Follow TV Tropes

There are subjectives, and then there are these. While you may believe a work fits here, and you might be right, people tend to have rather vocal, differing opinions about this subject.
Please keep these off of the work's page.

Following

Horrible / Live-Action Films 0-F

Go To

    open/close all folders 

    # 
  • 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, though you wouldn't know it if not for the expository text at the beginning and the costumes. The film is rife with bad acting and Stock Footage in addition to nothing but transition shots - 90% of the film consists of so much dizzying, spinning, and clashing stock footage that you're bound to last 5 minutes before running to the toilet. There are 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, with a big ego 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. Watch the film on YouTube here, if you dare.

    A 
  • Aag, an unauthorized 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 (then around $2.6 million US) 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. As if that's not enough to damn this regrettable film, the grandson of G.P. Sippy (one of the original film's producers) successfully sued director Ram Gopal Varma for deliberately violating Sholay's copyright. 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 starred in The Adventures of Pluto Nash. Bad acting, dull humor, even worse special effects... yeah, this one takes the cake. The film made 5,000,000 on an over $100,000,000 budget, begging the question of why it was even Saved from Development Hell. 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. According to Seanbaby, the producers could've actually saved money by throwing away the script and filming a documentary of the entire cast and crew eating nothing but $50 bills for two straight years. Film Brain took a look at it in his very first review. The Nostalgia Critic also takes a look at it here, and Allison Pregler was similarly unimpressed. Even Robot Chicken pokes fun at its failure.
  • 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 despite having a $5 million budget, 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 animation from 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 movies 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 (though it was later taken down, officially for copyright reasons). You can watch ralphthemoviemaker tear it apart here. On GeekJuice Media, it was riffed by Mister X, Alex Jowski and Charley McMullen for Live Nude Geeks here (the usually cool and collected Mister X noted that this was the closest he'd come to cracking at a bad movie).
  • Airplane Mode is a 2019 note  indie comedy film written by and starring the infamous Logan Paul, which has the All-Star Cast of your favorite YouTubers and Viners trying to prevent their airplane flight from crashing after idiotically refusing to turn on airplane mode on their devices, causing the airplane's systems to malfunction and killing off the pilots. This sounds like the comedy classic Airplane!, but 25 times worse. The amateur acting of the YouTubers is abysmal and hard to watch, overloads of Gross Out, Vulgar, and simply offensive humor serving as plot-irrelevant Padding and too juvenile and badly-delivered to be funny,note  Special Effects Failure, excessive unnecessary Big Lipped Alligator Moments,note  jokes and references already dated in 2019, plenty of stolen tropes, some from the aforementioned Airplane!, being ripped into pieces by clumsy writing, and has a rocky Uncertain Audience.note  Overall, the film feels like an 80 minute long Vine with no real purpose. The film received many negative user reviews on iMDb and Letterboxd, and the only professional critic who could review it gave it a D+. You can watch Pyrocynical's commentary here and I Hate Everything's review of it here.
  • 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've 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're 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, started a five-year Dork Age for the franchise that didn't end until Godzilla vs. Mechagodzilla was released, and bringing it up around them will not go over well. The Cinema Snob gives his own thoughts on the movie here. Cinemassacre's James Rolfe also reviewed this stinker as part of their annual Monster Madness series. Ironically, it joined The Criterion Collection in 2019, as part of the Godzilla: The Showa-Era Films Blu-ray boxset.
