Woman in the Window” from failure. Crushed by critics, the feature failed to capture the essence of AJ Finn’s original novel, with an upset plot filled with mediocre dialogue.

“The multiple misunderstandings could easily be ignored – if the work was not taken seriously. The entertainment is there and it even serves the purpose of entertaining, but only when it is not focused on subliminal messages of motherhood and abandonment. Going for a tribute to the slashers would be a better and more cohesive path, but the director insists on betting tokens on a hidden drama that forces connections with viewers and tries to delve into very stereotypical personalities, in the sense of social types in the movies. feature films. Nadja is the anti-heroine who, victim of a curse, tries to do her best not to surrender to darkness; Elijah is the personification of innocence, and as his bow unfolds he plunges into obligatory maturation and sacrifice; Farid (Kais Setti) is the sidekick hero who is ultimately seen as the culprit before the grand finale – and so on. – Thiago Nolla


“‘A Classic Horror Film’ brings one of the silly twists I’ve ever seen in a production like this. Besides deconstructing everything we’ve seen before, it doesn’t make sense in the overall context of To make matters worse, the script is never ready to explore its own twist, and the more we think about all of its circumstances, the more ridiculous and improbable these events become. – Nefferson Taveira


“Trouble” may have passed the mainstream radar of Netflix subscribers – and maybe it was for good reason. The animation revolves around an insufferable little dog who lives in luxury and sees life completely change when his owner unexpectedly dies. Embarking on an adventure to regain what he has lost (if we can call this unfortunate proposition an adventure), he has no arc evolution and remains as snobbish as ever.


“With almost two hours of running time, the comedy lacks the ability to use its screen time wisely and often squeezes into a less dynamic and gripping storyline. Its second half tries to bring in action scenes. more electrifying and the good visual effects even manage to compensate for the lack of humor. But even so, the feature wastes its protagonists, erases Melissa Leo in such a way that we can barely understand it, and causes Jason Bateman to recall it. era of comedy, in a character who tries to be extra comedic relief, but we’re not really interested in. ”- Rafaela Gomes


In the wave of remakes and reboots, the ’90s classic’ Ela É Demais’ (which was no longer those things) received a modernized version that reversed the gender roles and was titled ‘Ele é Demais’. Starring Addison Rae, Tanner Buchanan, and others, the story centers on a popular young woman who accepts the challenge of turning a goofy, antisocial boy into the next prom king of her school. Aside from the fact that the production is totally irrelevant, it is grazed with a forced play and narrative that only copies the original film – which is why it was butchered by both audiences and criticism.

“A Barraca do Beijo” debuted there in 2018 and, despite the clichés, has become a guilty pleasure for Netflix subscribers and romantic comedy fans alike. But what no one understood is why the film turned into a trilogy, expanding a narrative universe (if you can call it that) that is totally unnecessary and that functions as an amplification of any other production of the kind. The third chapter, dedicating itself as the worst of them, is a shameful mix of bad acting, weak script, and meaningless staging.

Another title that promised to rekindle the emotion of the spectators was the horror ‘Vozes e Vultos’. The feature film marked Oscar nominee Amanda Seyfried’s return to the genre in question, but despite some interesting trailers and promotional footage, the job didn’t work out. Bringing countless themes into a two hour long storyline, the film also lacks a frustrating ending and inconsistency.

‘Amor sem Measured’ has become a successful exhibition in the international market – but a good financial reception does not take away the fact that the feature film is one of the worst titles not only of 2021, but also of the entire Netflix catalog. Starring Leandro Hassum and Juliana Paes, the plot centers between a recently divorced lawyer and a renowned small-sized cardiologist. However, even reckless slapstick comedy can’t prevent the work from being a complete bombshell, steeped in cartoonish characters and shrouded in ability controversies, which have caught the attention of names like Peter Dinklage and Juliana Caldas.

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