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  • 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.
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    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 note .
  • After Last Season is a 2009 indie film with no discernible subject that 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 movie of 2009 and the decade, if not the last two decades. Almost everyone would be blissfully unaware of it if it hadn't been briefly featured on The Spoony Experiment (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 comedy film written by and starring the infamous Logan Paul, which has the All-Star Cast of your favorite YouTubers and Viners going to Australia for a social media convention and 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 and the special effects look fake. The story is very shallow and all the humor there is to make up for it consists of screaming, Black Comedy and Vulgar Humor which are too juvenile and badly delivered to be funny, unlike Airplane!note , and references already dated in 2019. Overall, Airplane Mode 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 the 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 is 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 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.
  • An Alan Smithee Film: Burn Hollywood Burn is a 1998 mockumentary where Eric Idle plays the titular Alan Smithee, who steals the original negative for the fictional big-budget action film that he's directing, Trio, starring Sylvester Stallone, Whoopi Goldberg and Jackie Chan, threatening to destroy it after being dissatisfied with its recut. Sounds like a pretty good premise to a movie that's basically a satire on Hollywood, right? Unfortunately, this movie's potential is undermined by crass jokes, slow pacing, the "tell, don't show" attitude regarding Trio and the motivation for Smithee to steal the film, and tons of inconsistency. For example, the critics said they loved the film Trio despite Smithee stealing the original negative before any prints of the movie were put out. Couple that with poor satire of Hollywood and a terrible soundtrack (excluding music by Public Enemy), with the song "I Wanna Be Mike Ovitz!" being the worst offender, and you can see why this movie was nominated for eight Razzie awards note  and won five of them at the following year's awards ceremony. The film would also receive an additional nomination as 'Worst Picture of the Decade' at the 20th Razzie Awards in 2000. The movie flopped at the box office, with a pitiful $52,850 against a $10 million budget, and critics slammed the movie, with an 8% score on Rotten Tomatoes and 2.7/10 on IMDb, and Roger Ebert rating the movie at zero stars. Director Arthur Hiller (who was credited under the Alan Smithee pseudonym) and Eric Idle have since disowned the film, and it ended up destroying the careers of not only Hiller, but also the writer Joe Eszterhas (whose writing career had previously taken a hit following Showgirls, which falls firmly on the other end of the spectrum) and the production company Cinergi Pictures. Not only that, but the critical and financial failure of the movie caused the Directors Guild of America to retire the Alan Smithee pseudonym altogether in the year 2000. Smeghead tears it apart here as part of his Razzie marathon, and Siskel & Ebert talk about the movie here.
  • 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 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 several 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, infamous executive meddler 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 (2021) 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 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.
  • Although bad films based on TV series began with the release of The Beverly Hillbillies in 1993, many consider The Avengers (1998) the worst of the worst. Adapted from the 1960s spy series of the same name, the film spent years in Development Hell, ultimately yielding changes between the original concept, presumably closer to the series itself, and what ultimately appeared. Initially slated for release in June of 1998, it was pushed back to August of the same year, preventing all press release previews and leading to its poor performance. The film's failure proved the Creator Killer for Jeremiah Chechik, whose ensuing works proved very unfortunate; the series' Franchise Killer; a Disowned Adaptation for Patrick Macnee, who had a figuratively and literally invisible Remake Cameo; and a Star-Derailing Role for Uma Thurman, whose Fake Brit was greatly hated, and one for Sean Connery, whose final blow came five years later with The League of Extraordinary Gentlemen. Critics almost universally despised the film, leading to its 5% rating on Rotten Tomatoes and its 12% on Metacritic. It also holds a 3.8 rating on IMDb and received nine nominations at the Golden Raspberry Awards (though it only "won" Worst Remake or Sequel, which it tied for with Godzilla and Psycho). In April 2014, watchmojo.com ranked it at #1 on its Top 10 Worst Movies Based on a TV Series, and The Nostalgia Critic tore the film to shreds when he expected a green monster, a star-clad shield and a giant hammer.
  • 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 ax 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.