  • Even among mockbusters, The Amazing Bulk (you'll never guess what this is trying to capitalize on) is an incredible failure. With an IMDb user score of 2.0 from over 600 viewers and barely any presence elsewhere, Special Effect Failure and not caring (as the director's commentary attests to) are the orders of the day, with the entire thing being filmed in front of a single green screen. The backgrounds on said green screen often appear at angles completely opposite to those of the actors (such as a worm's-eye view of a street while the actors are filmed at an eye-level shot), there are no shadows, and "movement" is literally just the actors jogging in place, making it incredibly glaring that nobody's really in a given background. The Bulk itself is animated crudely, is an incredibly obvious CG effect, and resembles a slack-jawed purple gorilla (or a fat, buck-naked Thanos) more than what the actually-rather-cool cover would have you believe. What really sets it apart from the rest, however, is that almost every transition and effect beside the green screen and the Bulk is a stock effect you can find on the internet. And the movie was written around these. This results in a plot riddled with holes, things just happening for no reason, clipart gifs in the same shot as live-action actors, and jarring scenery shifts. For instance, you have real characters appearing in a cartoonish garden one minute, then going to a realistic library the next. The last 15 minutes throws all coherence out the window as aliens, goblins, flying dogs and the like show up suddenly, then the Bulk runs through several cartoony environments (despite the earlier attempt at being realistic) past all sorts of stock 3D clipart animations that don't fit with anything that came before (such as Robin Hood, Zeus, and a lizard on a laptop) and then the film just stops. Even weirder? Although the director claims it's this way due to a small budget (of $12,000), people from Robert Rodriguez (who made El Mariachi on just over half this film's budget) to folks on YouTube have made far better products on next to nothing. What's more, it missed the Hulk train by two-to-five years. Obscurus Lupa had a field day with that, and I Hate Everything suffered through the madness as part of "The Search For The Worst". note 
  • American Ninja V (or American Dragons, depending on what cable channel you watched it on) is 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.
  • Apartment 1303 3D is a 2012 remake of a Japanese film of the same name but without any of the positive elements of the original. The film is a collection of ghost movie clichés with predictable twists and Jump Scares that work mildly at best and fall flat at worst. The 3D itself is useless most of the time. Not even horror fans and critics found anything redeeming in it, and the general opinion is easily summed up by Gareth Jones' review on ''Dread Central'', in which the film is described as "bereft of interesting characters, dialogue, acting ability, scares, visual aplomb or much of anything else". Many also complained about the waste of Rebecca de Mornay's talent. It currently holds a dismal 9% on Rotten Tomatoes and a 2.6/10 on IMDb.
  • The Apparition is a terrible 2012 horror movie that wastes the talents of actors including Sebastian Stan, Tom Felton, and Ashley Greene. When a couple played by Stan and Greene move into a house, they begin to notice strange occurrences that are eventually revealed to be caused by an apparition summoned by an experiment years earlier. This somewhat-interesting premise is wasted by the fact that the film is an uninspired mix of horror movie clichés, including many poor attempts at Jump Scares that aren't scary in the slightest, together with poor acting from a naturally good cast, making it really boring to watch. The film received harsh reviews from critics and audiences alike, with a 3% on Rotten Tomatoes and a 4.1 on IMDb, and it failed at the box office, grossing only $4.9 million domestically and $9.6 million worldwide against a budget of $17 million. Chris Stuckmann tears it apart here, and he later named it his 3rd-worst film of 2012. Leon and Cyrus of Spill also suffered through it here.
  • Artemis Fowl, a 2020 film adaptation of the book of the same name, was released after years of Development Hell only to be panned by critics, hated by the book series' fanbase for taking In Name Only adaptations of popular young adult novels to levels not seen since Eragon, and became infamous for being a severe blemish on Disney's otherwise subpar-at-worst live-action filmography. What was a beloved book about the start of the adventures of a twelve-year-old Villain Protagonist is turned into a Cliché Storm about a boy genius setting out to save his father from a villain while securing an important MacGuffin. The plot is barebones, incoherent, and disregards many elements from the books (such as Artemis's mother) while introducing unfitting new ones, characterizations are altered or gotten outright completely wrong (Artemis himself is simply your archetypal Kid Hero with a Friendless Background, nowhere near the amoral yet multidimensional Villain Protagonist he started out as in the books), there are strange casting choices such as casting Judi Dench as Commander Root and casting Josh Gad as Mulch (rewriting Mulch to be a "giant" dwarf ostracized by the other dwarves for his height to justify the casting), the fighting sequences are clumsy at best, and a number of well-liked characters from the books go completely wasted. About the only thing the movie has going for it