Horrible: Film

"Oh my God... this movie exists?"

Can you believe that somebody paid the equivalent of $10 U.S. to see these movies in theaters (or paid about $30 U.S. to watch them at home)? Yeah, we couldn't either. Somebody made these films which, to put it kindly, didn't turn out so well. If you want to see horrible animated films, please check the Animated Films section.

Important Note: Merely being offensive in its subject matter, a Box Office Bomb, or a film you don't plain like is not sufficient. Hard as it is to imagine at times, there is a market for all types of deviancy, no matter how small a niche it is. It has to fail to appeal even to that niche to qualify as this. (If you're unsure whether it belongs here or not, visit the discussion page and give us your input. Otherwise, if it's something you just plain don't like, please don't shoehorn it in, this isn't a page for complaining about things that fail to you.)

Second Important Note: It isn't a Horrible film just because anyone from That Guy with the Glasses and/or any other Caustic Critic reviewed it, or because it was on Mystery Science Theater 3000. Nor is it a Horrible film just because it earned a Razzie nomination/award for "Worst Picture." There needs to be independent evidence, such as actual critics like Roger Ebert and Leonard Maltin (emphasis on plural; Rotten Tomatoes is a good starting point to find those critics, and if the rating on RT is in the single-digits it's a potential candidate for this list) for example, to list it. (Though once it is listed, they can provide the detailed review.)

Examples (more-or-less in alphabetical order):

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    Repeat Offenders 
Listed by last name or company, in alphabetical order.
  • The Asylum is a low-end production company infamous for familiar-sounding Mockbusters—low-budget "remakes" of popular films with suspiciously similar titles. Most of their films end up going direct to Syfy; they still qualify for their rare theatrical releases. They specialize in making cheap Follow the Leader films; apparently, the only way they can get people to watch their films is to trick them into it and throw in a few moments of gratuitous nudity. They have a habit of failing to provide sources for the gushing quotes on the DVD cases. Examples:
    • Mega Piranha, a knock-off of Piranha 3D that's painfully boring with special effects akin to early PS2 graphics, a terrible script, and horrible acting.
    • Mega Shark Vs Giant Octopus. From the title, one would expect a hilarious sci-fi B-movie where two giant polystyrene monsters fight, taking half the world's population with them. In reality...it's just dull. The acting's predictably terrible, the script's weak, the titular "fight" only lasts for two minutes at the end, and the one hilariously So Bad, It's Good scene (the one where the shark manages to jump up to airline-cruising altitude and takes a bite out of a jet) isn't funny enough on its own to redeem it.
    • Snakes on a Train (not to be confused with Snakes on a Plane) is boring and extremely dull. The dialogue is extremely clunky (especially the racist remarks from the redneck at the very beginning), which is especially a total annoyance since the film is just essentially boring conversation scene after boring conversation scene on the train. Not even the few minutes of topless women in the middle was enough to save it. As for the titular snakes, there's one that appears in a very dark lit shot about 20 minutes into the movie (you have to essentially squint to see it), a few garter snakes coming out of a woman's arm, and there's about maybe 17 small pythons or corn snakes in the last 5 minutes, and they don't attack anyone (thus proving the "1000 venomous vipers" claim on the cover to be a complete lie). The closest the film gets to snakes fucking shit up is when the people get off the train, and the female protagonist turns into some fake CG viper and devours the train, then suddenly mysteriously vanishes into a weird lightning flashing sky or whatever. Never has 80 minutes felt so much like 3 hours.
    • Transmorphers—no, not Transformers, Transmorphers. It's painfully boring and the writing is bad, but the worst things about it by far are the special effects and audio. The robots start out like something out of a PS1 cutscene and only get worse as the movie goes on. There's missing sound effects, which lead to sensory-screwing scenes where things explode silently. Also, the first round of DVDs had the audio sync slowly get worse as the movie went on to the point where it was off by over a second. They Just Didn't Care.
    • Their Christian films, such as Sunday School Musical, fare no better. In addition to the wooden acting and poor script, its problems are manifold. The titular "Sunday school" is more like a parochial high school, as opposed to a children's Christian class held before church services. The choir competition is prone to all kinds of Fridge Logic, and tossing around of the Conflict Ball when the lead character is forced to move across town. The music is totally unmemorable, with the actual choir performances limited to uninspired arrangements of ancient public-domain fare such as "This Little Light of Mine" or "Come, Thou Fount of Every Blessing" and all other original songs being weakly-sung with stilted choreography. All of the "good" musicians are African-American. The Christian content is largely limited to offhanded mentions of praying, and a choir member springing a verse from Zechariah on the judges. See Film Brain and Todd in the Shadows rip it to shreds here.
    • The Source, aka The Surge, a ripoff of The Craft. The movie had a 9-day shooting schedule, and their idea of clever camera work was to rock the camera back and forth like a teeter-totter. The acting and writing were horrible, and the titular power source was a big rock with a lens flare behind it.
  • Brain Damage Films: An appropriately-named distributor and occasional producer of every conceivable type of horror film, it's gained a reputation as an egotistical Troma wannabe. Its No Budget releases (almost all of them, as impossible as that may seem) have been met with almost universal disdain, to the point that most websites that even bother to notice them immediately dismiss any film put out by it as a (to quote the now defunct Slasherpool) "home made piece of shit" that tries to compensate for its many, many shortcomings by throwing in as much nudity, sleaze, and awful gore as possible. Take a look at just one of their zero-budget productions, and a few more for good measure.
  • While otherwise a competent, if polarizing, filmmaker, Uwe Boll has one hell of a track record when it comes to video game movies, to the point where petitions have been written to put him out of business. He's on at least one company's blacklist, and another guy's list of things to never discuss within earshot. He also has a sick and twisted sense of humor—for instance, BloodRayne: The Third Reich was simultaneously shot with a Self-Parody Blubberella, where the entire joke was that instead of a Third-Person Seductress the protagonist was now a fat woman.
  • Roger Christian: Once known for his stellar set designs and art direction for films such as Star Wars and Alien, he has since taken a crack at being a director. Let's just say his resulting work...fell short.
  • Coleman Francis: Author of Mystery Science Theater 3000 classics The Beast of Yucca Flats (which for a few enters So Bad, It's Good territory), The Skydivers, and Red Zone Cuba (unanimously considered unwatchable without riffing). As The Agony Booth said about him:
    "Probability dictates that every now and then, a totally clueless director like Hal Warren or Tony Malanowski might punch through and end up making one of the worst movies ever just by pure chance, but to make three of them clearly requires active hatred towards paying audiences."
  • Happy Madison Productions: Despite making some guilty pleasures since 1999, Adam Sandler's production company also made quite a few box office stinkers:
    • Bucky Larson: Born to Be a Star. Puerile, obnoxious, and inept in all aspects, the film feels more like a Saturday Night Live sketch drawn out to feature length. The plot revolves around the titular Bucky Larson discovering his parents were 1970s porn stars and deciding to follow in their footsteps; it was essentially an excuse to cover the script with hackneyed sex and dick jokes (particularly those about small penises). Couple this with hopelessly wooden acting, and you've got the kind of film that gets a 0% on Rotten Tomatoes, for a film so bad the DVD doesn't even have any blurbs from critics on it, positive or negative. Naturally, all of this led to the film bombing, making less than one-third of its budget back in ticket sales. It was eventually pulled from theaters after just two weeks. Cinematic Excrement did a review of the disaster.
      • The film was bad enough on its own, but its failure was probably further precipitated by quite possibly the worst promotional campaign in history, consisting primarily of ads featuring an obnoxious, overly-enthusiastic man yelling loudly at the viewer to go see the movie. Repeatedly.
    • Jack and Jill, a 2011 film that stars Adam Sandler as a set of estranged twins. The premise concerns Jack Sadelstein, a commercial director, who is visited by his annoying identical twin sister Jill. During the Thanksgiving holidays, Jill is wooed by Al Pacino, much to Jack’s annoyance since he sought out Pacino for his Dunkin’ Donuts commercial. Like Bucky Larson, the film's plot is essentially a bad SNL sketch stretched to feature length. Worse still, the gags are all lowbrow and derivative of Sandler's earlier works, there are a multitude of Unfortunate Implications regarding its depiction of Mexicans, the cameos from celebrities such as Drew Carey, Shaquille O’Neal, and John McEnroe are wasted, and the direction is hopelessly careless. The film got a 3% on Rotten Tomatoes, a Metacritic score of 23, and a 3.5 on IMDb. It also won a Razzie in every category of 2011, resulting in a record of 10 awards. If you have a lot of time to kill, Half in the Bag takes a look at it here, Film Brain has his own review of it here, Smeghead gives his opinion here, and Mark Kermode shares his thoughts about it here. The Asian Critic Chick provides commentary on the racial stereotypes here.
    • The Master of Disguise was meant as Dana Carvey's comeback vehicle, but only served to sink his career even further. The movie was a universally-panned ball of bad jokes, offensive Italian-American stereotypes, forgettable disguises, and childishly simple-minded plot, with Carvey deciding to play the "hero", Pistachio Disguisey, as a face-changing cross between Forrest Gump and Mario. The film has a Rotten Tomatoes score of 1% with exactly one positive review out of 102. If you want to get an idea of just how bad this movie is, The Nostalgia Critic suffers through it to explain why it sucks so much.
  • Ulli Lommel is a German director whose career dates back to the early 1970s, gaining mainstream attention in 1980 with The Boogeyman (the second sequel to which, Return of the Boogeyman, also falls under this) which they mention on the cover of all his DVDs, apparently hoping people confuse it with the Sam Raimi-produced one. Though most of his stuff was never well-received critically, it seems that it didn't turn full-on Horrible until about 2004, when he began churning out a long line of Direct-to-Video, No Budget, shameless Mockbuster horror flicks and true crime films that rated less than Uwe Boll even when the latter was at his worst. They include:
    • Daniel: Der Zauberer (German for Daniel: The Wizard), starring Daniel Küblböck (he finished 5th in the German version of American Idol). There's No Budget, and the plot's incomprehensible — for instance, the protagonist's dead grandfather (played by Lommel himself) is the Wizard, not Daniel, and is running around in the world of the living for no clear reason. The German mafia wants to kill Daniel, also for no clear reason (aside from possible influence from the Devil himself. Yes, really). Neither of the major characters are likable, and Küblböck as Daniel is spectacularly bad; he shows here why he was voted "Germany's Most Annoying Man" two years in a row. Apparently, when a theater decided to show a large portion of it as an unannounced special preview, the audience rioted. The film has regularly been in the "top" five or so on IMDb's Bottom 100 since it was released, and has occupied the #1 spot on more than a few occasions. Even Küblböck himself described it as "the worst movie of all-time" in an interview several years after it was released.
    • Diary of a Cannibal is apparently a fictional spin on the Armin Meiwes case, as it advertises itself. It really isn't; for one, the majority of it looks like it was shot through a jam jar. It also mostly consists of the same footage being repeated over and over for 86 minutes, of the boy and the girl staring at each other, and the same axe raising shot. There is a total of three minutes of dialogue, and the best part comes near the end, when she eats the boy she met over the Internet, and we are to assume that potatoes are his kidneys and a steak is his heart. The film would literally be five minutes if you removed the repeated footage. Watch Alex Jowski tear it apart here. Emer Prevost also gives out an extensive view on what's wrong with the film here.
    • The Tomb. It claims to be an adaptation of HP Lovecraft's short story "The Tomb", but it's a rip-off of Saw. The story's about some people wandering around in a tomb (or, well, a warehouse) where they were trapped by some guy and have been tortured. They keep finding other torture victims, who all die. Excited yet? That's an educated guess of the plot. The sound recording's inexcusable, obscuring the dialogue and often slipping out of sync. It has wooden acting, a nauseating Jitter Cam, dollar-store props, and one scene with a man who is supposed to be jogging but doesn't even try to look like it. This is probably the worst "adaptation" of Lovecraft ever filmed. Oh, and the ending makes no sense.
    • Zodiac Killer, the first of Lommel's modern true crime films, is a Mockbuster of The Zodiac, which was also re-released around the same time as the cinematic release of David Fincher's Zodiac. In other words, a Mockbuster of a Mockbuster. Poor production values and performances abound, as does Critical Research Failure (DSM IV is a book about psychiatric disorders, not a disorder itself) and gratuitous stock footage, gratuitous scenes, and obviously-improvised dialogue, all of which drag on. There's pretense in spades, with Unfortunate Implications such as the killer comparing serial killers to all members of the armed forces, and ranting about wanting to join the military so he can kill who he wants when he wants without fear of repercussions. It later had a pseudo-prequel known as Curse of the Zodiac which somehow garnered even worse reviews, with one stating it seemed like it was made "by an epileptic with tourettes".
    • Zombie Nation is another horror film (and we use the term "horror" very loosely) made by him. The characters are dumb, the plot goes nowhere until the last third, and what happens in the last third makes absolutely no sense. Despite the DVD cover shows an actual zombie lunging right at you, this never happens in the film. Worse, the zombie women look nothing like zombies at all . The ending is stupid, too: The zombie girls agree with the voodoo mages who resurrected them to become policewomen and start a cheesburger diet just after murdering the main protagonist. Also, it has nothing to do with the Nintendo Entertainment System game of the same name.
  • Sean McNamara (no, not the character from Nip/Tuck): A director who is apparently so tied up in making sure his films are family-friendly, he is considered to be to family entertainment what Uwe Boll is to video game movies. While some of his movies and TV series worked with audiences (such as Soul Surfer, Treehouse Hostage, Race to Space, Even Stevens, That's So Raven, The Secret World of Alex Mack and Phil of the Future), others...didn't.
