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Horrible / Live-Action Films G-M

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  • Galaxina, a film made in 1980, marketed itself as a sci-fi comedy featuring Playmate Dorothy Stratten (who was brutally murdered the same year). This would be fine if it wasn't one of the worst sci-fi films and one of the worst comedies ever made. The humor value of the jokes can be summed up with the character name "Captain Cornelius Butt" and the science fiction aspects don't go much farther than the title character (played by Stratten) being a sex-bot. The dialogue is painful, the special effects make Troll 2 look state-of-the-art (there's actually a character that looks like he came out of that film), and scenes go on for so long it hurts. There's not even any nudity, even though one scene takes place in a brothel! Then again, what do you expect from a film directed and written by William Sachs (who also gave the world The Incredible Melting Man)?
  • Gallowwalkers is the proof that sometimes a film deserves to be confined on The Shelf of Movie Languishment. Delayed because of Wesley Snipes' tax problems, it was completed in 2010 and released in 2012. The waiting wasn't worth the final result: despite an interesting premise that mixes western with horror and supernatural elements, the story is undermined by a convoluted plot and an unnecessarily slow pace, despite the film itself lasting only 90 minutes, and Snipes' portrayal of a tough gunslinger is mediocre at best because of his utter seriousness contrasting with the absurdity that surrounds him. It currently holds an audience score of 11% on Rotten Tomatoes and a 3.6 on IMDb.
  • Gamera: Super Monster, released in 1980. Whether you love the Showa series, warts and all, or think the Gamera films are hard to take even with the aid of Joel, Mike, and the Bots... you'll be astounded by how bad this film is. The enemy ship is a blatant Star Destroyer rip-off. The three-girl alien hero team sits and plays a magical music organ with a kid more annoying than all other Kaiju kids combined. In the end, Gamera sacrifices himself to blow up the enemy ship (which itself seems plagiarized from Star Wars) after re-fighting all his foes in footage from prior films which wasn't even edited and didn't have the Godzilla's Revenge excuse of taking place in a dream. When Gamera dies, you feel good for him even though the sequence is lame because he's out of the picture!
  • Game Therapy is an Italian-American co-production focusing on the world of video games, which was good on paper because it was very unusual for an Italian release, but flopped and gained scathing reviews by critics and viewers alike for many reasons:
    • First of all, they bragged about the participation of famous Italian YouTubers FaviJ and Federico Clapis, who just can't act. The plot is trite and predictable, the acting is stilted, and it focuses more on sexist jokes and outdated pop culture references rather than sci-fi and video game-related tropes. It's never explained how the titular Game Therapy works, nor its goal. The fight against the Big Bad ends with the obnoxious "heroes" defeating him with the result of an editing mistake (FaviJ was incapacitated but somehow freed himself to slay the villain without any indication on how he did it). The movie cost 2 million euros to produce, but it only grossed €741,085 and earned a 1.5/10 score on IMDb.
    • The funniest part? The DVD release of the movie happened only because they got enough likes on a post on the movie's official Facebook page asking people if they wanted it... and most of them were from people who wanted to see the movie reviewed by popular Italian Caustic Critic MightyPirate.
  • Based on a brand of trading cards and stickers, The Garbage Pail Kids Movie features cheaply-made and scary-looking costumes, a Running Gag of a zit-covered geek wetting his pants, a romance between a boy who looks 12 and a girl who looks like she's in her 20s note , and a climax where everyone farts and vomits. There's a government agency that kidnaps ugly people and kills them. This aspect, the "State Home For The Ugly", is perhaps the biggest Plot Hole as it brings about a dozen questions the story never attempts to answer. The "heroes" want to catch the Garbage Pail Kids to put them back in their tiny little pail, but they're heartbroken to hear that they'd be imprisoned in the State Home. The mentor says that they're equivalent to the horrors unleashed by Pandora's Box, yet wishes to save them from the State Home. Why? And the "plot" only goes downhill from there. Leonard Maltin, in his review, argued that the garbage pail the kids live in is "where they are destined to be joined by the negative of this movie". Jim Cummings, a hugely successful voice actor who voiced two of the Garbage Pail Kids, personally hates having worked on this movie.
    • The movie is so bad that Doug Walker himself, during the 2009 donation drive, named this movie as the worst he ever reviewed as The Nostalgia Critic. Doug was so visibly suffering by having to watch the movie in his review that watching the review is painful. Over three years later, in his "Worst NC Reviewed Movies EVER!" list, Doug still called it the worst movie he's ever had the misfortune to review, as well as the worst movie he has ever seen in his life (with the extra pain of Doug actually looking forward at the time of release as he was a fan of the trading cards), ranting for 15 minutes about the movie - he went so far as to call it "worse than "Manos" The Hands of Fate" - and stating that of all the movies he's reviewed, or just dislikes in general, this is the only one that he has never heard a single person legitimately try to defend. I Hate Everything was confounded by the pure meanspiritedness of the film.
