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Horrible / Live-Action Films

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"'Garbage Pail Kids' ... does the title even sound like it's going to attempt to be a good movie?"

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. For horrible Made-for-TV movies, see the "TV Movies/Specials" section on Live-Action TV.

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Important Notes:

  1. Merely being offensive in its subject matter, a Box Office Bomb, or a film you just plain don't 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.)

  2. It isn't a Horrible film just because anyone from Channel Awesome and/or any other Caustic Critic reviewed it, or because it was on Mystery Science Theater 3000 or I Hate Everything's The Search for the Worst. 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 reputable critics like Roger Ebert and Leonard Maltin (emphasis on plural), for example, to list it. Once it is listed, they can provide the detailed review. Rotten Tomatoes and Metacritic are good starting points to find those critics; if the rating on RT is in the single-digits and/or the Metascore below 30, it's a potential candidate for this list. In other words, universally despised by audiences and critics alike.
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Examples:

Repeat Offenders

Listed by last name or company, in alphabetical order.

    open/close all folders 

    A - K 
  • Armenian-Russian director Sarik Andreasyan is widely known as "the Russian Uwe Boll", and that is not entirely undeserved. Website Posmotre.li note  refers to him as "the Anti-Midas" since everything he touches turns not into gold, but into some squishy, brown-colored substance. Be it low-brow comedies, unforgivable remakes of Soviet classics, or more serious films - nothing he has ever done is even decent, let alone good. Andreasyan is also notoriously quick to claim any reviews of his films as copyright infringement. Many Russian YouTube-based film reviewers have had a lot of trouble with this (Evgeny "BadComedian" Bazhenov being the most notable example).
  • 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, all while never providing sources for the gushing quotes on the DVD cases. Their only works that aren't Horrible are the hilariously trashy Sharknado film series and the passable TV series Z Nation. Examples:
    • Mega Piranha, a knock-off of Piranha 3D that is painfully boring with poor 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 actuality, the film is just dull. The acting is predictably terrible, the script is weak, the eponymous "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 are enough to save it. As for the eponymous 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.
    • Monster, a Cloverfield mockbuster, is The Asylum's most obscure film, and for good reasons. It has obnoxious camera work which is inexcusable even for Found Footage Films, a garbled and focusless plot, and overacting awful characters. The titular "monster" never fully shows up: it's supposed to be a giant squid, but when it attacks, it only shows a tentacle and the camera defocuses just to (not) let you know it's there. The most pathetic part is the film was rushed (and it shows) to be released a week before Cloverfield, hoping that unattentive moviegoers would watch their film instead of the latter.
    • Transmorphers - no, not Transformers, Transmorphers. The film is 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.