    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 Video 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 unlikeable, 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 — both phoning it in hard — 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 forgettable 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 a 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 filmmaking… or even religion for that matter (one scene has a character claiming to have obtained the "recipe" for holy water, even though holy water is simply water that has been blessed by a clergy or religious figure), resulting in an 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, in Spanish by Videofobia (where it's called "the gay version of The Room") here, and Cynical Reviews tears it apart 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, eye-rolling 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.
  • Black Christmas (2019) is the second remake of the classic slasher film Black Christmas. While the first remake was poorly received and bombed at the box office, it has its fans and developed a cult following in years after its release. This remake, on the other hand, does not share the same love. It throws away almost any resemblance to the original in favor of a feminist Author Tract on misogyny and toxic masculinity that's Anvilicious to the point that it's to the noticeable detriment of the storytelling. And when it's not trying to push its message, it's an incompetently shot and haphazardly edited mess that blatantly rips off other classic slasher movie moments, with one scene being a complete ripoff of the infamous "corridor scene" from The Exorcist III. The film was hated by even the very feminists it was pandering to, and the film currently enjoys a 3.4/10 rating on IMDb and a 39% on Rotten Tomatoes. Watch Chris Stuckmann gloriously rip into the movie and give it an F here, Zack Cherry tear it a new asshole here, Flicks With Nick call it the worst Christmas movie ever made here, and Brad Jones and Doug Walker make fun of it on Midnight Screenings here.
  • In 2000, Kim Basinger followed up her 1997 Academy Award victory (for L.A. Confidential) with Bless the Child. This film torpedoed her prospects as a leading lady of films. 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 sterile 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 Orgy of the She-Devils is a film that directly insults its awesome title. Despite claims of Satanic debauchery, nothing really happens. There's an 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 the 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 
  • Can't Stop the Music, a musical faux-biopic of the Village People, which was released all the way back in 1980 but would have a lasting impact on both the world of film and the world of music - and not a good one. Watching it together with Xanadu as a double feature would inspire John Wilson to create the Golden Raspberry Awards; it sank the careers of the Village People and is considered to have not only set the movie-musical genre back years but also to have been the last nail in the coffin for the Disco era, which was already on its way out at the time of release. It suffers from many, many problems: its story lacks any lasting struggles or setbacks, the designated romantic relationship progresses at an implausible rate and has nothing to do with anything else in the movie, its jokes (ranging from poorly-done slapstick to running gags that seem more absurd than amusing) are goofy and unfunny, and it blatantly attempts to pair the Village People up with women while also blatantly pandering to the band’s LGBT Fanbase in a sequence at the YMCA featuring good-looking extras. These issues are compounded by almost universally bad acting, the general loathsomeness of the supposed good guys and a script that clearly only went through a single draft. On Rotten Tomatoes a total of 13 critics reviewed it and 12 gave it a Rotten response; even the lone Fresh review acknowledged its status as "an absolute trainwreck of a movie", which the reviewer considered only worth watching for its camp value. It was the well-deserved winner of the first Razzies for Worst Picture and Worst Screenplay and was nominated for several others, including both Worst Actor and Worst Actress. You can watch it being mocked by Musical Hell here and by Mister X and Alex Jowski here. Cinematic Excrement begins his Razzie marathon with this film.
  • Captain America (1990) has garnered a reputation as being one of the worst superhero movies ever made, and for good reason. It was made on a budget of $10 million, and it shows in the worst ways possible, with awful editing (one fight sequence features rapid Jump Cuts that occur over the course of a few seconds, presumably trying to mask the poorly-executed fight sequence). In addition, the writing is incompetent (for instance, the US president sends one man to help Cap for no good reason), the acting is hokey (with Matt Salinger, who played the titular character, being the only one to give a genuinely compelling performance), and a lot of Cap's fight scenes end with him being defeated or else being forced to run away. The film was panned by critics and audiences alike (it has an 8% rating on Rotten Tomatoes and a 3.3 rating on IMDb), and wound up a flop, grossing only around $10,000. Fortunately for Cap, he got a much better reboot in the Marvel Cinematic Universe, with more acclaimed films afterwards. You can watch The Nostalgia Critic mock the film here, as does The Cinema Snob here, and Chris Stuckmann compares the film unfavorably to fellow Horrible entry Fant4stic here.