  • Nick Millard (a.k.a. Nick Philips): Specifically, his films Criminally Insane aka Crazy Fat Ethel, Criminally Insane 2, Death Nurse, and Death Nurse 2. Criminally Insane is the original movie and is not in itself horrible — if you like 1970s exploitation films, it might be okay. Criminally Insane 2 and the Death Nurse movies come a decade later, are Horrible, and for the most part mix footage from the first film and Stock Footage. Only Criminally Insane 2 is a direct sequel. The four films together are four hours worth of one film with, according to The Cinema Snob, three hours total footage; Criminally Insane 2 is half stock footage from the original film, and the Death Nurse films are each one-quarter from Criminally Insane. One scene is used in all four, and there's one scene of stock footage flashbacking composed, itself, of stock footage... They all use the same five or six actors, and each film has the same credits sequences.
    • The movies still collapse on their own (de)merits. The first one might be a Guilty Pleasure if you're in a forgiving mood, but the other films are just plain bad. They're shot on bad video with terrible quality, the actors are awful, and the scripts are so stock and so linear that the stories (story?) are like 10-minute skits stretched out to an hour in a way that makes Star Trek The Motion Picture look fast-paced. Both Death Nurse films end the same way. The editing is so bad it defies description. The "star" actress that played Crazy Fat Ethel, Priscilla Alden, is not good at acting and plays the same character in every picture, a crazy fat broad who gently taps people with a plastic fake knife about the chest and back. See the Cinema Snob's reviews of the Death Nurse films here and here.
    • Criminally Insane 2 a.k.a. Crazy Fat Ethel 2, the sequel to Criminally Insane, stands out compared to the Death Nurse films. When not showing stock footage from the previous film, the story consists of Ethel having to move into a halfway house due to massive budget cuts to the asylum she was staying at. The movie takes Padding to a whole new level, feeling like a three hour movie despite its 60 minute running time. All of the new footage for the film was shot on a cheap videotape camera with no semblance of any technical proficiency in both the audio and video. The only music heard in the entire film is from stock footage from the previous movie and noise from the video camera is dominant in the newly shot footage. Red Letter Media recalls their experiences for you to enjoy.
    • Along with the post-Criminally Insane Priscilla Alden films, he also made a number of other poorly-received flicks, such as Doctor Bloodbath, .357 Magnum, a loose adaptation of The Turn of the Screw, and the admittedly awesomely-titled Dracula in Vegas.
  • Craig Moss, a director that somehow gets Seltzer and Friedberg's formula of Narrow and Shallow Parody films and makes them even less funny. Away from his parody efforts he's actually proven to be a somewhat capable action director, as evidenced by his Bad Ass films with Danny Trejo, but comedy is definitely not his forte.
  • A pitchman with a cult following on the internet for his creative, humorous infomercials, Vince Offer has also made a pair of comedy anthology films, which...to put it bluntly, aren't nearly as good.
  • Nigel Tomm is an absurdist artist whose work is hated even by people interested in the style, and panned near unanimously for his lack of effort and tremendous pretension (in several media). Every movie in his filmography bills itself as an adaptation, yet it consists of a single color on-screen for 71 minutes on average.
  • Chester Novell Turner has directed only two films, both of them poorly produced with much of the dialogue drowned out by ambient noise or the synthesized soundtrack, and one of them involves dollfucking. The other is a terrible anthology. Black Devil Doll From Hell was so horrifyingly bad that The Cinema Snob still refers to it (and Novell Turner) with terror. When the people of Spanish website Cinecutre reviewed it (in Spanish), the nicest thing they could say about it was that the thing really had a disquieting atmosphere that kept them watching, but only because they expected the police to interrupt the movie at any moment and arrest everyone involved.

    Films 0-G 
  • 476 A.D. Chapter One: The Last Light of Aries is a film written, directed by, and starring Croatian "artist" Ivan Pavletic. The film is apparently about the fall of Rome; you wouldn't know if not for the expository text at the beginning and the costumes. The film is rife with Bad Bad Acting and Stock Footage in addition to nothing but transition shots; 90% of the film consists of dizzying spinning and clashing stock footage so much that you are bound to last 5 minutes before running to the toilet. There's a good 10 minutes of content in a 74 minute movie. The costumes are hilariously cheap looking and the chroma key is even worse, even for a low budget film. The audio editing sounds as if the actors recorded their dialogue in a decompression chamber. Even worse, it's unclear exactly what the message of the film is, or the purpose. And did we mention yet that it's only a part one? Worse yet, Director Ivan Pavletic has proven himself to be extremely immature and unable to take criticism, even going so far as to send threatening messages to YouTube profiles who have given clips even slight criticisms, and apparently seems to be paranoid that people are trying to get him. Even more hilariously, on the film's IMDb page, the film has a 7.8/10 rating with 8 reviews (7 positive and one negative); there's solid evidence that both the rating and the 7 positive reviews were faked. Watch the film on YouTube here, if you dare.
  • Aag, the official remake of the 1975 Bollywood classic Sholay. Despite boasting a strong cast with stars such as Amitabh Bachchan and Mohanlal, this 2007 remake fails to carry and update, let alone understand, the conventions and the social commentary found in the original movie. Among the plethora of problems that plague the film are careless direction, horrid acting, poor attempts of trying to attract youth audiences with Totally Radical dialogue, laughable editing, excessively slow pacing, and terrible music. A far cry from the box-office and critical phenomenon that was Sholay, Aag only grossed 112.5 million rupees (around $1.8 million USD) total at the box office, making it one of the most disastrous Box Office Bombs in Bollywood history. Aag was also torn to shreds by critics and audiences alike; the film has a paltry 2.1 on IMDb and FHM India placed it first in a list of the 57 worst movies ever made. Not even the film's stars defend the movie, with Amitabh Bachchan admitting that taking the role in the remake was a mistake. Here's what the guys from Mind Blasting Cinema Reviews had to say about it.
  • One day, Eddie Murphy will look back on his career and ask what the hell he was thinking when he and the producers of The Adventures of Pluto Nash decided to pull that film out of Development Hell. Bad acting, dull humor, even worse special effects...yeah, this one takes the cake. Murphy later admitted that the film was terrible, but he also stated that it was hard to regret making it because of the paycheck. Alec Baldwin, expressing his outrage, took his name off the film's credits. Film Brain took a look at it in his very first review.
    • In a Robot Chicken sketch, 50+ studio employees killed themselves the Monday after its weekend box office numbers came in.
    • Over $100,000,000 had been invested in Pluto Nash; they had to try and get some money out of it sooner or later. Then again, considering that the film made a grand total of $5,000,000 (which film prints and advertising materials alone would have gobbled up) at the box office, maybe they would've been better off leaving it on the shelf. According to internet funnyman Seanbaby's calculations, they could've actually saved money by throwing away the script and instead filming a documentary of the entire cast and crew eating nothing but $50 bills for two straight years.
  • After Last Season is a 2009 indie film with no discernible subject which reaches levels of plotlessness so high you're left enraged and confused. Despite being made in 2009, it looks like it was made in the 1980s and EVERYTHING looks cheap. The props are absolutely ridiculous (including, but not limited to, an MRI machine made out of cardboard and covered with flimsy printer paper, featured in the very first scene of the movie), every single scene is shot in either someone's bedroom or an abandoned warehouse, and the CGI makes the "Money for Nothing" video look like Terminator 2: Judgment Day. There's a 30-minute scene of two people sitting around looking at horrible CG images that would've looked realistic in the 1980s; it makes the DEEP HURTING sequences in Hercules Against The Moon Men look fast-paced. Carlyle of Spill called it the worst movie of 2009 and the decade, if not the last two decades. Almost everyone would be blissfully unaware of it if it hadn't been briefly featured on The Spoony Experiment. (It was taken down, officially for copyright reasons.)
  • Even the most forgiving Godzillaverse fans have absolutely no love for the 1969 movie All Monsters Attack, better known by its American title "Godzilla's Revenge". It was a film hastily thrown together both to make a quick buck and for kids to have their own Godzilla movie, which probably would have been a good idea if the film wasn't about a kid who dreams about Godzilla to gather up courage to get back at bullies. Most of the Godzilla footage in the movie is stock footage from the previous movies (the only new footage featuring Godzilla are the brief shots of Godzilla when he motions Minilla to come over to him, and during the final battle with Gabara). And despite the film being aimed at children, we are treated to lots of scenes of the main character being bullied or attacked by bank robbers. And this movie is supposed to be for kids??? The film bombed at the box office, made fans embarrassed to be Godzilla fans, and bringing it up around them will not go over well. The Cinema Snob gives his own thoughts on the movie here.
  • American Ninja V (or American Dragons, depending on what cable channel you watched it on), was an in-name-only sequel to the American Ninja series known for only three things: 1) being the only film in the series to be rated PG-13, 2) being the first in the series to be an action-"comedy", and 3) killing the American Ninja franchise (despite not having anything to do with the other four movies). It's currently on IMDb's bottom 100 with a score of 2.4/10.
  • Even fans of Steven Seagal films in general dislike Attack Force, in which Seagal battles violent berserker types created from a drug emptied into the water supply of Paris after one of the team he leads gets murdered by one of them. It opens with credits superimposed over blurred images of what appear to be strippers dancing, then proceeds to a shootout that has nothing to do with the rest of the film before it gets to the main plot. It includes the line "We must find that titty-bar!", and speaking of "lines", almost all of Steven Seagal's dialogue is dubbed over by another voice for no reason. Attack Force earned an absolutely negative 2 and a half star rating on Amazon; take a look at the reviews here.
  • Ax 'Em (released theatrically as The Weekend It Lives) is one of the cheapest, most amateurish films ever made. Made by director Michael Mfume, son of a former Maryland Congressman/head of the NAACP (Kwesi Mfume), this film could be one of the worst released in modern times. It looks like it was filmed with a webcam, and the sound is such that anything in front of the camera can barely be heard and anything to either side of it is impossible to hear; thus, the actors scream off-screen constantly to be heard... and so the volume spikes randomly. There are parts of the film — plot-relevant parts — where the sound cuts out altogether. Even then, the lighting and framing are so terrible that you sometimes can't see what's happening because it's off-screen when it's not supposed to be off-screen! All of this would not necessarily be fatally bad, except the plot is so stock, so poorly written, and so filled with typos (including the opening info-scrawl!) that it's virtually impossible to describe. The actors are possibly even worse, but it's hard to tell. The sound and (lack of) lighting make it all but impossible to hear or see the actors, except for one woman at the beginning who seems to howl "I'm HUN-GRY" every five seconds for a solid hour and a half.
    • To give you some idea of how bad this film is, it starts at a party where the dialogue's mixed in with the crowd — there's no way to hear what anyone is saying, and it doesn't help that everybody's talking in slang. The film then cuts to a man walking into a house with an axe and assaulting an elderly gentleman who's looking for his medicine. The gentleman, when confronted by the ax-wielding intruder, matter-of-factly says "Oh, shit." Inexplicably, the film cuts to public domain footage of a step-dancing show at an university for the opening credits, interspersed with an African-American DJ busting out "yo' mama" jokes at a crowd of onlookers. If you make it that far, you won't believe what happens next. But you don't have to take our word for it. Take his.
  • The Babe Ruth Story tried to tell the story of famed baseball player Babe Ruth...but was rushed to make it out there before he died. The film itself is poorly acted (Babe is played by a former batboy, with all the acting and batting talent that entails; he also played Ruth from adolescence to adulthood looking 35 all the way), heavy handed in its directing, and full of Glurge moments like Babe Ruth curing a kid with cancer by merely saying "Hello" as well as curing another kid by hitting a home run. Nathan Jones has made fun of it here, and The Cinema Snob had a field day with it.
  • Ballistic: Ecks vs. Sever was a mindless action flick starring Antonio Banderas and Lucy Liu as a pair of dueling secret agents. The main problems with the film are that the story makes absolutely no sense (why are the FBI and DIA doing all of their work out of Vancouver, Canada?), and the title is misleading - Ecks and Sever never actually fight against each other, even teaming up to take down the Big Bad part of the way through. The rest is simply a blur of shooting, fighting, explosions, Slow Motion cuts and other action film clichés used to disguise Ballistic's lack of actual substance. It was called the "Worst Movie of the Decade" by Rotten Tomatoes, beating such atrocities as Gigli, Disaster Movie, and Alone in the Dark (2005) (all of which are listed here). When a movie's outclassed by its Game Boy Advance tie-in game (based on an earlier {and far better} version of the script, getting very high praise from even Nintendo Power), you know it's failed. Just read Roger Ebert's review of the movie, or watch the Ebert and Roeper review; it's some of their finest work. The DVD has no blurbs of positive reviews, meaning that there were neither positive reviews nor phrases in the reviews that could be twisted to look positive, so Warner Bros. resorted to describing one of the scenes in the movie to make it seem interesting.
  • Barney's Great Adventure, The Movie based on Barney & Friends. In the film, a couple leaves their kids at a farm with their grandparents, where they happen to be joined by the purple dinosaur. They then discover that a bright and colorful magical Egg MacGuffin that landed on the farm is missing and must be found soon, or else. The story is forced, the human characters are forgettable at best, irritating at worse (especially the douchebag son), and recurring characters from the show, like Baby Bop and BJ, seem to be thrown in for no reason as they serve very little contributions to the plot. With as many arguable Tastes Like Diabetes moments as the series it's based on and inane musical numbers, it's not hard to see why the movie is a disappointment, hated even by the standards of fans of Barney, a series that is itself considered Love It or Hate It. The film was a Box Office Bomb, grossing $11.1 million against a $15-million budget, earning two Razzie nominations (Worst New Star and Worst Original Song) and an IMDb user rating of 2.8/10. It also destroyed the directing career for Steve Gomer (whose output up until then wasn't even that remarkable). To date, he's been strictly regulated to TV directing.