are some admittedly nice visuals here and there, but as The Emoji Movie proved, good visual effects will not save a movie if everything else about it is absolute trash. Amazingly, the film could have been worse—if production had gotten off the ground any earlier, Harvey Weinstein could have been a co-producer for a Disney movie released just before his fall from grace. Pleasing absolutely nobody, the movie was panned by critics and audiences (only having a 10%/20% critic/audience rating on Rotten Tomatoes), fans of the original book series were disgusted by the changes made to the books and how much of an In Name Only adaptation the movie was turned into, and the start of a potential new franchise is highly questionable. Even Disney itself didn't seem to have much faith in the movie, as it was released directly to Disney+ rather than being delayed or saved for a later release like other Disney or Disney-distributed movies such as Mulan (2020), Soul, and Black Widow (2020) were when the 2020 coronavirus pandemic necessitated the closure of movie theaters until things went back to normal. Chris Stuckmann talks about the movie here, and gives the movie an F grade. Dominic Noble also reviewed the movie after having previously read the books and also found very little to like about it, criticizing the many unneeded changes made to the book in the movie. Sean "Smeghead" Moore of Cinematic Excrement also talks about it here, citing he never read the books and then proceeded to point out inconsistencies even he noticed.
  • The film adaptation of Astérix aux Jeux Olympiques is a near-legend in the already notorious field of live-action Franco-Belgian comic adaptations, and a record low among Goscinny/Uderzo adaptations. On top of being less-than-respectful towards the namesake comic, the film has a tasteless, unfunny story, peppered with out-of-nowhere references. Asterix and Obelix get second chair to Brutus and Julius Caesar (Benoît Poelvoorde and Alain Delon Adam Westing in all but name) and a Love Triangle that reeks of Romantic Plot Tumor between Alafolix (played by french-canadian comedian/actor Stephane Rousseau), a Roman woman named Drucilla and the previously mentionned Brutus. The acting is frankly awful, and the special effects would've been redeemable—ten years prior. The film was slaughtered by critics and the public as soon as it was released, appearing in the ranking of Allociné and SensCritique's worst films, barely pulling in half its 78-million Euro budget at the box office, and scoring a Gérard for Worst French Film of 2007. It ruined the reputation of the franchise and its staff by proxy— Astérix & Obélix : Au service de Sa Majesté, made five years later, bombed without question, ending the trend of adaptations.
  • The Atlas Shrugged three-part adaptation, directed by John Aglialoro, is a confusing mess that zigzags between barely resembling the source material and sticking too much to the book's messages and delivering them heavier than an anvil (even considering the book's 70-page expository speech). Not only that, but the three films suffer from sterile writing, confusing directing, a cast of C-list actors that phone in their lines (none of whom return for the sequels), and the fact that you need to know a lot of politics and philosophy to even grasp what the heck it's all about, but even then such an audience would fall asleep halfway through. Each film's production values (and reviews) are worse than the one before it, with the third film having a caustic 0% on Rotten Tomatoes. In Roger Ebert's review of the first film, he freely admitted that he completely disagrees with Ayn Rand's Objectivism and expected to hate the movie for that reason alone, but his review mainly focuses on how the film is so incredibly boring, it's objectively bad.
  • 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!". While Seagal's dialogue is often dubbed over by someone else in these DVD films [due to Creator's Apathy], this takes it to the extreme with virtually all his dialogue dubbed over as the film's plot was completely changed in post production with disastrous results. Attack Force earned an absolutely negative 2-and-a-half star rating on Amazon; take a look at the reviews here. Shitcase Cinema also reviewed it [1].
  • 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 (probably captured by said webcam) 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 offscreen when it's not supposed to be offscreen! 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 since the sound and (lack of) lighting make it all but impossible to hear or see them (aside from 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 a university for the opening credits, interspersed with an African-American DJ busting out "yo' mama" jokes at a crowd of onlookers. The rest of the film is just an Idiot Plot involving a bunch of suicidally moronic college kids that are trying to avoid a zombie-looking killer. The Cinema Snob struggled to watch the movie, let alone review it.
Advertisement:

    B 
  • The Babe Ruth Story tried to tell the story of famed baseball player Babe Ruth... but was made while he was on his deathbed and was rushed to make it to theaters before he died. The film itself is poorly acted (Babe is played by William Bendix, an accomplished actor who inexplicably portrays Ruth from adolescence to adulthood looking 40 all the way, making for some awkward lines in his earlier scenes), heavy-handed in its directing, fails to show much of any baseball-playing, ignores Babe's drinking and infidelity problems, and is full of Glurge moments like Babe curing an ill paralyzed kid by merely saying "Hello" as well as curing another kid of his cancer by hitting a home run. (And not just any home run, but his famous called shot at the 1932 World Series!) Small wonder Allied Artists went down as soon as it did, considering they somehow thought it was a good idea to release this stinker so early in their run. Nathan Jones has made fun of it here, and The Cinema Snob had a field day with it.
  • The Bagman is a testament to everything that can go wrong in a Slasher Movie. The premise is pretty basic: A maniac in a burlap sack mask bumps off the teenagers connected to the murder of a disfigured teen. That's already a Cliché Storm in this genre, but the real problem is the dreadful execution. The acting is universally utterly wooden, not helped by the bad sound quality. Virtually every character is utterly unlikable, even by slasher flick Asshole Victim standards. The reveal of the killer is as shocking as revealing the sky is blue, while the other reveals are Ass Pulls with no foreshadowing whatsoever. All in all, the film deserves its 2.5 IMDB rating. Watch the Angered Beast Reviewer cover the film here.
  • Ballistic: Ecks vs. Sever is a mindless action flick starring Antonio Banderas and Lucy Liu as a pair of dueling secret agents. The main problems are that the story makes absolutely no sense (why are the FBI and DIA doing all of their work out of Vancouver?), and the title is misleading - Ecks and Sever only have one brief fistfight, after which they actually team up to take down the Big Bad partway 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) and has the dubious distinction of being the worst-rated movie on Rotten Tomatoes by far, with an atrocious 0% (and score of 2.6/10) based on 116 reviews. 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, as it's some of his 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. Watch Emer Prevost tear into it here and Cinematic Excrement do the same here.
  • Basic Instinct 2 promised to continue the eroticism of Basic Instinct, a box-office smash thanks to an erotic and visceral (if controversial) plot and Sharon Stone's electrifying, charismatic, and seductive performance as Catherine Tramell. 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.
  • 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 that she mentions it as an Old Shame), the plot's poorly explained (they don't say where they were going until after the eponymous 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.
    • 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 nonexistent 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 Rocket Jump.
  • 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, the acting's hilariously wooden, and Mraovich apparently doesn't know the first thing about film-making because the script's Anvilicious tripe that's offensive to gays and Christians alike. Hell, you need only see the trailer to get an idea of how bad this is. It was also tackled by Obscurus Lupa here, and in Spanish by Videofobia (where it's called "the gay version of The Room")here.
  • Big Fat Liar, while a funny family movie fondly remembered by people who saw it, was not something anyone wanted a sequel to. But that's what we got in 2017 with Bigger Fatter Liar. The plot is a rehash of the first one, but with a few major changes. One change is that the plot is about an app, the coding of which was hand-written (despite almost no word processor requiring internet) because the main character plagiarized a paper for his social studies class and needed to write something in one night. Another difference is that the main character steals the credit information of two different people to fund his venture. Anything that wasn't awful was taken from the first movie - making you wonder why the movie exists in the first place. Kyle Norty took a look at it here.
  • While Birdemic may be one of the most legendarily bad films ever made, all its sequel Birdemic 2: The Resurrection will grant one is a headache. While the original developed a cult following due to its earnest passion from director James Nguyen, the sequel attempted a Parody Retcon, and in the process sucks out all the charm. Long, unfunny gags, eyerolling attempts at meta commentary, random plot developments which make the story incoherent and an extremely random ending where the Author Avatar dies and the film then...stops make the entire thing a chore to get through...and that's without the long stretches of time which are spent directly copying the first film. Smeghead, who admits to having enjoyed the first film, has nothing nice to say about this one.
  • In 2000, Kim Basinger followed up her 1997 Oscar victory (for L.A. Confidential) with Bless the Child. This film torpedoed her prospects as a leading lady of film. Perhaps the first red flag is that Bless the Child was Not Screened for Critics by Paramount. The film tries very hard to be a supernatural Religious Horror film (à la The Omen). But, it fails every step of the way, from the clichéd, predictable storyline to the ridiculously limp non-scares, most of them jump scares, to the awkward dialogue to Basinger's emotionally passive performance. The plot is full of holes and heavy-handed Bible allusions, with many characters just being there to make her character, Maggie O'Connor, look good by comparison. Not that Maggie herself is particularly intelligent throughout, mind you. Even worse are the special effects—no effort is taken to hide the California Doubling, the spirits take the shape of glowing lights, and a roomful of rats looks like a scene from an animated cartoon. The film made $29,381,494 against a $40 million budget, got a 3% rating on Rotten Tomatoes and scored 17/100 on Metacritic. Basinger was nominated for a Golden Raspberry Award but "lost" to Madonna in The Next Best Thing. The movie also severely harmed the careers of writer Tom Rickman and director Chuck Russell. The podcast We Hate Movies goes further into Bless the Child.
