
Inheriting her grandmother's abandoned hotel, Ruthie Nodd finds herself confronting a haunted past that jeopardizes her relationships. During a weekend getaway with friends, long-held secrets are revealed, and the boundaries between reality and desire become increasingly blurred. The group's escape quickly spirals into a disturbing exploration of darkness and depravity as they uncover the hotel’s eerie history and its impact on their lives.
Does Bad Things have end credit scenes?
No!
Bad Things does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Bad Things, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.
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Bad Things struggles to unify its ambitions, resulting in a film that feels uneven and under‑cooked. Critics note sharp cinematography but fault the erratic direction and inconsistent editing, while audience members repeatedly cite cheap visual and audio production. The combination of weak narrative cohesion and limited craft polish diminishes its impact, leading to a largely unsatisfying viewing experience. Consequently, the film fails to leave a lasting impression and earns minimal rewatch potential.
The Movie Echo Score Breakdown for Bad Things
Art & Craft
In terms of art and craft, the film showcases moments of visual flair, particularly its sharply composed cinematography that evokes a tonal tableau. However, reviewers criticize uneven direction and choppy editing that undermine narrative flow. The production design oscillates between effective set pieces and cheap‑looking sequences, yielding an overall craft assessment that feels more flawed than polished.
Character & Emotion
When evaluating character and emotion, critics repeatedly point to flimsy connections and a lack of chemistry among the quartet, describing performances as dead‑air and unconvincing. A few positive notes highlight Gayle Rankin’s terrifying presence and occasional credible portrayals. Overall, the ensemble fails to deliver depth or emotional resonance, leaving audiences disengaged from the protagonists.
Story & Flow
The story and flow receive the harshest criticism, with reviewers labeling the plot as clotted, incoherent, and lacking a satisfying payoff. Narrative pacing is described as meandering, offering random ideas without clear resolution. While some note a later strange groove that hints at potential, the overall execution leaves the film feeling disjointed and unengaging.
Sensory Experience
Sensory experience is a mixed bag; the cinematography receives praise for its tone‑setting tableaux, and the piano score is described as beautiful by some reviewers. Conversely, audiences criticize cheap visual quality and unremarkable sound design, calling the overall audio‑visual presentation subpar. These divergent views place the sensory component in a lukewarm position.
Rewatch Factor
Rewatch factor appears limited; most viewers express little desire to revisit the film, citing its disjointed narrative and uninspired execution. A minority mention an odd captivation that could prompt a second viewing with friends, but this sentiment is outweighed by pervasive boredom and frustration. Consequently, the film offers minimal replay appeal.
53
Metascore
tbd
User Score
54%
TOMATOMETER
19%
User Score
3.8 /10
IMDb Rating
41
%
User Score
2.3
From 4 fan ratings
0.00/5
Challenge your knowledge of Bad Things with this fun and interactive movie quiz. Test yourself on key plot points, iconic characters, hidden details, and memorable moments to see how well you really know the film.
What is the name of the woman who appears in the hotel management videos Ruthie watches?
Ms. Auerbach
Ms. Harper
Ms. Whitaker
Ms. Langley
Show hint
Read the complete plot summary of Bad Things, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Ruthie Gayle Rankin has recently inherited her grandmother’s abandoned hotel and returns with her girlfriend Cal Hari Nef, their friend Maddie Rad Pereira, and Fran Annabelle Dexter-Jones to spend a few days there, hoping to mend a strained relationship with Cal and maybe try running the place. The old halls feel unsettled, and Ruthie moves hesitantly through the space, balancing the pull of family history with a desire to start anew. She keeps watching hotel-management videos on her phone, among them those featuring Ms. Auerbach Molly Ringwald, a figure who seems to echo guidance and warning at the same time as the place creaks with memory.
When the groundskeeper, Brian Jared Abrahamson, arrives, he speaks with a blunt honesty about Ruthie’s estranged mother, who had been staying at the hotel but has now cut ties and left town. Ruthie reveals to Cal that her mother set up a meeting with a potential buyer for the property, a development that clearly unsettles Cal and stirs old anxieties about Ruthie’s past and present choices.
Privately, Maddie voices a growing weariness about Ruthie’s choices, wondering why Cal stays with her after Ruthie’s infidelity. Ruthie’s tension rises as Fran’s presence becomes increasingly intrusive; Ruthie has kept a secret affair with Fran, and the memory of that relationship still haunts her. The next morning, Fran experiences disturbing visions of former guests, and she becomes increasingly agitated. In her distress, Fran pleads for everyone to leave, but the others dismiss her as seeking Ruthie’s attention and they leave her at the train station, cutting her off from the group.
Back at the hotel, Ruthie begins to hear an echo in the videos, sensing that Ms. Auerbach is talking to her. Cal and Maddie notice Ruthie’s mental strain growing, especially when Ruthie insists that Fran has returned and is a murderer. The tension escalates as Brian unexpectedly returns and is attacked by a chainsaw-wielding figure in another wing of the building. Maddie is assaulted by the same figure, whom she believes is Ruthie herself, and fear drives the trio to lock Ruthie outside after they can’t secure a safe ride away from the hotel.
Ruthie stages a break-in, and inside she encounters a scene that shocks her: the buyers are there to discuss terms, and Ms. Auerbach is present as a consultant. Encouraged by Auerbach, Ruthie refuses the deal, and the group leaves. In the wake of the confrontation, Ruthie tries to locate Cal but instead discovers Brian’s body. Maddie and Cal, convinced Ruthie is the killer, overpower her and lock her in a room.
Inside the hotel, Ruthie is confronted by white liquid pouring from the ceiling and is awoken the next morning by Fran, who has returned to rescue her. Cal, believing Fran still to be a threat, attacks her, and Ruthie, desperate and emboldened, pushes Fran out of a window, sending her to a fatal fall into the empty pool. Maddie wakes and investigates a forbidden hotel room, where she finds the body of Ruthie’s mother, revealed to be Ms. Auerbach Molly Ringwald. Maddie rushes to warn Cal, who finally sees the truth when he notices Ruthie’s mother’s phone in Ruthie’s possession.
Maddie and Cal flee the hotel grounds, but Ruthie pursues them with a chainsaw, killing them in a strip mall parking lot as bystanders pass by without reacting. Ruthie returns to the hotel and finds her mother with Brian in one of the rooms. Her mother shuts the door on her, leaving Ruthie to roam the silent halls alone.
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