  • Basic Instinct was a box-office smash thanks to an erotic and visceral (if controversial) plot and Sharon Stone's electrifying and seductive performance as Catherine Tramell. A leaked trailer for Basic Instinct 2 promised itself to continue the eroticism as the first, with images of lurid and deviant sexual encounters. The reason why this long-awaited sequel to Paul Verhoeven's erotic classic failed so miserably can be pointed out to one trope: Bait and Switch. Instead of enjoying an extension of the sleazy, carnal scenes found in the trailer, we instead get a simultaneously ludicrous and lazy plot filled with predictable dialogue. In addition to overstretching the material of the original to the point of becoming one-note and unsexy, the film is riddled with painful acting, weak editing, and one heck of a Gainax Ending that only leaves viewers bewildered and outraged by the lack of payoff. Oh, and you don't get to see Sharon Stone's snatch, in case you were wondering. MikeJ gives his review of Basic Instinct 2 for Shameful Sequels.
  • The characters in the imaginatively-named Bear are beyond unlikable, the acting's poor (only Katie Lowes from Scandal seemed to have a career after it was done; it helps she mentions it as an Old Shame), the plot's poorly explained (they don't say where they were going until after the titular bear attacks). The special effects are highly questionable (there are several shots where you can clearly see the lights, film crew, and stuntmen... and when the bear's obviously a guy in a suit), and there are several inconsistencies in the bear's behavior throughout the film. Watch Film Brain tear it apart here.
    • The ultimate low point is when they're crawling out of a pipe. You can see a man wearing a bear glove standing on top, ready to reach through for a Jump Scare after the tunnel scene is finished; as Film Brain points out, he's waiting for a non-existent cue and therefore has no reason to be in the shot.
    • The most surprising thing about this film is that it was produced by (of all people) Freddie Wong, who is usually praised for his great special effects on his YouTube channel.
  • Ben & Arthur was directed, produced, executive produced, written by, edited by, cast by, scored by, and generally crapped out by one Sam Mraovich. He stars as Arthur, a pudgy, whiny gay guy trying to get married to the hunky Ben despite the wishes of his closet case fundamentalist brother and a priest with apparent mob connections. The production values are so poor they make Plan 9 from Outer Space look like Titanic (1997), the acting's hilariously wooden, and Mraovich apparently doesn't know the first thing about film-making because the script's Anvilicious tripe, offensive to gays and Christians alike. Hell, you need only see the trailer to get an idea of how bad this is. While the entire movie's on YouTube, you probably shouldn't watch it.
  • Bio-Dome has it all: Toilet Humor done wrong, obnoxiously annoying attempts at comedy, a major Plot Hole involving a key and scenes where the main characters attempt to rape the female scientists for laughs and are never punished for doing so (resulting in the "villain" becoming much more likable than the main characters). All of this combine to create one of the most reviled "comedies" ever shown in cinemas. The highest points this "movie" has is the brief Tenacious D cameo and the remix of "The Safety Dance" in the closing credits. The film was an initial box office flop, only grossing $13,427,615 in North America (against its $15,000,000 budget) and was thrashed by critics, earning a 5% Rotten Tomatoes rating, a 1/100 Metacritic rating (tying it with The Singing Forest, Chaos and InAPPropriate Comedy for the worst reviewed movie on that site), and harsh reviews from The Nostalgia Criticnote  and Duckyworth. It also killed off Pauly Shore and Stephen Baldwin's careers, and since then, the former has mostly done cameos, work in independent films (such as My Big Fat Independent Movie, mentioned below) and brief voice acting roles. An episode of Johnny Bravo parodied this movie and it's a lot better than its source material.
  • The Brady Bunch In The White House: A 2002 Idiot Plot-driven, Made-for-TV second sequel to the original Brady Bunch movie. The film, in which Mike Brady ends up as President of the US via a contrivance pileup and selects wife Carol as his VPnote , lacked nearly all of the charm and fun of the first two movies and tried to fill that void with jarringly out-of-place sexual and scatological humor - including one gag involving Secret Service agents openly ogling Marcia's (still-underage) butt. Even when the film tried to emulate the previous ones' Fish Out of Temporal Water humor, it tried to play things as straight sight gags, rather than playing up the anachronistic nature of the character's actions (and onlooker's confusion at same). Not to mention the Bradys came across as actively stupid here, rather than merely oblivious. The film has an IMDb score of 3.3 and Rotten Tomatoes audience score of 17%. MikeJ reviewed it here.
  • Brain Drain: A 2009 Spanish comedy with an Idiot Plot about a boy going to Oxford with his friends just to get laid with his girlfriend, massive amounts of Toilet Humour and unfunny gags, two of them being one of the protagonists filling a jar with his own semen and another one sleeping with corpses in a mortuary, and one angle implies that he had sex with one of them. Somehow, this piece of garbage gained 1.22 millions at the box office. Go figure.
    • In 2013, Italian comedian Paolo Ruffini did a Remake of this film titled Fuga di Cervelli, and god only knows how he managed to make an even worse film than the Spanish version: The film is a blatant copy-paste of the original, the main cast has some of the worst Italian comedians and Youtube stars, and Ruffini made them act very trite and repetitive gags that drag on for minutes. The only review on Imdb rips it to shreds.
  • The 2003 Cannes Film Festival cut of The Brown Bunny. The official did okay at best, So Bad, It's Good at worst, but the Cannes version, which its director and main star Vincent Gallo admitted wasn't completely edited (about 26 minutes had yet to be cut out), had even more trouble with pacing. Many scenes were either pointlessly long or merely pointless, which, alongside the stuff present in the final cut — such as Gallo's role as the protagonist (and the countless shots of his face) and the notorious closing scene with Chloe Sevigny — resulted in a freak hybrid of Gerry's absence of pacing and Ctrl+Alt+Del's lack of humility. Roger Ebert, who would later give the final cut a good review, claimed the Cannes cut to be the worst Cannes film he'd ever seen.
  • Can't Stop the Music, a musical faux-biopic of the Village People, which was released all the way back in 1980 but would have a lasting impact on both the world of film and the world of music — and not a good one. Watching it together with Xanadu as a double feature would inspire John Wilson to create the Golden Raspberry Awards; it sank the careers of the Village People and is considered to have not only set the movie-musical genre back years, but also to have been the last nail in the coffin for the Disco era, which was already on its way out at the time of release. It suffers from many, many problems: its story lacks any lasting struggles or setbacks, it’s hard to empathise with our would-be heroes, the designated romantic relationship progresses at an implausible rate and has nothing to do with anything else in the movie, its jokes (ranging from poorly-done slapstick to running gags that seem more absurd than amusing) are goofy and unfunny and it blatantly attempts to pair the Village People up with women while also blatantly pandering to the band’s LGBT Fanbase in a sequence at the YMCA featuring good-looking extras. These issues are compounded by almost universally bad acting, the general loathsomeness of the supposed good guys and a script that clearly only went through a single draft. On Rotten Tomatoes a grand total of 13 critics reviewed it and 12 gave it a Rotten response; even the lone fresh review acknowledged its status as "[A]n absolute trainwreck of a movie", which the reviewer considered only worth watching for its camp value. It was the well-deserved winner of the first Razzies for Worst Picture and Worst Screenplay, and was nominated for several others, including both Worst Actor and Worst Actress. It formed part of the Cinema Snob's Musical March (in September), and his review can be watched here; you can also watch it being mocked by minor YouTube personality Musical Hell here.
  • The Castle Of Fu Manchu. A barely comprehensible plot, painfully wooden acting, and slow, plodding narrative. This film is particularly infamous for being one of the few MST3K movies where Joel and Bot's riffing does absolutely nothing to make the film any less soul-crushingly painful.
  • The Cavern. An indie horror movie made by Olatunde Osunsanmi, it's a pale shadow of better cave-themed horror movies such as The Descent and The Cave. The cinematography is utterly incompetent, with the lighting alternating between impenetrable darkness and blinding brightness. The characters are unlikable dimwits. The plot is completely idiotic, filled with Voodoo Sharks and having a heat-seeking, precision-guided, extra-sticky Idiot Ball, and the twist near the end is completely moronic. To top it off, in an extremely insensitive and reprehensible touch, the film stops in the middle of a rape scene. You can watch Film Brain tear it a new one here.
  • A Certain Sacrifice. A low-budget independent film made in 1979 starring a pre-fame Madonna but never finished due to money issues, it was not released until 1985, when director Stephen Jon Lewicki put it out on video to capitalize on Madonna's fame. Madonna hated the film and attempted, unsuccessfully, to have it pulled - and for good reason. It's easy to tell that it was unfinished, as despite the film only being 62 minutes long, every scene goes on for far, far too long, and the way the scenes are edited together is downright confusing. The plot is mostly incomprehensible (more or less nothing happens until about 40 minutes in, when it suddenly turns into a rape revenge movie) and most scenes are completely purposeless and inexplicable. The acting and dialogue are both awful, the synthesized soundtrack is hideously grating, and the quality of the sound recording is inexcusably bad. And there's an out-of-nowhere twist at the end, with Madonna's rapist being sacrificed to Satan and a terrible song that goes on for seven minutes. Todd in the Shadows expounds further.
  • Children of the Living Dead presents itself as a sequel to George A. Romero's classic Night of the Living Dead (1968). In reality, all it has in common are the words "Living Dead" in the title, one of the producers on Night (John A. Russo) filling the same role in Children, and the fact that it features zombies. What would otherwise have been an unremarkable zombie exploitation flick got turned into an absolute train wreck by the egotism of writer-producer Karen Lee Wolf, who took the film away from the director (he unsurprisingly disowned it afterwards), re-edited it into a total mess, and then hired a bunch of talentless voice-over "artists" to redub all the dialogue in order to make some sense out of the butchered storyline. Add some horrendous cinematography and mediocre zombie/gore effects, and you have a film that can't even hold its own against the cheap Italian zombie movies of The Seventies. The one thing it has in its favor is an entertaining cameo by Tom Savini... who dies five minutes into the film. Diamanda Hagan concurs.
  • Christmas in Wonderland is a 2007 Christmas movie with an All-Star Cast, apparently zero script, and exists solely to piss off the entire population of Edmonton and Canada in its sight. Its main selling point is that 90% of it was shot in West Edmonton Mall (formerly the world's largest) in Edmonton, Alberta, Canada... yet when it's not being a 100-minute commercial for West Edmonton Mall, it's trying to justify its plot by relying on the seminal characters being ten times as moronic as families in average family Christmas films. To make a list of all its inconsistencies would be writing a list as long as the script itself — for example, the opening credits are supposed to be in Los Angeles, yet it's obviously shot in Strathcoma in Edmonton. The two boys apparently hate Canada, yet they have strong Canadian accents. Furthermore, the mall itself is made to look like a magical palace on the exterior, with puke-worthy results. That's only the beginning. The film's an insult to Edmonton and Canada, and the one cinema in the mall that showed it in 2007 dropped it after a week because it's so bad. And boy, Patrick Swayze looked horrible; this is not a film you'd want to remember him by. The fact that in this movie, there is no snow anywhere in Edmonton at Christmas sums up how little they cared.
  • A Christmas Story 2, a direct-to-video sequel to the 1983 classic, was made in 2012, 29 years after the first, with none of the original cast, understandably. The main problem with the film is that all of the jokes are rehashed from the original film in one way or another. For example, there was a scene in the original movie where Flick stuck his tongue on a frozen metal pole and it got stuck, while in the sequel, there is a scene where Flick, now a teenager, is working in a mail office and decides to stick his tongue in a vacuum tube. On top of the rehashed jokes, the film also has the actors phoning in their performances, becoming despicably unlikable, and the nice lesson that girls will only be interested in you if you have a car. Fans pretty much pretend that it doesn't exist, if the YouTube video for the trailer is anything to go by. When the trailer decides to market the movie as the "Official Sequel" to something, then you know you're in for a blatant cash-grab. Bobsheaux talks about it here, making him appreciate the first movie more. Emer Prevost also rants about it here, pointing out the rehashed jokes. Nostalgia Critic also talks about the film here.
  • Daddy Day Camp, the sequel to Daddy Day Care, replaces all of the cast (including Eddie Murphy, whose role was taken by Cuba Gooding Jr.). Aside from relying too much on Toilet Humor, the film was also notorious for its clueless direction, phoned-in acting from the replacement cast, and some of the worst dialogue one could possibly hear from a film that gets theatrically released (it was originally scheduled to go direct-to-DVD). With a 2.7 on IMDb, a 1% on Rotten Tomatoes, and a Razzie for "Worst Prequel or Sequel", it is hardly surprising why Richard Roeper said he had "a finger [he] could use" to review this movie. It's also frequently referred to in Mike Nelson's Rifftrax commentaries when compared to horrifying experiences. You can watch a British person tear this film apart here.
  • The Devil Of Blue Mountain is a "horror" film with zero scare value. What little plot there is relies on the two main characters being ten times as moronic as the (non-villain) protagonists of most horror films. Approximately an hour's worth is nothing but silent footage of the characters walking through the woods. The film's main selling point was that it was shot during Hurricane Ivan, but the hurricane weather is only seen in the first four minutes of the film and serves little purpose but to drown out the dialogue. Oh, and the "Devil" of the title, supposedly the point of the film, was a guy in an obvious fursuit who shows up in the last ten minutes and does nothing but run around, roar a bit, and get shot. Something Awful, as always, says it best.
  • Dirty Love, starring ex-Playboy Playmate Jenny McCarthy. A gross-out sex comedy with a female viewpoint may be unusual (and Bridesmaids proved that it can be done well)... but the novelty of the movie's premise quickly foundered under a bad script (by McCarthy herself), wretched cinematography, tasteless and gross humor, such as McCarthy dancing topless with her breasts covered in vomit and carpeting a store with her menstrual blood. Carmen Electra plays her Black Best Friend as an Ethnic Scrappy, even though she isn't black. The movie won four Razzie Awards, including Worst Picture and Worst Actress.