      The one silver lining in the movie is Shaley Scott, the one actress who appears to be aware of what kind of movie she's in. She chews the scenery like it's filet mignon, while everyone else puts on their most dramatic (read: shitty) performance. And despite the title, Transmorphers is actually a Terminator knockoff. Making things just that little bit more bizarre, when The Asylum eventually produced an actual Terminator knockoff (The Terminators, released at the same time as Terminator Salvation), it actually owed more to Battlestar Galactica than it did any of the Terminator films.
    • 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 eponymous "Sunday school" appears to be a Christian high school, as opposed to that term's usual meaning of a Christian class held before the main morning church service. The choir competition is prone to all kinds of Fridge Logic (only three schools seem to be competing) 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 dusty old hymns and sprituals, while the few original songs are 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 eponymous power source was a big rock with a lens flare behind it.
    • King of the Lost World, clearly a ripoff of King Kong (2005). The plot makes no sense, the acting and writing are horrible and the CGI looks like graphics from an early PS2 game, especially the giant ape near the end of the film. See Big Jack Films give this movie the lambasting it deserves here.
    • You wouldn't expect there to be a sequel to James Cameron's Titanic (1997), but 2010 saw the release of Titanic 2...which, by the way, isn't really a sequel to Titanic. The acting and writing are a joke, the CGI effects are abysmal, and it kills off any and all characters that it deems unimportant. Hunter the Movie Reviewing Pony sinks this movie here.
    • Nazi Overlord tries to cash in on the buzz behind Overlord (2018), but just falls flat. To start with, the film doesn't even try to distinguish itself from the one it's ripping off, having ehe exact same premise of a group of soldiers on an isolated mission discovering Nazi Zombies. While that premise is indeed tried and true, the film doesn't actually do anything with it until the last 20 minutes or so, with the first hour and ten minutes focusing on the dynamics of a bunch of soldiers with no distinguishable personalities played by actors who cannot act. When we do get to the zombies, we only see them for about two minutes total, with the rest being two Nazi scientists testing things while the heroes are tied up. Add onto that a completely nonsensical Shocking Swerve of a Sudden Downer Ending, and you get a film that deserves its 2.0 IMDB rating.
    • Their ventures into animation, such as Trolland and Izzie's Way Home, aren't any better either. See the Animated Films subpage for more information on that.
  • Aaron Seltzer and Jason Friedberg started off only writing parodies, doing the divisive Spy Hard (which was directed by Jason's father) and Scary Movie (actually half of it; their script was reworked by the Wayans before production). Then after years of not being able to see their script done, they decided to make movies themselves starting with 2006's Date Movie, and their persistence led to their names becoming shorthand for "utterly incompetent parody". Only doing parodies of the most recent movies, a lack of research beyond watching the previews, wave after wave of painfully-dated pop-culture references, rehashing jokes from the original work (such as Epic Movie having Wolverine Flipping the Bird with his claw, something he did in the first X-Men film)... and to make it worse, their penchant for Toilet and Vulgar Humor makes the movies nauseating to watch. For some perspective on the quality of their films, Film Brain reviews Epic Movie here and Smeghead reviews Meet the Spartans here. For a while, Critical Dissonance kept them rolling - low budgets made the movies financially successful despite bad reviews and eventual audience backlash, to the point that a rare feature-interview on both noted how they managed to both be "among the most consistently successful in all of Hollywood" and "score frightening level of Internet vitriol". This changed with:
    • Disaster Movie, which along with all the narrow/shallow parodies and crude jokes, 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 Rotten Tomatoes' critics' consensus states that "Jason Friedberg and Aaron Seltzer have produced what is arguably their worst Movie yet" and Pajiba "[refused] to dignify [their] movie with a new review" instead composing their review of the film from bits from reviews of their previous films. 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.
    • Follow-up Vampires Suck managed to get somewhat better reviews than predecessors, to the point that Rotten Tomatoes called it "a slight step forward for the Friedberg-Seltzer team". But then they stopped getting studio backing, and their self-made work - usually barely hitting theaters before/while hitting video on demand - hardly made any money while still attracting hate. The Starving Games and Superfast!, shallow parodies of The Hunger Games and The Fast and the Furious respectively, were more of the same. Their first "original" work, Best Night Ever, was a Found Footage comedy in the vein of Project X, when the subgenre was already earning backlash, ramping up the gross out humor to compensate for lack of reference ones, and featuring scenes which just won't end - the A.V. Club pointed out "the movie has more awkward dead space than jokes". It's impressive how Seltzer and Friedberg still keep to their schtick.