  • Blood Cult occupies a unique place in film history as the very first Direct-to-Video feature, and what a way to start! The film is a Slasher Movie about a maniac dismembering sorority girls, and features such lovely elements as a "hero" more concerned about his election than the Serial Killer running around, a scene that's a few minutes of the sound of a couple arguing over a still image of their house, enough Padding to kill a horse, a canine God of Evil named Caninis, and an ending that leaves all but one of the plot threads unresolved. Needless to say, this film deserves its 12% on Rotten Tomatoes and 3.4 on IMDB. Watch Schlockmeisters tackle the film here.
  • Blood Orgy of the She-Devils is a film that directly insults its awesome title. Despite claims of Satanic debauchery, nothing really happens. There's even less cohesive plot than gore, with the film plodding along while showing disjointed scenes of generic occultism strung together by the most boring Occult Detective ever. Add to that a wholly unnecessary flashback to the days of torture-happy witch hunters (one of whom wears a modern cut-off shirt) that is somehow tamer than the rest of the film, and this snoozefest deserves its 2.7 IMDb rating. Watch Dark Corners Reviews tackle the film here.
  • Book of Shadows: Blair Witch 2 is a case study in how Executive Meddling can completely derail a promising idea. While The Blair Witch Project is undoubtedly a polarizing film, those who liked it loved it, and few will doubt its place in the horror canon or the massive pop culture phenomenon that it became. And Joe Berlinger, the filmmaker (best known for True Crime documentaries) who was tapped to create the inevitable sequel, had some pretty interesting ideas for it, writing a film steeped in metatextual satire that was fundamentally about that phenomenon and how people reacted to the original film. The studio, however, had other plans, and the resulting clashes between their visions, Berlinger wanting to make a more Psychological Horror film about mass hysteria and the studio wanting a more traditional supernatural horror film about a Wicked Witch, turned the film into an incomprehensible mess. Scenes that have no bearing on the plot are awkwardly shoehorned in, the editing makes the story difficult to follow, it can't be certain whether anything shown on screen was real, and the clues left throughout the film paint a confused, contradictory portrait of just what the hell actually happened. While the film all but made back its budget in its opening weekend, it met scathing reviews and crashed hard after that, and it quickly earned a reputation as one of the worst horror sequels in history. Its IMDb score stands at a pitiful 4.0, and even the film's defenders largely mourn What Could Have Been rather than actually describe the theatrical cut as a good movie, holding out hope for a director's cut. Smeghead, naturally, has taken a crack at it. Good Bad Flicks went into just how badly the film was screwed over. The Nostalgia Critic reviews this trainwreck of a movie here.
  • Box Office 3D was announced to be a breakthrough in Italian film industry, being their first venture into the then-new stereoscopic 3D technology, and the newest work by director Ezio Greggio in a decade (who is famous for being a showman for Mediaset, presenter for Striscia la Notizia and Paperissima, and for shooting a bunch of rather passable films with fellow comedian Mel Brooks). It was presented at the 2011 Venice International Film Festival and, needless to say, everyone was outraged by its substandard production and low-brow humour, which consisted mostly of jokes that were already out of date in the early 1980s, with most of them rehashed from Paperissima. The film is a collection of loosely-connected film parodies in which the source materials are treated in ways that not even Seltzer and Friedberg would ever attempt. Characters barely represent their original selves (for example, Lisbeth Salander is portrayed as an overblown caricature of a drug addict, and Hermione Granger has been degraded to a sex object that Frodo Baggins wants to hit), the jokes either have a horrible setup or have bad or no punchlines, references to contemporary reality shows and stale jokes pandering to soccer fans are shoehorned in for no reason, and shameless self-referential humour is overabundant. It has questionable casting choices, including but not limited to the likes of Luca Giurato, Anna Falchi, Bruno Pizzul, Aldo Biscardi, and Gina Lollobrigida of all people. There are no 3D effects despite having "3D" right in the title, except for a badly rendered cat flying towards the screen in one scene. Despite having a respectable budget, it made almost no money back, because at that time word of mouth spread quickly about the film's quality. For a while, it became the laughingstock of Italian cinema for several weeks before being swiftly forgotten and buried. The Mighty Pirate breaks it down in a lengthy rant about how not to do a parody film.
  • Brain Drain (Spanish: Fuga de cerebros) is a 2009 Spanish comedy about a boy going to Oxford with his friends just to get laid with his girlfriend. Nevermind the fact that it sounds like the plot of any late-90s/early-2000s teen sex comedy, the plot is basically an Excuse Plot for 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, with one scene implying that he had sex with one of them. But that's tame compared to the 2013 Italian remake by Paolo Ruffini (see the Repeat Offenders section for more info on that).
  • The 2003 Cannes Film Festival cut of The Brown Bunny. The theatrical cut 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 Chloë 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.