  • Like the other films in Seltzer and Friedberg's catalog, Disaster Movie displays both a total lack of awareness of the distinction between referencing something and parodying it, a lack of research beyond watching the previews, and wave after wave of of painfully-dated pop-culture references. The rest consists of long running gags that were never funny to begin with. What makes Disaster Movie "special" is that it goes even further on all of this, managing to be more aggressively unfunny, more pandering, more vapid, and even cheaper-looking than the films before it. The film shot up (or down?) to the #1 spot on IMDb's worst film list in less than a day and bombed in theaters. This film was so bad that Pajiba "[refused] to dignify [their] movie with a new review". USA Today film critic Louis Fehrey, in his review, said that Disaster Movie was an insult to the intelligence of him and his fellow Americans and an insult to cinema. He subsequently published an article in USA Today summing up all the reviews of the film, which were near universally negative.
  • What really stands out about Dracula 3000 is all the ways it could have been So Bad, It's Good:
    1. The intro speech mentions Energy Weapons; not one is present in the movie.
    2. The rampant use of familiar names can lead one to believe it's Bram Stoker's Dracula IN SPACE!; it isn't. The vampire isn't even Dracula; his name is Orlock. (And yes, that's a Mythology Gag attempting to use the vampire from Nosferatu.)
    3. The room full of coffins can fool you into thinking that the protagonists are going to face down a vampire army like that in From Dusk Till Dawn; there are at most three vampires in the whole movie.
    4. You might be expecting space vampires to be some kind of grotesque alien evil (hell, even the box cover tries to deceive you with this); instead you'll find a silly old man in a vampire costume that was probably bought at Walmart and looks it.
    5. You might expect a decent final showdown; instead, the protagonists slam a door shut on Orlock's arm, cutting it off, and he breaks down crying and screaming.
    6. You'll be expecting a sex scene after the last human carries the sex-droid towards the bedroom; instead, the ship explodes from getting too close to the sun in order to kill Orlock.
  • Ed was a supposed baseball comedy made to capitalize on the rising fame of Friends star Matt LeBlanc. You get a man who was clearly wearing a chimpanzee suit, unfunny jokes, an unappealing relationship between LeBlanc and Ed, and the film ends up becoming a flop with critics and audiences. It was nominated for three Golden Raspberry Awards, ranks among the IMDb Bottom 100 and sports a 0% on Rotten Tomatoes.
  • In 2004, what could charitably be called an adaptation of English comic strip Fat Slags was released. Not long after seeing it, the strip's creator allegedly underwent Creator Breakdown and threatened to discontinue the strip (though in the event, he settled for having another artist draw it for a few months). Viz had no executive control, which might not have been as bad... were it clear anyone involved had read the strip, or that those who did gave a shit. The film relies mainly on Vulgar Humor and Toilet Humor, which falls flat. Barring that, there's the many crude parodies, the desperate attempts to appeal to the Rule of Funny, the clear lack of budget (Sandra and Tracy's fatsuits are blatantly-padded body-stockings), the ridiculous stereotypes, the clichéd, disjointed plot, and the ham-fisted Character Development. It holds an average score of 1.7 on IMDb. Film Brain, who at the time regarded it as the absolute worst film he had ever reviewed on his show, and at the very least still considers it to be the worst comedy he's ever reviewed, has some not-so-kind words of his own towards it. It also had the side effect, in tandem with the same year's Thunderbirds, of killing screenwriter William Osborne's career.
  • The 2005 remake of The Fog is often cited as one of the worst horror remakes in history, with a 4% on Rotten Tomatoes and a 3.6 on IMDb, and it's not hard to see why. While the 1980 original by John Carpenter is a Cult Classic, this film does virtually nothing right. Terrible and overused special effects that look like they were pulled from a video game from that time do nothing to build tension, only producing some death scenes that border on the laughable. The entire cast was clearly picked mainly for their looks and the fact that they were on popular TV shows at the time, all of them turning in Dull Surprise performances and making hilariously stupid decisions. Finally, it ends on a Gainax Ending that contradicts many of the events of the film and produces more plot holes than it fills. It effectively killed the career of director Rupert Wainwright (who previously made Stigmata and Blank Check and has only done short films and television since), and derailed Tom Welling's career outside of Smallville.
  • From Justin to Kelly features Kelly Clarkson and Justin Guarini, the winner and runner-up of American Idol Season 1. Texan singing waitress Kelly Taylor meets Pennsylvania college student Justin Bell; they fall in love and spend the rest of the movie being annoying. The dialogue's just as bad as the forgettable musical numbers, and wouldn't even have been passable in old cheap 1950s-vintage flicks. Clarkson considers it an Old Shame, and explained it was a contractual obligation; this is (so far) the only time in which Idol winners were required to do a film. It won the Golden Raspberry Award in 2005 for "Worst 'Musical' of Our First 25 Years". Todd in the Shadows teamed up with The Nostalgia Chick to review it. About the only remotely good thing about the movie was that it was the film debut of Anika Noni Rose. Fun fact — this movie was written by Kim Fuller, whose brother (Simon Fuller) created American Idol. Kim Fuller also wrote Spice World and S Club: Seeing Double (S Club was a British pop group that didn't make it in America and didn't survive to its film's release date). It's quite an artistic legacy.
  • Galaxina, a film made in 1980, marketed itself as a sci-fi comedy featuring Playmate Dorothy Stratten (who was brutally murdered the same year). This would be fine if it wasn't one of the worst sci-fi films and one of the worst comedies ever made. The humor value of the jokes can be summed up with the character name "Captain Cornelius Butt"; the science fiction aspects don't go much farther than the title character (played by Stratten) being a sex-bot. The dialogue is painful, the special effects make Troll 2 look state-of-the-art (there's actually a character that looks like he came out of that film), and scenes go on for so long it hurts. There's not even any nudity, even though one scene takes place in a brothel! Then again, what do you expect from a film directed and written by William Sachs (who also gave the world The Incredible Melting Man)?
  • Gamera Super Monster, released in 1980. Whether you love the Showa series, warts and all, or think Gamera is hard to take even with the aid of Joel, Mike, and the Bots... you'll be astounded by how bad this film is. The enemy ship is a blatant Star Destroyer rip-off. The three-girl alien hero team sits and plays a magical music organ with a kid more annoying than all other Kaiju kids combined. In the end, Gamera sacrifices himself to blow up the enemy ship (which itself seems plagiarized from Star Wars) after re-fighting all his foes in footage from prior films which wasn't even edited and didn't have the Godzilla's Revenge excuse of taking place in a dream. When Gamera dies, you feel good for him even though the sequence is lame because he's out of the picture!
  • Based on a brand of trading cards and stickers, The Garbage Pail Kids Movie features cheaply-made and scary-looking costumes, a Running Gag of a zit-covered geek wetting his pants, a romance between a boy who looks twelve and a girl who looks like she's in her twenties note , and a climax where everyone farts and vomits. There's a government agency that kidnaps ugly people and kills them. This aspect, the "State Home For The Ugly", is perhaps the biggest Plot Hole as it brings about a dozen questions the story never attempts to answer. The "heroes" want to catch the Garbage Pail Kids to put them back in their tiny little pail, but they're heartbroken to hear that they'd be imprisoned in the State Home. The Obi-Wan says that they're equivalent to the horrors unleashed by Pandora's Box, yet wishes to save them from the State Home. Why? And the "plot" only goes downhill from there. Leonard Maltin, in his review, argued that the garbage pail the kids live in is "where they are destined to be joined by the negative of this movie".
    • The movie is so bad that Doug Walker himself, during the 2009 donation drive, named this movie as the worst he ever reviewed as The Nostalgia Critic. Doug was so visibly suffering by having to watch the movie in his review that watching the review is painful. Over three years later, in his "Worst NC Reviewed Movies EVER!" list, Doug still called it the worst movie he's ever had the misfortune to review, as well as the worst movie he has ever seen in his life (with the extra pain of Doug actually looking forward at the time of release as he was a fan of the trading cards), ranting for fifteen minutes about the movie — he went so far as to call it "worse than "Manos" The Hands of Fate" — and stating that of all the movies he's reviewed, or just dislikes in general, this is the one where he has never heard a single person legitimately try to defend it.
    • The movie's so bad that not even the review blurbs on the back of the DVD cover have anything nice to say, instead using words like, "vile", "rude", "smelly", "ugly", and "gross". Oh, and it was also removed from theaters by Media Watchdogs for all the Family Unfriendly Aesops and the age-inappropriate humor.
  • In a nutshell, Getaway is a stillborn attempt at combining the racing and thriller genres. The film focuses on former racer Brent Magna (Ethan Hawke), whose wife has been kidnapped by a mysterious villain called The Voice (Jon Voight). As Brent follows The Voice's instructions, a young woman only known as "The Kid" (Selena Gomez) attempts to carjack him, but is ultimately forced to help Brent save his wife. The movie's pacing is fast. And probably too fast for its own good, as Getaway features dire directing, incoherent editing, monotonous plot, insensible dialogue, and horrific acting. The result? A 2% on Rotten Tomatoes, a 23 on Metacritic, and disastrous box office results (it only made $10.5 million worldwide out of its $18 million budget).
  • Ghosts Can't Do It, a failed romance vehicle for Bo Derek directed by her husband John that made their previous films they did together, Fantasies, Tarzan the Ape Man, and Bolero (all of which would nearly come close to being Horrible), look passable. Derek plays a woman in a May-December Romance opposite a 60-year-old man played by Anthony Quinn. Quinn's Large Ham character dies and he becomes a ghost only Derek's character can see who wants to come back to life. His spirit then seeks to enter the body of a younger man in the hopes that they will have sex once again. With dull acting, a lame and hackneyed plot, gratuitous nudity, and even a cameo from Donald Trump As Himself (for which he won a Razzie), it's not hard to see why this stinker was what it was. For the Dereks, Ghosts Can't Do It was the Star-Derailing Role for Bo (whose roles since then have been limited to supporting roles in other movies like Tommy Boy and TV shows) and the final film directed by John. The film has a 2.2 rating on IMDb. The Cinema Snob took a swipe at it, and was not amused.
  • Gigli (pronounced Gee-lee) was made for one reason — to sap money out of teenage girls who wanted to see Ben Affleck and Jennifer Lopez necking. Unfortunately, when the film came out, that was being shown on television for free. The film concerns a developmentally disabled man being held for ransom by two mobsters (Affleck and Lopez). Not much happens beyond the three languishing in an apartment and coexisting. There's a feature-length Romantic Plot Tumor between the two stars which is long on awkward sex talk but devoid of chemistry. Oh, and apparently Ben Affleck's character can cure lesbianism. Not even the stars could defend it. Noteworthy for being the Creator Killer for director Martin Brest (the director of Beverly Hills Cop), who retired from directing films afterwards.
  • Glitter was basically nothing more than a vanity project for its star, musician Mariah Carey. Though it was set in the 1980s, there was very little out-there fashion that literally defined the decade. It also suffers from some wooden acting (particularly from Carey), cheesy music, laughable dialogue and poor writing. The film has a 7% rating on Rotten Tomatoes, is a regular on the IMDb Bottom 100 list, and was nominated for six Golden Raspberry Awards, with Carey winning Worst Actress. One of the few films that was reviewed by Todd in the Shadows.
  • Going Overboard, the first starring role for Adam Sandler, is a cheap No Budget comedy flick that was shot with poor quality on a cruise ship. It has very unfunny jokes that are either stupid or disgusting, a very degrading story about a struggling comedian taking on another comedian, actors doing very annoying stuff, and even the main character addressing the camera like it's more of a fake reality show than a movie. It's a wonder that Sandler's career wasn't killed in its cradle by this flop (though it helped he somehow was able to get his name excluded from guide listings so it appeared he did only a long, long cameo role). Was the subject of Film Brain's 100th review.
  • The appropriately named Gross Out seems to exist because the makers wanted to see how much shit, urine, and vomit could be stuffed into an cheapie 82-minute bottom-of-the-barrel movie, with some good-old-fashioned racism, a butler in blackface, and fart jokes thrown in just for the hell of it. Does anyone really expect a movie with the line "How would you like to suck the worms from my crotch" to be good? For those with strong stomachs, here's the Cinema Snob's review.

    Films H-O 
  • For a long time, the original theatrical cut of Highlander II: The Quickening has been the #1 go-to example of a sequel that completely and utterly betrays the original source material. The immortals are suddenly all ancient space aliens from the planet Zeist (something never even alluded to in the first film), continuity is thrown right out of the window as characters who very clearly died in the first film are resurrected for no reason and gain previously unexplained skills out of nowhere, and the film's plot and visual aesthetics very blatantly imitate cyberpunk films like Blade Runner... and that's just the tip of the iceberg. It's so reviled that the original version was pretty much buried and forgotten. Since then, every significant re-release was severely recut to remove the more controversial elements, such as the whole Zeist thing... and they're seen as So Bad, It's Good at best. The Spoony One couldn't detail every flaw of the original theatrical version, but he came close. Strangely enough, even though it's one of the most notorious goofs in cinema history, it's not even the worst film in its franchise: That honor belongs to Highlander: The Source (see Horrible.Live Action TV).
  • Hobgoblins was a very 1980s "horror" movie about "hobgoblins" (in truth, nothing like hobgoblins but suspiciously like Gremlins) who lived in a vault at an old film studio. They're meant to kill people by causing hallucinations of their greatest fantasies, but only manage this once on-screen. The film features delights like gratuitous sex; a fight scene involving rakes and little Casio noises; terrible puppetry; hair, makeup, and clothing that were hideous even by 1980s standards; and unfunny jokes that mostly revolve around Daphne's promiscuity. So bad, the director offered it to Mystery Science Theater 3000... and even their version is painful to watch despite containing some of the show's best riffs. Aaaand there's a sequel which is equally bad, but was probably aiming for So Bad, It's Good. The special effects are even worse than the original; neither the clothes nor the puppets have changed; and Daphne is still a slut. The whole thing can be summed up with a bonus feature on the DVD titled "Hobgoblins 2: What Were They Thinking?" in which the actors from the first film wonder why anyone would want to reprise their old roles or want anything to do with this monstrosity.