  • Even by the standards of a No Budget Slasher Movie, Carnage Road is an atrocity. For starters, the villain is named "Quiltface", quite possibly the least intimidating name ever. For the first half of the film, we follow a group of unlikable photography students as they bicker their way through a photography assignment in the desert. This includes the most stereotypical Geek of all time, which is an impressive feat for somebody who never once references anything geeky. The second half of the film has our "heroes" being killed because they're too incompetent to look 10 feet in front of them. With its only redeeming quality being its 69-minute runtime, Carnage Road earns its 2.6 IMDB rating.
  • Wasting the talents of Christopher Lee, The Castle of Fu Manchu is a colossal mess of a spy movie. Lee stars as the titular Fu Manchu, a villain who loses all potency as he and his minions blow up lots of stock footage just to dick around in the Mediterranean. To stop him from freezing the world's oceans, a James Bond Expy is called in to save the day and a kidnapped scientist. Said scientist has heart issues that result in 10-minute scenes of him whispering while the camera just drones on the cavern walls. Things seem to happen, gunfights look like they happen, people tend to "happen", but in all reality, nothing happens. A barely-comprehensible plot, painfully-wooden acting, and a plodding narrative turn a vapid thriller into a deadly bore. This film is particularly infamous for being one of the few MST3K movies where Joel and the Bots' riffing does absolutely nothing to make the film any less soul-crushingly painful, and in-universe, the film is one of the few that comes very close to breaking them, as they routinely break down during host segments, and it’s only a "The Reason You Suck" Speech Joel gives at the end that prevents the Mads from using the film to take over the world. Additionally, the MST crew chose the film in response to critics claiming that anyone could riff on the movies like they did. Leigh Jones of EternallyOptimistic Reviews considers Castle the worst of MST3K's films when viewed on their own.
  • Catwoman (2004) is a special kind of bad (quote The Nostalgia Critic, "the kind of bad that the main characters from The Producers would put together as an intentional flop to cash in on some sort of money scheme"). Not only is it completely unfaithful to the source material (right down to Catwoman's alter ego being named "Patience" and not Selina Kyle), it's just downright boring. The plot (if you can call it that) is about Catwoman trying to stop an evil cosmetics company from releasing an indestructible makeup that can damage the skin if it's not continually applied. And if that weren't bad enough, the acting is wooden, the writing choices are bizarre (Halle Berry rubs her face with catnip in one scene), the villains are cartoony and the special effects are horrendously bad. Makes you wonder why the producers even decided to salvage it from Development Hell. It currently stands at a 9% on Rotten Tomatoes and a 3.3 out of 10 on IMDb, failing to recoup its $100 million budget. The film earned seven Golden Raspberry Award nominations and won four for Worst Picture, Worst Director, Worst Screenplay, and Worst Actress for Berry, who accepted it by poking fun at the film. Pitof has only directed a TV movie since then, while Berry and Sharon Stone fell from the A-list. Along with contemporary Elektra, it killed any potential female-led comic book films for more than a decade until Wonder Woman and Captain Marvel finally proved they could be successful. It’s also notable as a rare film whose official trailer doesn’t feature a single line of dialogue after a leak of the initial version was mocked to hell and back. You can also watch it being mocked by The Blockbuster Buster (here), Dena Natali (here and here), Cinematic Excrement (here), Adum & Pals (here) and the Nostalgia Critic here..
  • The Cavern (formerly known as Within back when it was shown in film festivals): An indie horror movie made by Olatunde Osunsanmi, it's a pale shadow of better cave-themed horror movies such as The Descent and The Cave. The cinematography is utterly incompetent, with the lighting alternating between impenetrable darkness and blinding brightness. The characters are unlikable dimwits. The plot is completely idiotic, filled with Voodoo Sharks and having a heat-seeking, precision-guided, extra-sticky Idiot Ball, and the twist near the end is completely moronic. To top it off, in an extremely insensitive and reprehensible touch, the film stops in the middle of a rape scene. You can watch Film Brain tear it a new one here.