    C 

    D 
  • 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's 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 the film apart here. You can also watch Mark Kermode give his thoughts on this "excrementally terrible" film, as well as a commentary on the decline of Cuba Gooding Jr.'s career. Carlyle and Leon of Spill also despised it, with Carlyle later declaring it the worst film of 2007.
  • Dancin': It's On! could easily give From Justin to Kelly a run for its money in terms of being one of the worst dancing-themed romance flicks of all time. Rich girl Jennifer falls in love with Ken, a dancing dishwasher, at the hotel managed by Jennifer's father. The two have a bog-standard romance which leads to a dance competition. Of course, said father doesn't approve of Ken, and of course Ken is caught in a Love Triangle with his existing dance partner Shotsy (who has an unrequited love for him) and Danny (a gofer hired by Jennifer's dad to drive a wedge in between by dating Jennifer and convincing her that Ken and Shotsy are a couple). What could have been mediocre at worst is made awful for many reasons. First, the leads Witney Carson and Chehon Wespi-Tschopp were contestants on Dancing with the Stars and So You Think You Can Dance respectively, thus meaning that neither of them are good actors (Wespi-Tschopp has not appeared in anything since, while Carson's only other notable role is becoming the Lovely Assistant on the game show Catch 21 after it was Un-Canceled in 2019). The writing is all over the place, with awkward and narmtastic lines, and the editing is confusing (at one point, the movie hard cuts to a war scene to explain David Winters' character's motivation for mentoring Ken). Many secondary characters come in and out so randomly and jarringly that their appearances stand out, including an annoying African-American doorman at the hotel who calls himself "The Captain" and appears only to spout "wise" and "witty" advice. It also has downright abysmal production values: the title card appears for literally half a second, the lighting is all over the place, and for whatever unknown reason the entire movie has absolutely terrible ADR. The film grossed only $27,000 against an estimated budget of $13 million, IMDb users gave it 3.0, and the only mainstream critics who bothered to review the movie were uniformly negative. Watch Brad Jones tear it apart on Midnight Screenings here and again as The Cinema Snob here.
  • Dead Clowns painfully bungles the So Cool, It's Awesome premise of zombie clowns in a hurricane by presenting the world an insidiously dull, slow-paced 94 minute trek of constant (inconsistent) hurricane Stock Footage doubling as Padding, ridiculously flat and almost entirely nameless cast of characters that get killed long before the viewer could care about them, a rather shallow plot that leaves questions and Plot Holes behindnote , dreadful cinematography driven by a rather cheap looking camera, numerous instances of Special Effect Failure (inconsistent zombie makeup and masks, laughably poor gore, the clowns are entirely clean and dry despite being dead in the sea for 50 years and walking around in a hurricane to kill and feast on people, and in one scene cocaine is clearly represented as sugar or salt), and absolutely thoroughly lifeless acting tto the point where one could be led to believe that the film was starring a gang of androids. And, the cover features two living clowns that do not appear in the film proper. The only real positive of the film would have to be its haunting minimalist score and shockingly great soundtrack (notably the closing credits song). You can see Emer Prevost review the film here.
  • The 2004 film adaptation of Devilman is infamous for being one of the worst live-action adaptations of an anime or manga, even by the notoriously low standards of such films. The movie's plot is rendered incoherent due to cramming the entire five volume manga series into a two-hour film and the pacing is a mess (to name a few examples, it takes ten minutes for the main plot to even begin and pivotful scenes from the manga such as the fight with Jinmen are over in a few minutes). The fight scenes are dull and poorly choreographed and the acting is wooden and emotionless, with the acting of lead stars Hisato and Yusuke Izaka (both twin brothers and J-pop singers) being universally panned as miscast in the lead roles of Akira and Ryo. Despite the film's budget of ¥5,200,000,000 (equivalent to over $49,000,000 USD adjusted for inflation as of 2019), the production values are shockingly poor, with sets being reused for various locations and the CGI special effects looking cheap and unconvincing even for the time. Predictably, the film was universally condemned by critics and audiences alike, "winning" an award for Worst Picture at the Bunshun Kiichigo Awards and topping a poll as the worst Japanese movie of the 2000's. The film is so reviled that years after release, fans of the franchise have mourned the film's release on its anniversary. With all this in mind, it's no surprise why the film has a paltry 4.0/10 on IMDb, was named among the top ten worst anime live-action adaptations by WatchMojo, and declared the worst ever live-action anime movie by TitanGoji, who even went as far as to unfavorably compare it to fellow Horrible entry Dragonball Evolution.
  • There's a reason why The Devil Inside is one of the most notorious films of 2012: exceedingly slow pacing, characters that nobody can relate to discussing eye-rolling semantics repeatedly, piss-poor editing and handling of both the found-footage gimmick and the exorcism-themed plot, lack of creativity or originality, rampant Critical Research Failure that contradicts virtually every claim made related to Catholicism, numerous directions (such as a Vatican conspiracy, Ben's Dark and Troubled Past, and whether Maria’s second exorcism was successful or not) that never get explored fully at all, and a rushed last 10 minutes that occurs out of the blue, and stops the film dead in its tracks, ending with a link to a website (which allegedly explained what happened after the events in the film) that isn't even online anymore. It was panned by almost every reviewer, with a 4% rating on Rotten Tomatoes, a Metacritic score of 18, and Peter Howell of the Toronto Star writing that the film is a candidate for the worst film of 2012. It was also slammed by the public to the point where it received a 76% drop in box office earnings for its second weekend. Audiences were seen booing at the film after it ended and gave an F on a Yahoo! Movies poll and Cinemascore. You can watch Film Brain tear it down 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 and serves little purpose but to drown out the dialogue. Oh, and the "Devil" of the title, supposedly the point of the film, is a guy in an obvious fursuit who shows up in the last 10 minutes and does nothing but run around, roar a bit, and get shot. Something Awful, as always, says it best.