  • The Hottie & the Nottie is a blatant Paris Hilton fame engine with horrid acting, bad special effects, a stockade of clichés, jokes built around insulting people Paris thinks are uglier than her, and the "touching" moral that only the pretty deserve love. Speaking of which, here's an Ebert & Roeper segment ruthlessly bashing this shameless piece of crap. Mark Kermode, meanwhile, slammed the film as a "fascist eugenic tract". Leonard Maltin finishes his review with "Actually, forget it."
  • The Howling: New Moon Rising had little werewolf activity. The only werewolf seen is an actress with a laughably-obvious Halloween mask. The rest of the film consists of bar conversations between director/screenwriter/actor Clive Turner (who had cameos in two previous Howling films and is apparently the same character{s} here to tie up the loose ends in a silly fashion) and the real-life residents of a small town originally built as a backdrop for Westerns. In the end, the film ends up being about 40% country music, 30% exposition, 20% dick and fart jokes, and 10% werewolf-related stuff.
  • Humshakals is an Indian comedy made ostensibly for families about two best friends who get sent to an asylum by the first friend's evil uncle, and are accidentally replaced by lookalikes. From there, it all goes downhill, as the film proceeds to boast a plot furthered only by stupidity, more Unfortunate Implications than you can shake a stick at, unfunny jokes, scattershot plot, blatantly unfamily friendly content, and bad acting (as in "the cast really would rather be somewhere else" bad acting). How bad did it do? Well, it only made $10 million (63.75 crore) of its $12 million (75 crore) budget back, The Hindustan Times gave it a 0.5 stars, and it scored a measly 2.1 on IMDb. Most of the cast consider it an Old Shame, with Saif Ali Khan admitting that acting in the movie was a mistake.
  • I Know Who Killed Me: Lindsay Lohan plays a double role as good girl Aubrey and foul-mouthed stripper Dakota. Throw in a incomprehensible plot, laughable dialogue, the two most inept FBI agents in the history of film, and symbolism that is as subtle as a sledgehammer to the skull... and you've got not only the worst film of 2007, but the one that effectively ended Lohan's career and "it girl" popularity. At the time it was made, it "won" eight Golden Raspberry Awards, then breaking the record set by Battlefield Earth for most Razzies won in a single year.
  • The Identical, a faux-biopic of Elvis Presley... sorry, "Drexel Hemsley" whose story is about "Drexel" having a twin brother who is put up for adoption by his dirt-poor parents during The Great Depression, going on to become a "Drexel" impersonator.note  Despite sporting an All-Star Cast composed of the likes of Ray Liotta, Ashley Judd, Joe Pantoliano, and Seth Green (most of whom were phoning it in or hamming it up), it fails on every conceivable level. Lead actor Blake Rayne (real name Ryan Pelton, a professional Elvis impersonator) is wooden as both Drexel and his twin brother, the story plays out like a parody of rock-star biopics played entirely straight, the production values and the music are laughably amateur, and despite ostensibly being a Christian film (it was funded by a Messianic Jewish group), the religious elements feel stapled on. To give an example, the film stops entirely for five minutes to give an out-of-nowhere message about the Six-Day War and supporting Israel, something that is never mentioned again. It bombed badly, entering the box office at #11 against a post-Labor Day row of films that had been out for weeksnote  despite opening in nearly 2,000 theaters, and enjoys a 4.1 on IMDb and a 5% on Rotten Tomatoes — and of the three positive reviews on that site, one still calls it just mediocre, and another compares it to The Room as a So Bad, It's Good movie. Brad Jones concurs in his Midnight Screenings review.
  • Ever wondered why there's few, if any, American War movies about the Korean War? Well, you can blame 1981's Inchon, a movie that tops many critics' "worst movies of all time" lists, for that. It featured an All-Star Cast led by Laurence Olivier and Jacqueline Bisset, and it was directed by Terence Young (who directed three of the Sean Connery James Bond films), so how did it go wrong? Well, the movie was funded by the Unification Church and its leader, the Rev. Sun Myung Moon, and he saw the film as, first and foremost, a way to spread his religious group's message. Evidently, making a good movie fell by the wayside. The film itself, according to The Other Wiki, starts with a disclaimer stating that it's not a documentary, and it only gets worse from there. The "special effects" include cardboard cutouts for planes, the acting is one-dimensional (Olivier said that "Money, Dear Boy" was his only reason for taking the role, and no one else cared, either), and history is mangled in order to shoehorn in Moon's religious message and political agitprop. The final result was one of the biggest bombs in film history, making only $5.2 million of its $46,000,000 budget, and not even The Washington Times, a newspaper owned by Moon, could bring itself to publish a positive review. The movie was never released on home video, and only appears on obscure cable channels. About the only thing anyone likes about it is Jerry Goldsmith's score (and he once said about another composer who turned it down, "Williams was smart - he got out in time").
  • Perhaps the notorious Innocence of Muslims was only aired twice for a reason. Besides its political slant (which won't be touched on here for presumably obvious reasons), there's the shoestring budget, the wooden acting, crude and incomprehensible "jokes" that include Mohammed sweet-talking a donkey, and the duplicitous backstage antics of director Nakoula Basseley Nakoula, aliases "Sam Bacile" and "Alan Roberts". (Case in point: pretty much nobody except the director had any idea it was an anti-Islamic film. All the references to Islam were obviously overdubbed; there's no effort to even keep the voices consistent!) The kicker: besides Nakoula, literally everyone involved in the production of the film hates it! What's worse, it caused multiple countries to block YouTube after the trailer of the movie was released there.
  • Invasion of the Neptune Men has the dubious honor of being one of, if not the most offensive movie ever shown on MST3K. A barely comprehensible plot, laughable special effects and costume designs, a pathetically ineffective lead, blatant misogyny, and most damning of all it uses actual World War II bombing footage as stock footage. Yes, that's right, the makers of this movie took actual scenes from one of the most destructive, tragic conflicts in modern history, scenes where real people were killed, and used it as cheap stock footage. The film received some of the most intense riffing in MST3K until Hobgoblins came around, and Kevin Murphy considers it one of the absolute worst movies the show's ever riffed on.
  • Following the successes of The Blues Brothers and Wayne's World, the producers of Saturday Night Live greenlit an interminable series of sketch-based movies of questionable quality. It's Pat! stood out as particularly terrible. It, like the skits it's based on, consists primarily of scenes in which the revelation of Pat's gender is set up and then avoided, with a few scenes of Pat just being irritating to pad the movie to feature-length. It grossed only $60,822, among the lowest totals of any major-studio release. The worst part about It's Pat (spoilers ahead; you're welcome) is that the movie never reveals Pat's gender, nor does it even hint at it, thereby negating the entire purpose of a movie based on a skit whose only purpose is to raise speculation about the character's gender! Without that, it's just a feature-film version of a skit which isn't even all that funny in its short forms. Imagine a locked-room murder mystery where neither the killer or the method is ever revealed, and the story just... stops in its tracks at some undefined point after about the sixty-minute mark. If Monster A Go-Go is a Dadaist anti-movie, It's Pat is the cinematic equivalent of Nihilism. Oddly enough, Quentin Tarantino did uncredited work on the script.
  • Jaws: The Revenge takes Sequelitis to unfathomable levels. It doesn't so much have plot holes as it has plot canyons and is over-the-top ridiculous in its execution. This is the premise, to quote Arnold Furious:
    "The plot is that the shark (yanno, the one that Chief Brody killed in Jaws) now has a hatred of the Brody family and wants to kill them all as revenge for Brody's actions in Jaws. Yanno, the shark that's dead. That shark. That shark that's dead, wants revenge."
    • Its badness also inspired an entire stand-up routine by the late Richard Jeni, as well as a review by The Nostalgia Critic.
    • Astoundingly, the Novelization is a decent book. Writer Hank Searls must have realized how ridiculous much of the movie was; he tweaked the shark's death so it was more realistic (though almost anything would've been) and added an interesting subplot about drug trafficking. The novel was based on an earlier screenplay of the movie. It also explained the shark's motives, even if it did end up being the Trope Namer for Voodoo Shark — it was the spirit beast of a Bahamian witch doctor who places a curse on Michael Brody for a slight he made against him. In the film's final version, the voodoo and the drug trafficking were taken out... leaving a Plot Hole about Hoagie's character (an undercover officer investigating the drug trafficking in the earlier draft).
    • The version just before the final theatrical version has the shark killed by being impaled in the boat's prow and sinking into the deep, taking the boat with it. The ending was then changed, but no money was given to do it, leading to one of the worst effects shots in a major motion picture EVER.
  • Keith Lemon: The Film, a movie based on Leigh Francis' alter-ego personality character. Besides the sheer overstretching of the character's material, there's the wooden acting from pointless cameos of D-List celebrities, the poorly written jokes that are filled to the brim with Unfortunate Implications, and the actions from the movie's Designated Hero. This movie was unanimously blasted by critics (a 0% Rotten Tomatoes rating) and bombed at the UK box office. Film Brain in particular was outraged and disgusted by this movie, as you can clearly see in his Projector review. Mark Kermode also despises the film, naming it the worst movie of 2012. You can listen to his review here.
  • The Last Airbender, M. Night Shyamalan's adaptation of Avatar: The Last Airbender. Shyamalan is a self-described fan of the show, which got the fans' hopes up of seeing a faithful treatment. And to his credit, he was the only one who actually gave a damn, and churned out a first draft that was described as "gorgeous". Unfortunately, the production was plagued with enough Executive Meddling (including a ghostwriter who turned out what was eventually shown) to give Shyamalan a Heroic BSOD. The final result ended up being what another famous fan called "an agonizing experience in every category I can think of and others still waiting to be invented", and a product not even the original showrunners could get behind. The movie came under fire almost right after its conception, with every character's race invertednote , and it only got worse when fans saw the finished product. The world was butcherednote , character was completely and totally disregardednote , the acting's hopelessly wooden, the fight scenes are poorly shot, and the choreography looks absolutely nothing like the series' martial-arts roots, with the styles used in bending replaced by random flailing that has no distinction between different elements. The plot reads like a clip show of various Season 1 episodes, except less coherent and made of Swiss cheese (the Fire Nation's Earthbender camp is on land in this one, and yet Aang has to remind them years later that they can escape), and whole arcs are either summarized in narration (such as Sokka falling for Yue) or rendered through utterly-blatant exposition (such as Zuko asking a random Fire Nation citizen about his own backstory). It's one of the first movies on Rotten Tomatoes to get ten rotten reviews in a row right at the starting bell, and markedly outdid Vampires Suck, Twilight, and Sex and the City for "worst picture". Several That Guy with the Glasses critics tore the movie apart, such as the four person team of Y: Ruler of Time, RolloT, Todd in the Shadows, and JesuOtaku here, The Nostalgia Critic here and The Angry Joe Show here. I Hate Everything also covered it here.
    • What makes The Last Airbender even worse is that, for the longest time, many thought that M. Night's assertion that he had indeed watched the series was something of a lie, that he hadn't or perhaps only seen Book 2 and 3. This lasted until 2014 where a former crew member revealed that, yes, M. Night had seen the series, but was hit with a ton of Executive Meddling that essentially killed the film franchise and led to M. Night's fall. It makes reviews of the film like The Nostalgia Critic's a "Funny Aneurysm" Moment due to them continually pinning the blame on M. Night.
  • Lawnmower Man 2: Beyond Cyberspace highlights the dangers of making a sequel to a beloved Cult Classic an In Name Only installment. While the first Lawnmower Man film was also very loosely based on Stephen King's short story, the second movie's plot (if you can even call it a plot) has next to no continuity with both the short story and the first film's plot. The film also suffers from careless direction, weak and outdated visual effects and cringeworthy acting. Speaking of acting, with the exception of Austin O'Brien (who played Peter), everyone in the original cast failed to return for the sequel. The result? A disjointed and awkward trainwreck that more than deserves being a regular on the IMDb Bottom 100. Watch Film Brain give out his review if you must. One release of the original Lawnmower Man bundled this movie as a "special feature" on a separate disc, rather than releasing it as a standalone DVD.
  • Bill Cosby co-wrote, produced, and starred in Leonard Part 6. A 1987 parody of spy movies such as James Bond, this movie suffered from many, many flaws, including weak direction, haphazard Product Placement, and trite dialogue. The plot was also damned by viewers and critics alike, with many viewing the story to be nothing but an arrogant display of self-indulgence. Cosby was so disappointed by what was turned out that, during a TV interview prior to its release, he asked people to stay away from it. And for good reason: it "earned" a 2.1 on IMDb and three Razzies for Worst Actor, Worst Picture, and Worst Screenplay. It was also a major league Box Office Bomb, making up only $4,615,255 out of a $24 million budget. Siskel and Ebert's beatdown and The Agony Booth's recap are worth a look...if only for the lulz. I Hate Everything came across this film, and had quite a few things to say about it.
  • The Life Zone, an anvilicious anti-abortion screed masquerading as a Saw-esque Torture Porn horror film. Just being heavy-handed isn't normally enough to get a film listed as Horrible, but this one can't even get the values it's preaching right. It's about three pregnant women who had been considering abortions who get kidnapped, locked up, abused, and forced to watch pro-life videos and talking points in order to dissuade them from going through with the abortions, ultimately ending on the twist that their captor was the Devil himself, and that the three were dead and in purgatory. Apart from the fact that the film casts its own side as evil people who engage in kidnapping and psychological torture and are literally demonic, the film is simply boring, with poor acting from everyone other than Robert Loggia and a script that comes across more like a pamphlet handed out at a rally than natural dialogue.
  • The American remake of LOL. It took a highly-acclaimed, Cesar-winning French film and turned it into little more than a star vehicle for Miley Cyrus. All the funny moments of the original have the humor sucked clean out and replaced with gratuitous obscenity — which is odd, as other parts of the script were Bowdlerised. It's loaded with padding, and panders nonstop. The plot is mangled, and the dialogue, in terms of quality, never goes beyond trite aphorisms passed off as profound. Its total box office from its first week of release didn't even match The Avengers' first-week per-cinema average. It's considered an Old Shame by the gents at Lionsgate, who couldn't even be bothered to promote it properly, and together with So Undercover (which didn't receive quite as bad a reception) marked the beginning of the end for Miley Cyrus' acting career, although she later gained musical success again (and major infamy).