  • 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.
    • Alice in Murderland had an awesome gimmick: A Slasher Movie based on Alice's Adventures in Wonderland, with the Jabberwocky as the killer. Unfortunately, that's all it has to offer. The film, despite supposedly taking place in a fancy house, was very clearly filmed in a cheap warehouse. Most of the film isn't even focused on the killings, but instead the dynamics of a bunch of unlikable sorority sisters. Add in a nonsensical In the Blood angle, and the film earns its dismal 1.9 IMDb rating. See When Bad Movies Attack! tear it apart here.
    • Curse of Pirate Death takes an already-silly title and slaps it on a dreadful movie. It is a slasher film starring an undead pirate, whom the film decides to paint as intimidating by calling him "Pirate Death" as opposed to literally anything creative. The acting from most of the cast is so wooden that it makes former porn star Ron Jeremy look Shakespearean in comparison. The plot itself is a disjointed mess with no interesting characters and an overuse of flashbacks. All in all, the film deserves its 2.6 IMDB rating. You can see Doc Schlock discuss the film here.
  • 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 that petitions were written in an attempt to put him out of business and that his page is part of the Permanent Red Link Club on this very wiki. 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 called Blubberella, where the entire joke was that instead of a Third-Person Seductress the protagonist was a fat woman. Thankfully, he left film making behind and set up his own German restaurant in Vancouver, which has gained excellent reviews.
  • Roger Christian note : 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.
  • David DeCoteau is one of many filmmakers who had their start through Roger Corman, but unlike some of his contemporaries, DeCoteau's track record is not exactly as polished as theirs. When watching his films, expect Padding that can sometimes not even fill up a 90-minute runtime, bad cinematography, bad costumes and special effects, and his gratuitous Author Appeal for Ho Yay and other homoerotic scenes.
  • Dinesh D'Souza is a far-right political commentator best known for making 2016: Obama's America, a 2012 documentary that grossed a fair amount of money and is claimed by him to be the highest-grossing documentary aimed at conservatives. Political considerations aside, just about all of his films utilize Insane Troll Logic and multiple Logical Fallacies, deliberately twisting historical facts and interviews he held with people in order to further his cause. And even putting all of that aside, his films are simply very poorly made, often having bad cinematography and struggling to maintain a coherent narrative without going on multiple tangents and having incredibly poor production values even for a documentary. As a result, his films are more like Troll Fics or Propaganda Pieces that are more focused on enraging left-leaning individuals than being actual well-researched documentaries.
    • Hillary's America: The Secret History of the Democratic Party: The film begins with D'Souza playing the victim card over the fact that he spent 8 months in the halfway house for a campaign finance violation (to the point that he even blames Obama for his plight),note  before launching into a baseless strawman attack on the Democratic Party as being racist as if nothing has changed in the left or right in the past 150+ years - as if the Democratic Party who supported the Ku Klux Klan back in the day is the same Democratic Party of today.note  All this is thrown together haphazardly, interspersed with Big-Lipped Alligator Moment-level musical numbers, cheesy historical reenactments, and needlessly patronizing images of slaves being beaten. He doesn't even get to discussing Hillary Rodham Clinton until over an hour in, instead spending more time digging up dirt on Andrew Jackson, Lyndon Johnson and Barack Obama (the latter of whom he had already covered in the aforementioned 2016: Obama's America). The film has a 4% on Rotten Tomatoes and a 2 on Metacritic (the second-lowest score recorded there).note  It was nominated for 5 Razzies and won 4 (including Worst Picture), and something worth mentioning is that the Razzies rarely ever touch political films. That should give you an idea of just how bad this stinker is. It doesn't help that even though D'Souza felt quite honored for the participation there, he considered his nominations as "petty revenge" for Donald Trump's victory in the 2016 presidential election and thinking that his film "might have played an important role in the election" despite Donald Trump only mentioning it once during his 2016 campaign.note  The Smeghead was harsh on this film, noting that its arguments against Democrats consist largely of wild accusations without any basis in reality and that it wouldn't change the perspectives of anyone on any end of the political spectrum, things that The Cinema Snob concurred with in his review.