  • The Disappointments Room is a poorly-made horror/thriller movie starring Kate Beckinsale and Lucas Till. The movie is about a family that moves into an old manor in the countryside. After settling in, Beckinsale's character starts seeing terrifying visions and dreams she cannot explain. Then she finds a secret room in the attic and discovers the dark history of the family that lived there in the 19th century. The movie sat on the shelf for 3 years due to Relativity Media going bankrupt. The movie feels like it has no beginning, middle, or end (despite a 92-minute runtime, nothing actually happens), the acting is mediocre at best, the editing is very choppy, the characters aren't developed at all, and the movie isn't scary and is stocked with all the horror movie cliches. The so-called "Disappointments Room" in the marketing is hardly in the movie. The movie got a 0% on Rotten Tomatoes and completely bombed at the box office ($1.4 million in its opening weekend on a $15 million budget). Chris Stuckmann talks about it here, and he later named it the second-worst film he'd seen in 2016.
  • Dirty Love, starring ex-Playboy Playmate and current anti-vaccine activist 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, and 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 Token Black Friend as an Ethnic Scrappy, even though she isn't black. The movie won four Razzie Awards, including Worst Picture and Worst Actress. Read Roger Ebert's review of it here. Truly some of his best work. It was a massive Box Office Bomb grossing only $36,099, one of the lowest of any movie on this entire list.
  • What really stands out about Dracula 3000 is all the ways it could have been So Bad, It's Good: For starters, the intro speech mentions Energy Weapons, but none are present in the movie. The rampant use of familiar names can lead one to believe it's Bram Stoker's Dracula IN SPACE!; it isn't, when in fact the vampire isn't even named Dracula note . There are only three vampires in the whole movie, despite having genuinely suspenseful scenes that are completely tossed away in the end. And while the box cover tries to deceive viewers with cool space vampires, but instead gives a pasty rando in a vampire costume that was probably bought at Walmart and looks it. The finale is a complete joke: The protagonists slam a door shut on Orlock's arm, cutting it off, and he breaks down weeping and screaming like a wuss. The final tease is the beginning of a sex scene after the last human carries the sex-droid towards the bedroom, which cuts off and shows the ship exploding from getting too close to the sun in order to kill Orlock. YouTube reviewer Fedora of Oh The Horror stakes this movie here.
  • Dragonball Evolution has often been considered the epitome of bad adaptations and is usually considered the nadir of the franchise. The changes made to the source material could rival Jem and the Holograms (another example) in terms of a film being unfaithful to its source material, turning beloved characters into cardboard cut-outs. Even when ignoring the fact that it's pretty much an In Name Only adaptation, it has enough problems to make it a bad movie in its own right: the movie is a Cliché Storm that blows its own source material out of the water in that regard, and its trite plot about high school life plays out like a Spider-Man knockoff. The special effects are subpar - the computer effects are beyond dated, and the practical effects aren't entirely up to scratch.note . Everybody but James Marsters (who would later go on to voice Zamasu in Dragon Ball Super) and Chow Yun-fat give wooden performances, and the dialogue is substandard. The story is so full of Plot Holes that more things do than don't go unexplained, complete with an out-of-nowhere twist, and includes some glaring cases of character apathy. There's a limited sense of continuity between shots at best. The sad part is that this wasn't the first draft — other, more faithful efforts were planned, and Akira Toriyama himself wanted to lend a hand, but these ideas were all shot down, with one of the scriptwriters ultimately apologizing for the movie's quality. The movie was Not Screened for Critics (who trashed it when they did see it, and it has only 14% on Rotten Tomatoes), and opened at #8 at the box office only to quickly drop out of the top ten the next week. Other online reviewers trashed it as well, such as The Blockbuster Buster (who wasn't even a fan of the series when he reviewed it) here and Cinematic Excrement (who was a fan of the series) here. RebelTaxi hated the movie so much that he made a four-part review of the film while drunk. Chris Stuckmann (a fan of the franchise) also covers it in a Hilariocity review here as well as in another review and when it was first released, and to this day considers it his least-favorite movie of all time. The Nostalgia Critic tears this movie apart with help from MasakoX and LittleKuriboh here. It is currently #2 on the AlloCine list of the 100 worst movies, being only as of 2016 dethroned by the French film Pédale Dure. Perhaps the one good thing about this film is that Toriyama hated it so much it convinced him to return to the franchise and continue it on his own terms, and one of the reasons he made Dragon Ball Z: Battle of Gods was out of spite for it.
  • Dylan Dog is a tricky comic to adapt due to its surreal and ambiguous nature, and Dylan Dog: Dead of Night is a textbook example of how bad an adaptation can be if it's not handled carefully. It's loaded with dull and insulting caricatures of Dylan, Bloch, and the other recurring characters, Groucho is replaced by an annoying whining sidekick (the cast couldn't get the rights from the Marx family to use his likeness), the plot is stale, generic, and unfit for a Dylan Dog story, and it's chock-full of overused scenes from other better horror films. Italian website Coming Soon cited it as too similar to teen vampire TV series like True Blood or Buffy the Vampire Slayer, and that those similarities make it "like baby food, good for an extremely young target (audience) without a deep critical edge", although the director "avoids disappointing the audience and gets a couple of good gags (in)". Without any comic or horrific effects to speak of, it deservedly got an 8% on Rotten Tomatoes and only made back less than a quarter of its budget.