  • Lost Continent, a 1951 science-fiction film that starred Cesar Romero. The movie concerns a group of rock climbers who are on a rescue mission in a mysterious island to recover a downed atomic rocket. How could such an idea end up as a grueling trainwreck instead of an interesting B-movie? Plain and simple: incompetent direction. The film is poorly paced, as the audience is forced to watch 20 straight minutes of the characters rock climbing, with minimal dialogue, effect on the plot, or even soundtrack music. The characters themselves, despite being played by fine actors, are mind-numbingly dull. Most of their lines are unfunny jokes or generic comments that add nothing to the story. The standout here is probably a completely random moment where one guy seems to be dreaming about humping a plane. The Special Effects Failure only made matters worse, wasting an intriguing twist involving the existence of dinosaurs on the island. Overall, it is hardly surprising that this wasted opportunity of a film got a 2.8 on IMDb, as well as a riff on Mystery Science Theater 3000. It also holds the honor of being one of the only MST3K films that made the normally-placid Joel start shouting.
    "Rock climbing, Joel."
  • The Love Guru was intended to resurrect Mike Myers's acting career following the failure of The Cat in the Hat. Instead of accomplishing it, it sank his acting career even further, as the film suffers from overall unfunny gags (including its heavy reliance on penis jokes), wooden acting (made all the worse since it's coming from a naturally good cast), and its over-focusing on an unlikable main character at the expense of virtually everyone else. In addition, the film flopped at the box office, making back only $40 million out of its $68 million dollar budget, won the worst picture award as well as receiving the most awards and nominations at the 29th Golden Raspberry Awards, and a 14% rating on Rotten Tomatoes and a 24% rating on Metacritic. Mike Myers has regretted starring in the film, as shown in this Saturday Night Live sketch. You can watch Film Brain tear it down here.
  • Lower Learning, starring Jason Biggs, Eva Longoria, and Rob Corddry. It takes badness and vulgarity to uncharted levels, with tasteless scenes and offensive "jokes", including one gag taken straight from Monty Pythons The Meaning Of Life and bungled every step of the way. The filmmakers managed to make 88 minutes seem like 3 hours. The only redeeming aspect is the behind-the-scenes featurette, in which Rob Corddry talks about how the best part was getting paid. Unfortunately, that's Paratext.
  • The 2003 film Marci X. Lisa Kudrow plays a spoiled Jewish heiress who has to take control of a hip-hop record label as well as their controversial artist played by Damon Wayans. The film was slammed for having outdated jokes regarding Jews and hip-hop and claimed that the material was too thin for feature length. It sports a 9% rating on Rotten Tomatoes as well as a score of 2.7 on IMDb. The movie bombed at the box office as well, grossing only a little over $1 million against a budget of $20 million, and director Richard Benjamin hasn't helmed a theatrically released picture since.
  • Based on a comedy book, Martians Go Home is just a continuous annoyance from start to finish. The supposedly "funny" aliens are dreadfully obnoxious, and the unfunny song numbers and slapstick sketches are there just to make the film longer. It scores 2,8 on IMDb and 18% on Rotten Tomatoes. The worst part? In some countries, they had marketed it as a Spaceballs sequel, for no other reason than making money.
  • Metal Man might have been an unintentionally funny Mockbuster of Iron Man , but utterly fails on every way possible. The characters all have a heat-seeking, precision-guided, extra-sticky Idiot Ball, the story is stupid, the CG is the fakest you'll ever see, and the villain exists only For the Evulz. The powers of the suit are all useless and they are used just once in the whole film, and they are never used (or even mentioned) again. Youtubers Sean Yeager and Emer Prevost both reviewedthis stinker.
  • The 1965 film Monster A-Go Go. Its original director, Bill Rebane, ran out of money while making the film and left it half-finished in 1961. Four years later, Herschell Gordon Lewis was looking for a B-movie to release with Moonshine Mountain; he found this, shot new footage of sitting around and talking, and released it. This led to an awkward movie that even fans of Mystery Science Theater 3000 found hard to sit through, riffing included. The film's filled with replacement actors, Take Our Word for It moments, scenes with a taller-than-average man with an acne problem as the monster, and one of the strangest twist endings ever. The heroes are hunting for some vague spaceman monster thing in some subway tunnels, and then this happens:
    • ...so there was no monster after all. False alarm, sorry to make you sit through the movie, have a nice day. Please stop asking what happened to all the people the monster killed, there was no monster! It's like a Dadaist anti-movie...except instead of making us question our conceptions about beauty and what makes a good movie, it sucks. The Mystery Science Theatre 3000 team has stated that, yes, they believe this to be the worst film they ever featured.
  • There's a reason why Movie 43 has become one of most notorious films to come of the 2010's, going so far as to win the Razzie for worst picture of 2013. Its fully-loaded All-Star Cast (which included actors like Halle Berry, Kate Winslet, Hugh Jackman, Emma Stone, Richard Gere, Naomi Watts, and Johnny Knoxville) and sheer number of directors can't save this disaster from collapsing under its truly disgusting jokes, lack of creativity in the script, and jumbled editing. It was panned by almost every reviewer, receiving a 4% on Rotten Tomatoes, a 4.4 on IMDb, and a Metacritic score of 18. Richard Roeper has called the film "the Citizen Kane of awful movies" and it is currently on the MRQE's list of the 50 worst movies ever. It served as the Creator Killer for the Rogue film company, which was quietly euthanized after Movie 43 became a huge critical bomb. Now you know why this movie is hands-down one of the biggest atrocities in recent cinema history, relax and watch Mark Kermode tear this film a new one. While you're at it, check out the reviews from Spill here and here.
  • My Big Fat Independent Movie, a 2005 Seltzer and Friedberg-esque movie featuring parodies of independent movies such as Clerks, Swingers and My Big Fat Greek Wedding. Perhaps it may have had some potential if done with undertones of love to the original work, but instead it's just a shallow mess that attempts to deconstruct the movies shown even though there were barely anything wrong with them. It earned major internet backlash when it was first released because of this concept, and was singled out for the fact that most mainstream filmgoers would only get a handful of the movie references featured. And then everything went From Bad to Worse when the reviewing publication Film Threat, who co-produced the film alongside Anchor Bay, gave it a highly positive review and in their review called anybody who hated the movie an idiot. The script and acting in the final result are downright awful, and the film opens with a scene involving man-on-man molestation. The film was a Box Office Bomb, earning only $4,655 out of its $3,000,000 budget, and has since fallen into obscurity. It received the "BOMB" (1 star out of 4) rating from Leonard Maltin, who called it "unfunny, self-indulgent, and a struggle to watch." The film posters are even worse, taking incredibly mean-spirited shots at the movies being parodied, advertising the movie as something for "everyone who wanted to slap that sweet French girl" to see, and even going forth to say that "some of you may not be cool enough to laugh at this movie."
  • Nativity 3: Dude, Where's My Donkey? is a catastrophic failure of a holiday movie. The threequel of the British holiday franchise stars Martin Clunes as Mr. Shepherd, a teacher who loses his memory when the nativity donkey kicks him in the head. The film's plot, which has the pupils of St Bernadette's trying to get Mr. Shepherd to New York and remember Christmas with his fiancee (Catherine Tate), is a disorganized mess filled with ear-piercingly bad dialogue. The few characters who returned from previous Nativity movies have grossly devolved into flanderized caricatures of themselves and repeat the same mistakes they've done in previous films without any of the charm. The film also features cheap-as-chips sets and horrific musical numbers filled with poorly-synced choreography. As identified by the 3.5 rating on IMDb, moviegoers and critics alike in the UK have blasted the film to hell and back. Entertainment One has removed the like/dislike and comment features from its trailer on YouTube and it's likely that the franchise has been ruined by this disaster. Mark Kermode shares his thoughts here and Matthew Buck gives his two-cents here. When Clunes did a guest spot on Have I Got News for You, not only did the panel constantly take the piss, but Clunes also joined in with the bashing.
  • The Neverending Story III: Escape from Fantasia, yet another property In Name Only. Neither the most basic aspects of continuity (the Childlike Empress' castle isn't the highest point; it's possible to intentionally find the Wandering Mountains; Bastian's dad knows nothing about Fantasia) nor characterization (the Childlike Empress is a bossy 20-something-year-old; the wise Falkor now has the appearance (and brains) of a giant flying Scottish Terrier; the Rock-Biter becomes a Bumbling Dad in a Sitcom ripoff and at one point sings "Born to Be Wild") nor much else (the villain, in stark contrast to the Eldritch Abominations of the first two, is a bunch of school bullies; at no point in the film is the theme song played; Atreyu is completely absent) was even considered, and that's before factoring the heat-seeking, precision-guided, extra-sticky Idiot Ball, one blatantly moronic case of But Thou Must, the constant Critical Research and Special Effects Failures, and the great many Plot Holes. You shouldn't ask Jack Black (who plays the main villain) or The Nostalgia Critic (who reviewed the movie) about it...
  • Night Junkies is attempting too much with too little. A first-time director with no budget makes a movie that can't decide whether it's an attempt to cash in on post-Twilight vampire-romance enthusiasm, a skeezy softcore skin flick, or a deep and meaningful investigation of the damage that drug addiction causes (like Requiem for a Dream). The film has terrible acting — it's unclear from his accent where the lead actor is supposed to be from, and the villain is supposed to be Ax-Crazy but just looks like he's having seizures. The script's awful, and the pacing's terrible. The nature of vampirism in The Verse is undecided — does it make you tougher than a human, or is it just a lamer version of mundane drug addiction? Who knows? Who cares? The only redeeming factor is the nudity, and there are works that do that better than this.
  • Night of Horror. The "plot" is as follows: a bunch of ugly old farts and a rather pretty girl go on a road trip to the Virginia Mountain Country; 30 minutes of driving can be seen. They then arrive at the site, and at night are haunted by an old ghost. They then bury a fake-looking skull. Bam, movie over. But that's not all: there's a disclaimer at the start of the film warning people that it's "a depiction of an actual event", yet at the very end there's a warning stating that the characters and stories are fictitious and any resemblance to persons living or dead is purely coincidental. There is also a smudge on the lens for 10 minutes of the film. It would be on the other end of the spectrum if it wasn't so dull. The Agony Booth, as usual, says it best here. (The Cinema Snob also tackled it). The director also remade it as Curse of the Screaming Dead, which, as the Booth made sure to point out:
    The rights to distribute this movie were eventually bought up by Troma Studios, who repackaged it as Curse of the Cannibal Confederates and proudly declared it to be one of the worst films in its library. I say again: It's one of the worst films in the library of Troma Studios. And as terrifying a statement as that is, [Night of Horror] is that much worse.
  • North is considered Rob Reiner's worst movie, hopefully ever. A child prodigy feels that he's unappreciated by his (admittedly not the best) parents and decides to go look for new ones around the globe. That sounds like a good idea for a movie, but guess what? Unfortunate Implications abound, with stereotypical Texans, Hawaiians, Eskimos, Amish, Africans, Chinese, and French. The jokes that don't involve terrible stereotypes aren't funny at all. The moral is sadly broken when North is supposed to accept his parents despite their flaws, and then the film reveals itself to be All Just a Dream. The movie bombed at the box office and received a very scathing 0-star review from Roger Ebert (and an equally-scathing review by him and Gene Siskel) that only one person thinks is too nice. Reiner's hitherto awesome career never recovered.
  • Nukie was intended as a children's movie (specifically, a South African E.T. ripoff), but what sort of sick monster would show it to a child?! The Cinema Snob has ranked it as even worse than Ax' Em, Night of Horror, and Las Vegas Bloodbath as perhaps the most painful movie he's ever reviewed. See his review and you'll find out why he hates it so much. This review sums up the film's failures in this paragraph:
    "Talking animals with no explanation, poor acting, twins characters that the filmmakers couldn't keep track of, poor science, scenes that add nothing to the rest of the movie, poor writing, comedy that isn't funny, poor special effects, annoying repetitious use of documentary technique for scene transitions, and alien protagonists that unintentionally resemble giant pieces of fecal matter."
  • The Omega Code, a film about the End Times. Casper Van Dien, Michael York, and Michael Ironside become involved in a plot where a code is found in The Bible that allows the UN to be replaced with a Nazi-esque One World Government that nobody seems to object to. It brings about the end of the world, but only after York (the Anti-Christ) becomes stronger because he was shot in the head and Van Dien's chased by a demon truck. The effects and sets look like something out of a bad Twilight Zone episode. The only redeeming thing about this film is its sequel, The Omega Code 2: Megiddo, that manages to be So Bad, It's Good due to York reprising his role with enormous amounts of ham, and an idea so awesome that it really needs its own movie - R. Lee Ermey as the President of the United States!
  • The American remake of One Missed Call. The remake not only bungled every last component of Takashi Miike's classic, it also shamelessly ripped off other horror movies such as Final Destination and Gore Verbinski's rendition of The Ring. The film also failed in adapting the scenes directly ripped from the Japanese version, bewildering viewers who did not watch the original and angering the viewers who did. Even if the movie was not a remake, the film's plot is hopelessly lazy, the acting is poor, and the "shocks" were anything but scary. The remake's shortcomings were so egregious that it effectively killed any further interest in remaking Japanese horror films. As of this writing, it has a 0% rating on Rotten Tomatoes and a score of 3.8 on IMDb. The film also received the "accolade" of being named by Rotten Tomatoes as the 2nd worst movie of the 2000's.