    • Death of a Nation: Can We Save America a Second Time? repeats the mistakes Hillary's America made and layers it with a heaping dose of lazy filmmaking. Just about every argument made in D'Souza's previous film is repeated in this one, along with new ones such as comparing liberals, progressives and the Democratic party to Nazi Germany for very superficial reasons. Once again, the main selling point - favorably comparing Donald Trump to Abraham Lincoln - isn't touched on in detail until the last ten minutes of the film. The movie received a Metacritic score of 1 and a Rotten Tomatoes score of 0% and, unlike D'Souza's previous films, was a Box Office Bomb, grossing $5.9 million against a budget of $6 million. The film also secured several Razzie nominations, with the film itself earning, among other nominations, a "Worst Prequel, Remake, Rip-off or Sequel" nomination as a remake of Hillary's America, which says a lot about how low D'Souza has sunk as an alt-right documentarian. While it didn't win that award, in a Razzies ceremony dominated by fellow Horrible entry Holmes & Watson, Donald Trump won not one, but two Razzies for his appearance in both this film and Fahrenheit 11/9, beating out Will Ferrell (in the aforementioned film) for Worst Actor (which Vladimir Putin "accepted" on his behalf) and shooting past Johnny Depp "and his fast-fading film career" (in Sherlock Gnomes) for Worst Screen Combo. Funnily enough, fellow President George W. Bush won both those same awards 14 years prior for his performance in Fahrenheit 9/11.
  • 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."
  • Despite making some guilty pleasures since 1999, Adam Sandler's production company Happy Madison Productions 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 eponymous 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, and a film so bad that 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 (small) budget back in ticket sales. It was eventually pulled from theaters after just two weeks. 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. Cinematic Excrement did a review of the disaster. Despite all of that, it did not take home a single Golden Raspberry Award, thanks to...
    • 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 negative 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. Director Dennis Dugan's career was tarnished by this film and has only helmed Grown Ups 2, the sequel to his Grown Ups, since. If you have a lot of time to kill, Half in the Bag takes a look at it here, extensively detailing Sandler's scam-like laziness in making his films, 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.
    • Joe Dirt was panned by critics, but nonetheless grew a devoted fan base over time. The same cannot be said for the Direct-to-Crackle 2015 sequel, Joe Dirt 2: Beautiful Loser, which was as reviled by fans as it was by critics and earned a 0% critic score on Rotten Tomatoes, as well as a 22% audience score. An overly long 106-minute longtime, a nonsensical plot where Joe Dirt is thrown back in time by a tornado, pop culture references that are either overly dated or shoddy attempts to stay modern, and jokes that are either mean-spirited or pathetically lowbrow and lazy, and you have one of the worst movie sequels of all time. Which is saying a lot. Read Nathan Rabin rip it apart for the A.V. Club 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 a 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.
  • Donald G. Jackson was an American director often referred to as "the Ed Wood of the Video Age" due to the bizarre nature, content, and lack of defined storyline prevalent in his works. While his 1988 Roddy Piper vehicle Hell Comes to Frogtown is now considered a Cult Classic, the majority of his films were utterly panned by critics.
    • Pocket Ninjas, a 3 Ninjas rip-off that manages to look like someone took discarded storyboards from the worst Power Rangers season ever 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 editing is incoherent, 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 treats "butt-whiff" and "fat Republican" as the height of witty dialogue and classy insults. Something Awful takes a hatchet to it here, and it also ate a part of Obscurus Lupa's soul here.
    • 1996's Rollergator was the result of a video company hiring Jackson to make them a children's feature. The film follows a roller blade-riding teen who seeks to help a purple, jive-talking baby alligator return to its owner while avoiding a corrupt theme park owner and his ninja bounty hunter from kidnapping the gator to display him for cash. The movie's plot tends to meander all throughout with long stretches of padding and atrocious dialogue, much of the latter being provided by the irritatingly-voiced title character note  who never shuts up. The film also suffers from poor cinematography, terrible acting, awful "action" scenes, an endlessly looping acoustic soundtrack at full volume, and a non-existent budget with the alligator being a store-bought hand puppet along with a majority of scenes either taking place at the amusement park (which were obviously shot without permission) or in the outskirts of town. With a 1.2 rating on IMDb and a 2-and-a-half star rating on Amazon, the film was also heavily panned by Rifftrax hosts Mike Nelson and Bill Corbett, who've cited Rollergator as the worst movie they ever had to cover for the site.