  • Cell is the 2016 adaptation of Stephen King's novel of the same name, and is considered one of the worst adaptations of his work. Wasting talented actors like Samuel L. Jackson, John Cusack, and Isabelle Fuhrman, this film has many issues such as poor special effects (for instance, four of the same person can be seen in one shot) and horrific editing, and while the film has lots of unintentionally hilarious moments involving its zombies (including a scene where they sing the "Trololol" song for no reason), they aren't enough to save the film from its dull story, which has a very unclear ending where Cusack's character may or may not have become a zombie. Unsurprisingly, this film was panned by critics and audiences alike (a 10% Tomatometer rating on Rotten Tomatoes and a 4.3/10 on IMDb). Chris Stuckmann talks about it here, and later named it the 4th-worst film he'd seen in 2016. FoundFlix gives the movie a quick breakdown and tries to figure out the ending.
  • A Certain Sacrifice, a low-budget independent film from 1979 starring a pre-fame Madonna that was never finished due to money issues but eventually released in 1985 when director Stephen Jon Lewicki put it out on video to capitalize on Madonna's fame. Madonna hated the film and attempted, unsuccessfully, to have it pulled - and for good reason. It's easy to tell that it's unfinished, as despite running just 62 minutes every scene goes on for far, far too long, and the way the scenes are edited together is downright confusing. The plot is mostly incomprehensible (more or less nothing happens until about 40 minutes in, when it suddenly turns into a rape-revenge movie), and most scenes are completely purposeless and inexplicable. The acting and dialogue are both awful, the synthesized soundtrack is hideously grating, and the quality of the sound recording is inexcusably bad, often to the point where you can't understand the dialogue. And there's an out-of-nowhere twist at the end, with Madonna's rapist being sacrificed to Satan and a terrible song that goes on for seven minutes. Todd in the Shadows expounds further.
  • Chairman of the Board was comedian Carrot Top's first (and only) major role in a feature film, starring him as an annoying inventor called Edison who inherits a business from a millionaire. With bad jokes, a stupid plot, and obnoxious acting, it's no wonder the film got Carrot Top a Razzie nomination for "Worst New Star", and his costar Raquel Welch another Razzie nomination for "Worst Supporting Actress". It currently sits on the Bottom 100 on IMDb, has a 13% rating on Rotten Tomatoes, and only made $181,222 out of its $10 million budget, Mike Nelson considers it one of the five worst comedies of all time, and The Nostalgia Critic took a look at it here as does Allison Pregler on her review. The director and writer of this film, Alex Zann, would eventually go on to make fellow Horrible entry Woody Woodpecker (2017). It did at least provide an especially notorious episode of Late Night with Conan O'Brien where all of Courtney Thorne-Smith's attempts to promote the film were ruthlessly torpedoed by fellow guest Norm Macdonald:
    Norm: "I'll bet that 'board' is spelled B-O-R-E-D."
  • Children of the Living Dead presents itself as a sequel to George A. Romero's classic Night of the Living Dead (1968). In reality, all it has in common are the words "Living Dead" in the title, one of the producers on Night (John A. Russo) filling the same role in Children, and the fact that it features zombies. What would otherwise have been an unremarkable zombie exploitation flick got turned into an absolute trainwreck by the egotism of writer-producer Karen Lee Wolf, who took the film away from the director (he unsurprisingly disowned it afterward), re-edited it into a total mess, and then hired a bunch of talentless voiceover "artists" to redub all the dialogue to make some sense out of the now-butchered storyline. Add some horrendous cinematography and mediocre zombie/gore effects, and you have a film that can't even hold its own against the cheap Italian zombie movies of The '70s and will make a user of the Ain't It Cool News forums Persona Non Grata just by mentioning its name. The one thing it has in its favor is an entertaining cameo by Tom Savini... who dies five minutes into the film. Diamanda Hagan concurs.