    E 
  • Ed is a supposed baseball comedy made to capitalize on both the "family monkey movie" trend of the mid-90s and the rising fame of Friends star Matt LeBlanc. You get a man who's clearly wearing a chimpanzee suit, unfunny jokes, and an unappealing relationship between LeBlanc and Ed, and the film ended 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. Media Hunter goes into further detail here. The Cinema Snob also reviewed it, saying that it looked like one of the fake bad movies Joey would star in on Friends.
  • While Netflix's documentaries tends to vary in quality, Enter the Anime is such a failure at what it sets out to do that it becomes downright infuriating to almost anyone familiar with the subject. Ostensibly about an outsider discovering the medium for the first time, what the "documentary" is actually about is a glorified advertisement for Netflix's anime roster, a fact made glaringly obvious by how literally every series highlighted is one on the platform (all the more blatant by the inclusion of Castlevania, in spite of it being an entirely American production), yet is not disclosed at all until the credits. As a documentary, the whole film fails miserably, lacking any coherency or through-line, with large amounts of Padding through random trivia and the host complaining about how difficult the documentary was to make, with actual interviews with industry professionals being reduced to short five minute sequences that lack detail and are over-edited to the point of being difficult to watch, and then-recent events (such as the Kyoto Animation arson attack) being glossed over. Perhaps worst of all however is that, despite the beginning openly attempting to dissuade old orientalist portrayals of Japan as inaccurate, the film itself embraces it to the point of painting the anime industry in an almost inhuman light, even taking comments relating to the industry's long history of worker abuse and framing it as pure artistic passion. Casual viewers gain no incentive to delve into the medium itself, casual anime fans will gain nothing that a quick search online can't easily grant, and any one genuinely invested in the industry will likely be infuriated by the inaccurate and insulting portrayal of the medium, which has led to the film having a 2.5 on IMDB and an 8% on Google Play. Watch Mother's Basement rip it apart here while Callum May of ANN highlights the Unfortunate Implications here.
  • Exorcist II: The Heretic is one of the biggest textbook examples of Sequelitis ever made. While the first film is widely considered to be one of the best horror films ever made note , this film is considered one of the worst ever made. Featuring bizarre elements that make the film unintentionally entertaining (such as one scene where James Earl Jones is dressed in a locust outfit) and featuring scenes that are not scary in the slightest (the only one that is actually scary is when Regan looks like she's about to fall off a roof, and that's because Linda Blair was actually on the roof of a building), it's no surprise that this film was received negatively by critics and audiences alike (it has a paltry 20% Tomatometer rating on Rotten Tomatoes and a 3.7/10 on IMDb), to the point that it provoked derisive laughter from audiences when it was initially released. The film was also rendered Canon Discontinuity by its successor and the 2016 TV series. Mark Kermode, whose favorite film of all time is The Exorcist, considers it the worst film ever made, calling it a film that "trashes a work of art". Watch The Nostalgia Critic mock the film here.

    F 
Advertisement:

Top

How well does it match the trope?

Example of:

/

Media sources:

/

Report