  • The Oogieloves in the Big Balloon Adventure, a children's film produced by Kenn Viselman based on a series of Public Service Announcements and a concept purchased from a No Budget Edutainment Show. It was done on $20,000,000, but doesn't even remotely show it, instead faithfully adhering to every negative stereotype associated with children's entertainment. It's built around Audience Participation, rare for a cinematic release, but completely mishandles it. The plot is nihil. The writing is infantile at best, with the odd jarringly transparent Parental Bonus. The songs are inane and repetitive, and they saturate the film. Not even the multitude of star actors (a good chunk of whom are completely unsuited for their roles) could save it. It made less than two percent of its budget back, underperforming Delgo in its opening week. You can watch Brad Jones and his friends tear this movie to shreds here. Nathan Rabin also had some harsh words in his "My World Of Flops" article for this film, which you can read here. Cinematic Excrement talked about it here and here. I Hate Everything also talked about it here for his Search for the Worst, and considered it the worst movie he'd seen until several other films came along.
  • Outtakes is an obscure and astoundingly non-funny No Budget sketch-comedy from 1987, sadly remembered as the last movie for F Troop's Forrest Tucker. A would-be satire of modern pop-culture, Outtakes fails on all possible levels, with skits ranging from the tediously lengthy to the moronically offensive. This damning assessment is far more amusing than the actual movie. Somewhat improbably, despite condemnation from all circles, the movie actually spawned an equally humor-challenged sequel (also directed by Jack M. Sell who wittily entitled it More Outtakes).

    Films P-Z 
  • Pimp is a 2009 mockumentary that was directed, co-produced, co-written, and starred Robert Cavanah. Cavanah plays as Woody, a Soho pimp who works for Stanley, a mob boss played by Danny Dyer. Through the course of the week, Woody gets caught up in involvement with Chinese triads and snuff webcasters. This perfectly interesting plot is ultimately wasted, no thanks to the film's dreadful acting, rambling and directionless story, lack of insight to the sex industry, and oblivious direction. These issues were enough to convince the critics and viewers alike to trash Pimp to kingdom come, as the film got a 0% on Rotten Tomatoes and a 2.8 rating on IMDb. Pimp was also a disastrous Box Office Bomb in the UK that has yet to receive an international release, as it got pulled after only one screening on its opening day. Listen to the Mark Kermode review here if you're interested.
  • Pledge This!, yet another memorable film starring Paris Hilton. Much like The Hottie & the Nottie, Paris' character is a full-on Mary Sue and all the attempts at humor fall flat. It's packed full of immature jokes and Toilet Humor even Surf School was head and shoulders above, and all of it is written (and acted) miserably.
  • Released in 1987, Plutonium Baby stands as a prime example of how not to make a B-Movie. Thanks to deplorable directing and editing, the film makes several sharp jumps in settings and plot points without any warning whatsoever. Speaking of plot, the story is excessively slow and filled with painful dialogue, weak special effects and pathetic acting. Oh, and what about the title character? He doesn't appear until the last few seconds of the movie! As if that wasn't enough, fans of over-the-top horror/nasty movies like films from Troma view this film unfavorably due to the lack of gore and the wasted potential of the title monster, as it currently "boasts" a 2.4 IMDb rating. You know this film is a fiasco when The Cinema Snob compares this film unfavorably to Nukie, which you can see here.
  • Pocket Ninjas, a 3 Ninjas rip-off that manages to look like someone took discarded storyboards from the Parvum Opus of Power Rangers and decided to film them on $30 and whatever kids they could pick up from the local playground. Plot elements happen in almost reverse order, the main villain (played by Z-movie veteran Robert Z'Dar) makes maybe two appearances before being replaced by his kids, eco-conscious messages are shoehorned in such a blunt fashion that Ted Turner would shake his head, the voiceover outright lies about the circumstances of the film (opening with a mention of the kids saving the universe when all the stakes are entirely local), the characters are dumber than stones in remedial class, and the dialogue thinks "butt-whiff" and "fat Republican" are the height of classy insults. Something Awful takes a hatchet to it here, and if that's not enough you can watch it eat a part of Obscurus Lupa's soul here.
  • When The Nostalgia Critic challenged The Angry Video Game Nerd to review the worst "nostalgic" movie he could find, he found Ricky 1 - a movie so obscure, he remarked the copy he found was probably the same he saw at a video shop when he was a kid. Although the film was meant to be a parody of the Rocky franchise, Ricky 1 ends up as a flick that suffers from poor editing, cheap-looking sets and costumes, and clueless directing. What's worse, Ricky 1 takes the usual characteristics of bad parody films and somehow makes films from Seltzer and Friedberg look inspired in comparison. Unfunny sight gags? Check. Lousy, outdated puns? Yep. A juvenile, trite, and just plain annoying sense of humor? That too. Overall, it's no wonder why Ricky 1 currently has a 1.5 on IMDb and a 6% audience rating on Rotten Tomatoes. In case if you're interested, The Angry Video Game Nerd shares his thoughts here and you can watch the full movie here.
  • Rock: It's Your Decision is quite possibly one of the worst Christian propaganda films ever made. It concerns around a Christian boy named Jeff, a rock music fanatic who concerns his mom, because she believes that all rock is evil and that he is harming himself by listening to it. He is then given a dare from a preacher to give it up for a week and research why it's "bad", and then becomes a fundamentalist, bigoted jerkass who alienates his friends by chewing them out for daring to listen to rock. The film is utterly painful to watch as Jeff claims several things about rock (such as it being occultist) that he never backs up, and he winds up becoming an unlikable protagonist who is forced to hate something he likes, while his friends become Designated Villains who bring up several good points about why Jeff is wrong—among other things, he makes Melissa cancel her plans to go to a rock concert and forces her to listen to another station in the car, and gets pissed at Marty for simply playing (instrumental) rock at his party. The film ends with a mind-numbingly stupid speech from Jeff, who then makes up a huge list of Satanic songs that includes Santana's "Evil Ways" (even though the song begins with "You've got to change your evil ways"), Jefferson Starship's "Dance with the Dragon" (which is about the Chinese Year of the Dragon, not a Satanic dragon), The Rolling Stones' "Sympathy for the Devil" (which is written from Satan's view and has him claiming responsibility for various historical atrocities), AC/DC's "Hell Ain't a Bad Place to Be" (which is a metaphor and is about a narcissistic man tormented by the women he hooks up with), as well as several songs from Rod Stewart and even (get this) The Captain & Tennille just for having slight, non-explicit mentions of sex. With poor camera quality, terrible messages, and hints of homophobia near the end, it's no wonder why the film has been torn apart in recent years. The film has a 1.6 rating on IMDb, and was torn apart by several reviewers: Shock Cinema, Letterboxd, The Agony Booth and Brad Jones on DVD-R Hell.
  • R.O.T.O.R., a Terminator / RoboCop ripoff where a robot cop is in development for a nihilistic future to judge felonies and misdemeanors and kill the people responsible for them but is activated early. The title robot is incredibly inept and the movie is full of Padding, pretentious dialogue, Fight Scene Failures, and continuity errors. It also can't seem make up its mind on whether it wants to be a serious movie or a parody of the movies it is ripping off from, leading to serious tonal problems. And to top it off is one of the most unnecessary Diabolus Ex Machinas ever to be in a bad movie. Watch Red Letter Media rip it a new one.
  • The 2002 remake of 1975's Rollerball. Although an attempt to update the story in almost modern times, this version suffers from dropping the dystopian concept, too much violence, choppy editing, too many attempts to pander to a teenage audience, and a confusing narrative. The film also features a sequence featuring night vision, where you can barely see everything on what was going on. In addition to that, the film was a huge Box Office Bomb, making just $26 million worldwide against a budget of $70 million. It also derailed Chris Klein's promising career, and along with Basic the next year, director John McTiernan would never direct another movie again. Rollerball has a 3% rating on Rotten Tomatoes while it also has a low score of 2.9 out of 10 on IMDb. Here's That SciFi Guy doing a review of it.
  • The film adaptation of Ray Cooney's hit West End play Run for Your Wife. The film stars Danny Dyer (making his second appearance in this folder - see Pimp above) as a bigamist taxi driver who deceives his wives (Denise Van Outen and Sarah Harding) to keep them away from each other. However, whereas the play was a well-received farce, its film adaptation ended up as yet another Awful British Sex Comedy that failed miserably. This is thanks to horrible acting, a confused plot, retrograde and misogynistic attitudes toward women, excessive and pointless cameos from celebrities such as Judi Dench and Ray Winstone,note  and a lack of timing for lazy, uninspired jokes. The horrible casting decisions such as making Danny Dyer the lead character of this movie adds insult to injury. The perfect storm of these shortcomings allowed Run for Your Wife to earn a 0% on Rotten Tomatoes and a 2.5 on IMDb, with many critics commonly comparing this film unfavorably to Sex Lives of the Potato Men (one critic declared that thanks to this, Movie 43 was now only the second worst movie of the year). Run for Your Wife was also a Box Office Bomb in the UK, earning only £747 at the box office, and effectively finished Danny Dyer's film career. Mark Kermode shares his thoughts on the matter.
  • Santa and the Ice Cream Bunny is a 1972 children's film that would probably be unknown if it weren't for The Agony Booth. Ice cream never appears in the movie, and most of the film is a hideously-poor adaptation of Thumbelina; Santa and that bunny are a mind-numbing Framing Device to kill time. The opening frame consists of a sweaty Santa having children bring all manner of local farm animals in attempts to roust his sleigh out of a half-inch of sand. The finale's mostly the Ice Cream Bunny driving slowly while children sing an inaudible song. The Thumbelina film has a frame story of its own with a girl wandering around an amusement park and staring at some kind of Thumbelina display and a recap narrated by Thumbelina. The kicker? The director of this movie was the real life inspiration for the Steve McQueen character in The Great Escape. He escaped to do this? Picked up from Public Domain and run with by the RiffTrax crew. Even the Rifftrax guys got stumped, admitting at one point in the film that they had nothing to say about the insanity on-screen.
  • Santa With Muscles is a horrible Hulk Hogan movie that makes other Hogan movies seem enjoyable. The plot revolves around Blake Throne (Hogan), a fitness guru who sells health products under his name. He makes a paintball game for his employees after refusing to give a charitable donation. Their speeding and all-round roughhousing catches the attention of the local authorities. Hulk escapes into a mall, changes into a Santa outfit, hides in the trash, and gets whacked on the head. The mall elf convinces Blake that he's the real Santa Claus... and the film goes downhill from there. The Idiot Ball's passed around a lot — adults believe a famous bodybuilder is Santa, the Mooks are easily dispatched by children, police officers are armed with rocket launchers, etc. And it has almost nothing to do with Christmas besides Santa. It's a cheesy action flick. This is considered one of IMDb's top 100 worst movies of all time and barely got recognition when it hit theaters. The Spoony One has reviewed it and Cecil defends it... but keep in mind: His show is called "Good Bad Flicks". You will not be surprised to hear that Mila Kunis (whose big-screen debut this was - she plays one of the kids) would rather you didn't bring it up.
  • Saving Christmas, a film by Growing Pains star turned evangelist Kirk Cameron that has been cited as one of the worst Christmas movies ever made. The production values are like those of a home movie, with terrible actors (most of them cast from among the director and Cameron's family and friends) and a plot that goes nowhere. Its greatest sin, though, is how it's built around the heartwarming message that the True Meaning of Christmas is all about crass commercialism, portraying the guy criticizing the materialism of the holiday as a strawman for Cameron to cut down with painful contortions of history and Scripture. To top it all off, Cameron tried to get his fans to flood sites like Rotten Tomatoes with positive reviews, which backfired predictably and led to a torrent of negative reviews that sent the film to the top of IMDb's Bottom 100 in a heartbeat. Oddity Archive has a look at the movie here. The movie wound up "winning" the most Golden Raspberry Awards that year, including Worst Actor and Worst Picture. Brad Jones and the rest of Team Snob were so flabbergasted by the film's astounding awfulness that they ended up posting three separate reviews.
  • The Seeker, loosely adapted from The Dark Is Rising. It takes They Just Didn't Care to new and amazing levels — the screenwriter didn't read the whole book, and the director admitted that he hated fantasy. The result was about what you'd expect, only worse. They changed so much so badly that the movie was universally loathed not just by the fanbase, but by critics and viewers who'd never read the book. The Stantons are a large, loving British family in the book; they're now an American expy of the Weasleys, if they were dysfunctional and one-dimensional. Main character Will is a thoughtful, wise-for-his-years eleven-year-old in the book; he's now a Jerk Ass, whiny fourteen-year-old who's more interested in using his powers to impress girls than accomplishing his quest. The plot was butchered almost beyond recognition, bearing very little resemblance to the source material. The writer and director took pride in throwing out the Celtic Mythology elements that gave the series its depth. The movie was so terrible, it's difficult to imagine how anyone would've thought it would do anything other than bomb horribly... which it did. It had the second-weakest debut of any movie ever, and holds the record for the largest theater-drop (the number of cinemas who dumped it from their lineup after the obligatory three weekends). It's made worse by the fact that the trailers described scenes not in the movie.
  • Sex Lives of the Potato Men, a 2004 attempt at reviving the Awful British Sex Comedy genre, is about the sex lives of a group of potato delivery men in Birmingham. Throw in a terrible director, a script devoid of taste or humor, appallingly-awful performances from the two leading actors (Mackenzie Crook and Johnny Vegas) — who were both made to look as grotesque as possible just for the Squick factor of them trying to have sex — and a supporting cast with Brummie accents so thick you can't make out a word of what they're saying. The result? A movie described by critic Christopher Tookey as "enough to put you off sex, and films, for life" and in national newspaper The Times as "one of the two most nauseous films ever made". The producers even admitted it in the film's tagline:
    "The search for the lowest form of life on the planet is over."
    • To cap it all, the film was widely criticized because one-third of its £3,000,000 budget was public money from the National Lottery granted by the UK Film Council.
    • How bad was it? Between this film and Fat Slags, there was actually public discussion over the decline of the British film industry. While many films may make you worry about the cinematic artform, it takes a special film to make an entire country suspect their film studios are falling apart. Emer Prevost shares his thoughts here.