  • Christmas in Wonderland is a 2007 Christmas movie with an All-Star Cast, apparently no script, and exists solely to piss off the entire population of Edmonton and Canada in its sight. Its main selling point is that 90% of it was shot in West Edmonton Mall (formerly the world's largest) in Edmonton, Alberta, Canada... yet when it's not being a 100-minute commercial for said mall, it's trying to justify its plot by relying on the main characters being ten times as moronic as families in average family Christmas films. To make a list of all its inconsistencies would be writing a list as long as the script itself - for example, the opening credits are supposed to be in Los Angeles, yet it's obviously shot in Strathcoma in Edmonton. The two boys apparently hate Canada, yet they have strong Canadian accents. Furthermore, the mall itself is made to look like a magical palace on the exterior, with puke-worthy results. That's only the beginning. The film's an insult to Edmonton and Canada, and the one cinema in the mall that showed it in 2007 dropped it after a week because it's so bad. And boy, Patrick Swayze looked horrible; this is not a film you'd want to remember him by. The fact that in this movie, there is no snow anywhere in Edmonton at Christmas sums up how little they cared.
  • A Christmas Story 2, a direct-to-video sequel to the 1983 classic, was made in 2012, 29 years after the first, with none of the original cast (understandably). The main problem is that all of the jokes are rehashed from the original film in one way or another - for example, the famous scene in the original movie where Flick gets his tongue stuck on a frozen metal pole is reenacted as a teenage Flick deciding to stick his tongue in a vacuum tube while working in a mail office (and we get a Gross-Up Close-Up of it, too!). There's also the actors phoning in their performances, characters becoming despicably unlikable, and the lesson that implies that girls will only be interested in you if you have a car. Fans pretty much pretend that it doesn't exist, if the YouTube video for the trailer is anything to go by. When the trailer decides to market the movie as the "Official Sequel" to something, then you know you're in for a blatant cash grab. On top of all that, it's not even an actual Christmas Story 2 - the real, Jean Shepherd-penned followups are the 1988 made-for-TV film Ollie Hopnoodle's Haven of Bliss and 1994's My Summer Story/It Runs in the Family. Bobsheaux talks about it here, making him appreciate the first movie more. Emer Prevost also rants about it here, saying that it was so bad it almost made him retroactively hate the original film. The Nostalgia Critic also talks about the film here.
  • Code Name: K.O.Z., a Turkish film from 2015, zoomed to the #1 position on IMDb's Bottom 100 soon after its release. The movie is purely Turkish propaganda, depicting Turkish president Erdogan as the hero and the Gulen movement as the villain. The film editing is sophomoric, the actors are bland, and the script itself has too many plotholes. Two major Turkish newspapers, Hurriyet (Turkish) and Today's Zaman (English) tore the film apart.
  • The Creeping Terror, a horror/sci-fi film from 1964 that tells the story of a UFO that releases a monster that crawls around and eats people, is widely considered to be one of the worst films of all time, and for good reason. It was directed, produced, and edited by Vic Savage, who bought a story from filmmaker Allan Silliphant, but pretended that it was from his more famous brother Stirling Silliphant as a way of attracting investors for the movie, in addition with promising them cameo roles. However, Silliphant would clash with Savage during filming, and eventually quit to save his brother's reputation. The final product, however, turned out to be an absolute mess. There's hardly any dialogue in the film, as almost the entire original soundtracks were lost for unclear reasons, so a narrator was brought on to provide the expository dialogue as if it were an educational film. The plot itself is incoherent, the characters bland and forgettable, but above all, the titular Creeping Terror is absolutely laughable, looking more like a shag rug hastily thrown together (due to Savage not paying the original costume creator enough, resulting in the original costume being stolen before production). And all attempts at creating horror fall completely flat when the monster just ambles ever-so-slowly towards its victims, who could easily outrun the creature but just choose to lie still and scream before climbing into the monster's mouth. Ultimately, the final product is so dry that it must not be watched without the crew of Mystery Science Theater 3000 giving their commentary.