    L - Z 
  • Ulli Lommel was a German director whose career dates back to the early 1970s, when he worked as an actor in the films of Rainer Werner Fassbinder and gained 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), a fantasy musical drama starring Daniel Küblböck (he finished 5th in the German version of American Idol). There's No Budget, and the plot's incomprehensible - the protagonist's dead grandfather (played by Lommel himself) is the Wizard, not Daniel, and is wandering among 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. Seriously). 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 long if you removed the repeated footage. Watch Alex Jowski tear it apart here. Emer Prevost also gives an extensive view on what's wrong with the film here.
    • The Tomb. It claims to be an adaptation of H. P. 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, 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 was mentioned in passing in The Cinema Snob's review of the 1971 independent film The Zodiac Killer, saying that while he found that film bizarre, it was still way better that Lommel's film. 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 showing 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, which was made by a Japanese jazz record label.
  • Barry Mahon was the real life inspiration for the character played by Steve McQueen in The Great Escape. He was also an Exploitation Film director best known for a couple of strange Christmas movies that make you go "He escaped to do these?"
    • 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 directed by Mahon himself;note  Santa and the bunny (an extremely cheap mascot suit) are a mind-numbing Framing Device made by another director 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. 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's Christmas Elf (Named Calvin) is even more painful to sit through than Ice Cream Bunny because it's a 70-minute slideshow of puppets and children poorly superimposed over backdrops that are almost impossible to distinguish because of the complete absence of lighting. The story of the mischievous and lazy elf (named Calvin, of course) is narrated by a woman who sounds like she couldn't be bothered to be there, and the few child actors with speaking parts aren't any better. None of the shots are framed properly, with many instances of characters being swapped out without changing the background, and even a few unintentionally creepy-looking shots of children staring blankly at the camera. For a long time, Santa's Christmas Elf (Named Calvin) didn't even have an IMDB profile even though a promotional poster suggested the movie would run in local theaters on weekends. It also utterly broke The Cinema Snob.
  • 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, at his worst he is considered to be to family entertainment what Uwe Boll is to video game movies. While most of his TV series are well-received and some of his movies worked with audiences (such as Soul Surfer, Treehouse Hostage, and Race to Space), others...didn't.
  • Nick Millard (a.k.a. Nick Philips): Specifically, his films Criminally Insane 2, Death Nurse, and Death Nurse 2. Criminally Insane (a.k.a. Crazy Fat Ethel), the movie that started the series, 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 sequence.
    • 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 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. RedLetterMedia 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 is a director that somehow gets Seltzer and Friedberg's formula of Narrow and Shallow Parody films and makes them even less funny, and he uses a lot of vulgar humor. 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.
    • The 41-Year-Old Virgin Who Knocked Up Sarah Marshall And Felt Superbad About It has jokes that are either just references, needlessly vulgar, or both (e.g., the main character's name is "McAnalovin"), the dialogue is equally as vulgar and they reuse the Verizon "Can you hear me now?" spokesman several times, all failing to be funny. Emer Prevost takes it on here.
    • Breaking Wind is filled with dirty jokes (many of them Toilet Humour, as the title is indicative) and mean-spirited jabs at the Twilight fandom. Many, such as Film Brain, in his review, say that Seltzer and Friedberg's parody of the series is bad but at least makes more effort.
    • 30 Nights of Paranormal Activity with the Devil Inside the Girl with the Dragon Tattoo attempts to be a spoof of popular 2010s horror movies. Instead, it's a rather shameful display of dated jokes, piss-poor editing, cringe-inducing acting, and a bizarre obsession over jokes involving a man's junk. The film's biggest crime is that it features a potpourri of elements from various movies without showing even an iota of understanding these films, let alone make a joke out of them (the film has a Lisbeth lookalike show up as the daughter; that's the whole joke). But we're not the only ones who spit on this movie's grave: 30 Nights of Paranormal Activity has a 2.6 rating on IMDb, and received a thrashing from We've Got This Covered.
  • 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.
    • Before he started shilling ShamWows and Slap Chops, he directed 1999's The Underground Comedy Movie, a painfully boring and unfunny Anthology Film attempt at Vulgar Humor with guest stars such as Guns N' Roses guitarrist Slash, Joey Buttafuoco, and the late Michael Clarke Duncan of all people.