  • Sextette: Mae West's final film concerns the octogenarian’s marriage to the 32-year-old Timothy Dalton, which is obsessively covered by a series of newscasters including Regis Philbin, Rona Barrett, and Gil Stratton. West is coated in makeup and shot in soft focus to hide the fact that she was 85 years old at the time of filming and looked every day of it. On top of all of that, it's a musical featuring such numbers as a cast of bellboys singing "Hooray for Hollywood", and West and Dalton themselves covering the Captain and Tenille's "Love Will Keep Us Together". Ex-husbands are played by George Hamilton (a film noir gangster), Ringo Starr (a temperamental director), and Tony Curtis doing an Anton Chekov Berlitz Annex of Russian Stereotypes; they all show up to prevent the newlyweds from having sex. Keith Moon shows up as a gay fashion designer, Alice Cooper shows up and sings the final song, Dom DeLuise does a soft-shoe number on top of a piano singing "Honey Pie", numerous Mr. Universes show up and flex...and there's a subplot about Mae and her new hubby both being secret agents. If any of this sounds even vaguely amusing, it's being told wrong. This is a black hole of comedy, failing at the box office despite the wattage of its cast. And it's probable that at least some of the Fan Disservice is Fetish Retardant. Diamanda Hagan's words on the matter here.
  • Skidoo was an attempt by Otto Preminger and other has-been celebs at the time (such as Groucho Marx and Jackie Gleason) to appeal to the 1960s counterculture generation. What resulted was a movie whose Totally Groovy attempts to be relevant are completely deranged, as well as having characters ranging from unpleasant to just sad to watch (poor Groucho Marx is pretty obviously reading off cue cards — and having trouble due to his bad eyesight). It ended up being so bad that the Preminger estate refused to release it after its three-week run in theaters, causing many people to want to watch it just to see how bad it is. For the morbidly curious, it does turn up on Turner Classic Movies from time to time. Its only saving grace is that Harry Nilsson did the music. He also sings the closing credits. All of them. Even the copyright notice and logos.
  • The Smokers is a 2000 film that can make even the most experienced gross-out film viewers sick. Basically, the plot is about smokers who are tired of only getting one-night-stands with men. Their plan for revenge? Torturing and raping the men in a semen-filled barn. Mind you, this revolting plot is entirely Played for Laughs. Add lazy direction and unlikeable protagonists, and you got a disaster that deserves its 2.2 score on IMDb. Not surprisingly, this would prove to be the only "legit" film directed by Kat Slater (credited here under her real name Christina Peters), whose subsequent work has entirely been in pornography. A review can be found here.
  • Son of the Mask is a failure of a family comedy with at best loose ties to The Mask. When the writing (complete with humongous Idiot Plot) isn't built around completely childish jokes, it's jumping between Nightmare Fuel, Stock Footage, plagiarism of said stock footage, and obvious, heavyhanded morals. The cast (and after a few minutes, setting) are completely replaced, and none of them act properly. The direction is clueless, nearly all of the characters are completely unlikeable, and the CGI is consistently hackneyed. The film barely made back two-thirds of its budget. It got a 2.1/10 on IMDb, a 6% on Rotten Tomatoes, and a 20/100 on Metacritic. It also got the most nominations of the 26th Razzies convention (including winning an award for "Worst Remake or Sequel") and the 75th ranking on Rotten Tomatoes's Worst of the Worst 2009 list. Jamie Kennedy's career nearly ended right there, and in response, he co-created a low-budget documentary built largely on decrying criticism. Here's the Nostalgia Critic's take on this shipwreck of a movie.
  • The Starfighters, another common candidate for "films that are almost unwatchable even on MST3K", echoes the title of a So Bad, It's Good Sci-Fi film as sheep's clothing to lure in the viewer. It details the lives of US Air Force pilots as they... don't do anything. Scenes of routine flight tests, mundane conversations about corn detasseling, and a half-assed romantic angle that doesn't go anywhere are what pass for the plot of what may be one of the most boring movies ever made about the military. A popular "game" when watching the film is to defy the person next to you to name a single character by the film's halfway point. As one YouTube user said, "If I were in the Airforce, and it was actually this boring, I would pray for a war to break out, just so I could finally get some action—or get killed. Either would be better than this."
  • Still Flowin - The Movie by none other than rapper Raed Melki (whose music is covered on So Bad It's Good/Music and Horrible/Music). It contains three songs, all of which are even more random and disorganized than his usual standards, while the rest of the movie is Raed and company just... doing things. The audio editing is awful, and the writing's even worse. Good luck watching it all the way through with more than 20 brain cells remaining by the end of it...
  • Street Fighter: The Legend of Chun-Li is a Street Fighter property In Name Only at its absolute worst, combined with horrible casting, a script that caused Capcom to want to forget its existence, and no-effort fight scenes. Neal McDonough's Bison is a Smug Snake, trying to channel equal parts Hannibal Lecter, Lex Luthor, and Sho' Nuff, and failing miserably on every one. Even Lana Lang as Chun-Li couldn't save it as critics have bashed it and Michael Clark Duncan was ashamed of it.
  • Die Sturzflieger, a 1995 German film which tried to be Blade Runner as a Road Movie IN SPACE! Despite a (for Germany) big budget of about $20,000,000 and hiring one of the best German actors (Götz George)... to play a robot... The movie didn't even make it to the cinemas.
  • SuperBabies: Baby Geniuses 2 failed in much the same way that Disaster Movie did — it took faults the audience was willing to forgive and made them much, much worse. The writing's god-awful, with ostensible plot holes and the film itself quite obviously had a much lower budget (among other things, the lip-synching looks like it was done on drugs). The saddest part? It was the last thing Bob Clark (yes, the one you're thinking of) directed before his death. It got a very rare 0% rating on Rotten Tomatoes, and has held the #1 spot on IMDb's Bottom 100 for years, at least prior to the Saving Christmas incident described above. Let's watch a British person insult it! or for let's just see the Nostalgia Critic tear it apart here... although interestingly enough he considers the sequel better than the first movie.
  • Super Capers tries to be a great parody of superhero films, but fails in nearly every way imaginable. Ed Grubermannote , a powerless superhero, decides to join a league of superheroes to retrieve a gold bouillon and figure out his past. The actors chew the scenery at every moment to parody superhero films, but as a result, it's too corny for even the audience to stand. Add in uninteresting characters and predictable jokes and you have an unimpressive result. Worse of all is its blatant plagiarism of other movies such as Star Wars, Back to the Future and such. Not even prayer, which is the main character's power, was able to save it; the film only raked $30,955 to its $2,000,000 budget.
  • Surf School is a 2006 film that takes a crack at the teen movie genre, which gave us cult classics such as American Pie, Road Trip, and Euro Trip. Thing is, Surf School fails to remotely understand what made its predecessors click with their audiences. Instead of giving viewers a story of relatable teenagers who grow closer as a result of the hijinks they face, Surf School gives us a lazy Cliché Storm that is loaded with stereotypical characters that would make a viewer punch his or her TV. As if that isn't enough, the jokes are painfully unfunny and excessively crude even for teen movies, relying on notions of bestiality and a running gag of an old couple talk about all the sex they have for the "laughs". Those who watch teen movies for the hijinks are going to hate this too, as the ones featured here are dull, boring, and done way better by its predecessors. The only funny thing that came from this is when Harland Williams was asked why he doesn't list this film on his film credits, he replied "You actually saw that piece of shit?!" Perhaps it also has to do with the fact that Surf School has a 2.0 on IMDb...
  • The 2002 remake of Swept Away with Madonna, directed by her then-husband Guy Ritchie. The first half consists of a fingernails-scratching-the-chalkboard shouting match between the two main characters (seriously; just argue with your friend, spouse, or children for 40 minutes, occasionally shoving each other, and you've pretty much seen it); the second half's a misogynist fantasy in which Madonna's character pretty much seems to fall in love with the male lead after he rapes her. The film brought in less than $600,000 at the box office, got a 5% on Rotten Tomatoes, and won five Razzie Awards including Worst Picture and Worst Remake or Sequel. It also permanently ended Madonna's career as an actress. Eegah-Taki wrote out a review of it that can be found here.
  • They Saved Hitler's Brain takes B-movie badness to previously uncharted regions. The bulk of the film is confusing exposition about Hitler's brain, which doesn't appear until near the end. Not even the car chase that switches from night to day is enough to keep you entertained. The reason for this is pretty simple — the money ran out after half the film was shot, then set aside for ten years until another director acquired it and filmed enough completely unconnected footage to pad the movie to feature length. For some reason, it didn't occur to him to add more scenes with Hitler's brain, which is the only part of the movie that isn't painfully boring.
  • Turn It Up, a 2000 attempt to make rappers Pras and Ja Rule movie stars, which obtained an 8% on Rotten Tomatoes and an 18 on Metacritic. The film is an obvious attempt to ape the cult success of Belly but while that film covered up its shortcomings with an unmistakeable style that wowed its fans, this film is simply boring and has awful acting and production values to boot. Not even Jason Statham can make it watchable and New Line Cinema essentially gave it the Invisible Advertising treatment, as it grossed only $1.2 million on a $9 million budget.
  • The Undefeated note  is perhaps one of the biggest critical and commercial failures in the world of documentaries, with a 1.9 on IMDb. The title makes it clear from the start that this is little more than a personal vanity project for Sarah Palin. As a result, it blatantly and shamelessly promotes her while ignoring facts that reflect poorly on her (including the fact that she and John McCain lost the 2008 election). It's chock-full of yes-men, over-the-top, heavy-handed imagery and obvious falsehoods, with the odd demonization or two of left-wing ideologies. It came off as more of a lengthy campaign ad than a documentary, and with its many intelligence-insulting moments it failed at being that, too. Here's a review... by the only person (of a single-digit crowd) still left in the theatre (in arch-conservative Orange County, California) by the half-hour mark, on the same day as the last Harry Potter film. It was released the same year as Jack and Jill, which set the record for most Razzies won. On both Rotten Tomatoes and the IMDb, it STILL has a lower rating than Jack and Jill.
  • In 2014, in the midst of a mounting corruption scandal concerning the 2018 Russia and 2022 Qatar World Cups, FIFA commissioned the film United Passions in an attempt to salvage its battered public image. This film, about the founding and history of FIFA and the World Cup, boasted a £20 million budget and an All-Star Cast led by Tim Roth, Sam Neill, and Gérard Depardieu, but they couldn't save it from an absolutely toxic reception from just about everybody who saw it, with a 0% on Rotten Tomatoes, a 2.6 on IMDb, and a Metacritic score of 1note . The film is just as bad as you can expect for a film made purely for PR purposes — a sycophantic, self-congratulatory hagiography that doesn't even try to have a dramatic through line, instead giving a laughably biased history lesson (told through a mix of football matches and board meetings) that descends into pure narm. The Guardian's review called its tone more appropriate for a film made by Scientologists or the Rev. Sun Myung Moonnote , the New York Post's review called it "The Room of sports movies", and the fact that the film's US release in 2015 coincided with the resignation of FIFA president Sepp Blatter (who is portrayed in the film as a valiant crusader against corruption) in the wake of several FIFA officials being arrested on corruption charges only made the snark ten times more venomous. As a result of all this the film, produced for €23,000,000 (approximately $25,910,000), made a grand total of $607 in its U.S. opening weekend, and $918 overall.
  • You should know to abandon all hope when your film's actually named Violent Shit and has taglines like "Experience a lesson in real BAD taste" and "Expect the worst". It's filled with terrible sounds, blurry images, padding to a ridiculous level for a plotless 75-minute film, and stuff that just doesn't make any sense at all. Despite that, it ended up having three sequels and having "K. The Butcher Shitter" appearing in five other films. If you don't believe us, ask the Cinema Snob how good the film is. The only advantage the later films have is that the main character's name becomes "Karl 'The Butcher' Berger".
    The Cinema Snob: ... This movie is so fucking awful, that comparing it to Uwe Boll IS AN INSULT TO UWE BOLL.
  • Who's Your Caddy? In spite of (or perhaps because of) an All-Star Cast with Big Boi, Lil' Wayne, Terry Crews, and Andy Milonakis, this film, a poor rip-off of Caddyshack, gave in to the worst stereotypes of African-American culture. It has a 6% in Rotten Tomatoes and a 1.8 rating at IMDb. What box office it did draw was bolstered by people thinking it was a film adaptation of the book of the same name by sports writer Rick Riley. In an interesting note, the film was released on July 27, 2007, the same date that fellow Horrible entry I Know Who Killed Me was released.
  • Wired (AKA "the movie Hollywood doesn't want you to see") is a notorious biopic about the late John Belushi based on the book of the same name by Bob Woodward, which was criticized for being exploitative and sensationalist and derided by John's family and friends with good reason. The movie treats its subject as a stereotypical drug addict, was anvilicious about its message and contains moments that never happened in John's life like him being punched by a John Landis lookalike while being high on coke (which Landis refuted) or performing live in concert as the Blues Brothers; it also contained a rather mean-spirited scene of John's ghost screaming for help as his body is cut open by a coroner. The movie's reception was overtly negative with a Rotten Tomatoes rating of 4% and almost derailed Michael Chiklis's career before he bounced back with The Commish. It doesn't help that even in the age of streaming, Wired has never received a physical home video release outside of VHS and a very poor-quality print on Amazon Instant Video. The Cinema Snob takes a look at it here.
  • Witless Protection, the last of a triad of films which featured Daniel Whitney's Larry The Cable Guy character As Himself. Larry's a small-town sheriff who unwittingly abducts a witness under protection by FBI agents... who it turns out are actually in the employ of a big-city gangster and are out to silence her. On top of a plot that plays every cliché straight, the film features Larry at his least likeable, a load of unfunny jokes, and a plethora of outright insulting moments, with little to redeem it in the slightest. The film, notes Leonard Maltin in his review, is full of racist remarks on the part of Larry. Unlike the films that preceded it, it made only around half of its budget and was more or less the Star-Derailing Role for Whitney as a live-action leading film actor.