  • Cry Wilderness, a supposed family adventure film from 1987 which sank without a trace and was completely forgotten until it was dug up from who knows where for the 2017 revival of Mystery Science Theater 3000. After a throwaway setup where a kid named Paul is somehow in danger of being expelled from school just for claiming to have gone on an adventure with Bigfoot the previous year (among the many inexplicable things in the film, one of the biggest is how it seems to be acting like it's a sequel to a movie that doesn't actually exist), he's visited by an unexplained vision of Bigfoot that tells him his park ranger father is in danger and hitchhikes to his dad's cabin in the woods. From there, literally 90% of the film is just Paul, his dad, and a few other characters aimlessly wandering around the woods, gazing at obvious stock footage of animals (mostly wrong for the region) and occasionally talking about a dangerous animal that eventually turns out not to be Bigfoot but a tiger that escaped from a nearby circus. Paul is one of the most annoying kid heroes ever, constantly putting everyone in danger and never getting punished for it. One of the other people wandering around is Jim, a Native American who the crew seems to have been afraid wouldn't be believable as a Native American unless his face was slathered with bright red makeup, which is made even weirder when out of nowhere we get a textbook Magical Native American who doesn't have it. Another character is Morgan, a hunter who acts over-the-top evil for absolutely no reason so we can get a Green Aesop and not see Paul as utterly psychotic for arranging his comeuppance of getting his eyes pecked out by birds, plus his first scene has the actor strangling a real and terrified raccoon and is incredibly hard to watch. As for Bigfoot, he's almost entirely incidental to the story, and that warning about Paul's father turns out to be about him getting trapped in a cave-in, which would never have happened if Paul hadn't been there in the first place. The costume also clearly had no effort put into it, only being half-finished with the actor's real skin and clothes clearly visible. The best thing that can be said about the film is that its riffing has been considered a Growing the Beard moment for the Jonah era on the Satellite of Love.

    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 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 is 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.
  • Deadly Lessons isn't as well-known or infamous as films like The Room or its contemporaries, but those who have seen it can confirm all of its flaws. The film, directed, written by and starring Stuart Paul, who purposely left his name uncredited for directing, opting to be labled as Q. Mark ("Question Mark", gettit?), is about Paul playing a seemingly magical "prophet without a god" named Simon Conjurer (apparently based on Simon Magus), who's absolutely perfect in every possible way, who has to contend with a murder accusation concocted by his arch-enemy (played by Jon Voight… no, really) while teaching a night class full of individuals with varying mental problems. The class helps clear his name while also confronting their own inner demons. Filmed in 2005 as The Legend of Simon Conjurer but never formally released until it was quietly released on streaming services in 2014, Deadly Lessons is a complete abject failure. The film has a wildly inconsistent tone, going back and forth from being a somewhat serious thriller to a bizarre catoonish comedy at a wild rate. Not only that, the film is honestly quite offensive in its portrayl of mental illness, implying that Conjurer can cure their problems in one night without any sort of issue (including homosexuality, which is cured by the gay character watching Simon have sex with his love interest in the film). All of this is also ignoring the pitiful special effects, the slow pacing of the film's near two-and-a-half hour runtime, Voight's absurdly cartoonish performance under excessively silly looking prosthetics and a fat suit, the film's extensive Idiot Plot and its incomprehisible combination of absurdities and pyschological elements. But hey, why don't you take a look for yourself?
  • 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 pivotal 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 2000s. 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 considered one of the worst horror films ever made: exceedingly slow pacing, characters that nobody can relate to discussing eye-rolling semantics repeatedly, piss-poor editing, awful 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 the film makes related to Catholicism, and numerous directions that never get explored fully at all (such as a Vatican conspiracy, Ben's Dark and Troubled Past, and whether Maria’s second exorcism was successful or not). While this is typical poor-movie fare, what makes this worse than other bad movies is the main reason people even remember the film: the infamous ending, which has a twist occur out of the blue and quite literally stop the film dead in its tracks, with the final image before the credits being a link to a website that went defunct just six months after the movie was released - and even that didn't give a conclusion (as implied by the credits), since the site just had some pictures and videos of the characters, and nothing in it gave any sort of hint at a conclusion (archived link, so you can see for yourself). 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. The Smeghead also gave his post-mortem here. 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 five 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, the actual film has 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 to kill Orlock. YouTube reviewer Fedora of Oh The Horror stakes this movie here. A Chud.com review stated that "To call this film shit is an insult to fragrant brown logs everywhere."
  • 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.

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  • 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 tend 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, despite 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 anyone 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.

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