    • InAPPropriate Comedy is, in short, a failed attempt at making a film in the same vein as Movie 43 (which came out the same year, even though the two started production at different times, and is also considered Horrible). This grossout comedy featured an All-Star Cast, including Adrien Brody, Michelle Rodriguez, Rob Schneider, and Lindsay Lohan. It is a perfect storm of lazy Double Entendres, cheap sets, and weak acting. Above all, the jokes are simply reprehensible, such as a coat-hanger abortion sketch and a sketch where one tries to entice black people to get on a "one-way" boat trip to Africa with watermelons, fried chicken, and malt liquor. Making it worse is that it rehashes sketches from The Underground Comedy Movie verbatim, including (but not limited to) "Flirty Harry" and "The Porno Review." But don't take our word for it - InAPPropriate Comedy received a Metacritic score of 1 and an IMDb score of 2.3. If anything, Nathan Rabin's account is pretty comprehensive about the film's incompetence.
  • Ask any Italian who Neri Parenti is and they will tell you he's one of the country's most pandering and unoriginal directors of the last few decades. He was rather decent back in his day, having directed many smart comedies including, but not limited to, some of the Fantozzi films. After Vacanze di Natale (Christmas Holidays) somehow gained a huge following, he started producing and directing a whole genre of films called "Cinepanettoni" that since 2001 are stuck on the same formula: Lots of gratuitous cursing, forced sex innuendos, unfunny jokes based on gender and/or ethnic stereotypes, horrible puns, overly exaggerated Toilet Humour that crosses the line between funny and disgusting, casting the same actors over and over (Massimo Boldi and Christian De Sica being the most overused and unfunny), and bad direction. As of 2018, there are 15 of them, with no difference whatsoever between them. All the contents of these films are summed up in this parody trailer by Maccio Capatonda.
    • Amici Miei: Come Tutto Ebbe Inizio ("My Friends: How It All Began") is a major stinker of his that could fall in the same category of Cinepanettoni. It claims to be a prequel to the classic Amici Miei (My Friends) trilogy, but with none of the charm and wit behind it. It rehashes the plot of the first film, with the only change being that it's set in the 15th century, with lots of unnecessary farting and pissing (in the original, there is a scene where the protagonists serve urine-laced soup to an ill man, but never actually shows the act of urination; in this version, it's just an excuse to shove in a scene with a child pissing in someone's mouth). Fans of the original films were so disgusted that they staged a "funeral" for the first three films, and series creator Mario Monicelli openly expressed his hatred for the film just weeks before his suicide.
    • Natale in India is considered the worst of his Christmas films. The plot, despite trying to be episodic, instead results in a series of disjointed and unfunny gags. The "highlights" of the film include a dog pooping in a sandbox and kicking said sand over some children, two men at a circus eating tiger feces, and a rapper making references about vomit, who meets his obnoxious and shrill-voiced copycat. The films counts a miserable 3,1 score on IMDb, based on more than 900 reviews.
  • Paolo Ruffini is an Italian comedian and former TV host that mostly acts in comedies, usually lowbrow ones. After achieving popularity with his "Nido del Cuculo" gag dubs, he moved to filmmaking and directed a few movies of his own. To say the least, they're pretty bad.
    • Fuga di Cervelli, a remake of Brain Drain (see Live-Action Films 0-F). God only knows how he took an already disastrous film and managed to make it even worse: in fact, it's a copy-paste of the Spanish version, with the same contrived dynamics and poor storytelling. Ruffini rummaged through the worst Italian TV comedians, YouTubers, and internet celebrities, gave them limited direction, and had them spout very trite and repetitive gags that drag on for minutes. The only review on IMDb rips it to shreds.
    • In 2014, Ruffini made another film, titled Tutto Molto Bello. Nothing is improved from Fuga, with an even blander plot (it's supposed to take inspiration from Todd Philips' Due Date but fails hard), annoying characters that expect to make the viewer laugh with girlish screams, bad slapstick, uninspired jokes, and pointless fanservice involving obscure references to old TV programs that nobody remembers anymore, including a random cameo by singer Enzo Ghinazzi (a.k.a. Pupo), and an out-of-place impersonation of radio commentator Bruno Pizzul. Ruffini openly claimed that the film is "not suitable for crybabies", mocking its haters. It has an average of 1 out of 5 on Italian review sites, and was a box office flop. Critics bashed it, some of them calling it "the death of Italian cinema), and YouTuber Victorlaszlo88 had a field day with it (you might want to lower your volume).
    • Ruffini struck again in Christmas 2017 with Super Vacanze di Natale. Cinepanettoni (see above) are already derided within Italy for their repetitive and unoriginal content, but when Neri Parenti left producer Filmauro, the studio released a couple duds before calling on Ruffini to direct something for Christmas '17. The result was a lazy clip show of random scenes from every previous Christmas film without even a framing device or a common theme to link the scenes: half of the scenes are just screaming matches and people farting, cheating on their spouses, or making insipid jokes. On an interview with the newspaper La Repubblica, even Christian De Sica, who acted in every featured film, called it unreasonable to charge admission for something that you can find on YouTube for free.
  • 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. To get a good idea of the stupidity of the concept, here's an April Fool's episode of Books Vs Movies covering The Catcher in the Rye which is compared to 75 minutes and six seconds of blue-screen.
  • 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, Tales From the Quadead Zone. 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.

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