    • The movie's so bad that not even the review blurbs on the back of the DVD cover have anything nice to say, instead using words like "vile", "rude", "smelly", "ugly", and "gross". Oh, and it was also removed from theaters by Media Watchdogs and the aforementioned Jim Cummings for all the Family Unfriendly Aesops and the age-inappropriate humor.
    • It was revealed years later that the film originated as a straight horror film, which explains the Mood Whiplash and dissonant tone of the film. Watching the film knowing that the horrible Garbage Pail Kids are supposed to be evil makes the film make a lot more sense.
  • In a nutshell, Getaway is a stillborn attempt at combining the racing and thriller genres. The film focuses on former racer Brent Magna (Ethan Hawke), whose wife has been kidnapped by a mysterious villain called "The Voice" (Jon Voight). As Brent follows the Voice's instructions, a young woman only known as "The Kid" (Selena Gomez) attempts to carjack him, but is ultimately forced to help Brent save his wife. The movie's pacing is fast. And probably too fast for its own good, as Getaway features dire directing, incoherent editing, a monotonous plot, insensible dialogue, and horrific acting. The result? A 2% on Rotten Tomatoes, a 23 on Metacritic, and disastrous box office results (it only made $10.5 million worldwide out of its $18 million budget). On top of that, the film's co-producer Dark Castle Entertainment didn't release another film until Suburbicon four years later - which also bombed horribly. Cinematic Excrement tells us what he thinks of the film.
  • Ghosts Can't Do It, a failed romance vehicle for Bo Derek directed by her husband John that made their previous films they did together (Fantasies, Tarzan the Ape Man, and Bolero, all of which would nearly come close to being Horrible) look passable. Derek plays a woman in a May–December Romance opposite a 60-year-old man played by Anthony Quinn. Quinn's Large Ham character dies and he becomes a ghost only Derek's character can see (represented by having Quinn stand in front of a black backdrop and performing what resembles an extremely bad stand-up comedy routine) who wants to come back to life. His spirit then seeks to enter the body of a younger man in the hopes that they will have sex once again... which means a substantial portion of this light romantic comedy becomes devoted to murder and necromancy. With dull acting, a lame and hackneyed plot, and gratuitous nudity, it's not hard to see why this stinker was what it was. For the Dereks, Ghosts Can't Do It was the Star-Derailing Role for Bo (whose roles since then have been limited to supporting roles in other movies like Tommy Boy and TV shows) and the final film directed by John. The film has a 2.3 rating on IMDb. The Cinema Snob took a swipe at it, and was not amused. As a trivia note, future President Donald Trump had a cameo, which earned him the Razzie for "Worst Supporting Actor" and a nomination for "Worst New Star", along with co-star Leo Damian. They both lost to Sofia Coppola for The Godfather Part III.
  • Gigli (pronounced "gee-lee") was made for one reason - to sap money out of teenage girls who wanted to see Ben Affleck and Jennifer Lopez necking. Unfortunately, when the film came out, that was being shown on syndicated tabloid shows for free. The film concerns a developmentally-disabled man (Justin Bartha in a quite ignominious film debut) being held for ransom by two mobsters (Affleck and Lopez). Not much happens beyond the three languishing in an apartment and coexisting. There's a feature-length Romantic Plot Tumor between the two stars which is long on awkward sex talk but devoid of chemistry. Oh, and apparently Affleck's character can cure lesbianism. In-between, there are brief appearances of Christopher Walken delivering nonsensical dialogue and Al Pacino embarrassing himself. Not even the stars could defend it. This film is noteworthy for being the Creator Killer for director Martin Brest (the director of Beverly Hills Cop), who retired from directing films afterwards. The fact that "Weird Al" Yankovic listed a forced recording of a TV broadcast of it as number two in a long list of effects of the Stinky Cheese virus in his song "Virus Alert" should be more than enough to speak for its low quality, but if you want some more specifics on what to expect, see a lengthy recap by a whole slew of Agony Booth writers.
  • Glitter was basically nothing more than a vanity project for its star, musician Mariah Carey. Though set in the 1980s, there's very little of the out-there fashion that literally defined the decade. It also suffers from some wooden acting (particularly from Carey), cheesy music, laughable dialogue, and poor writing. Carey's promotional tour for the soundtrack album (which flopped as hard as the movie) was marred by her erratic behavior and an appearance at the disastrous "United We Stand: What More Can I Give" 9/11 benefit concert. The film has a 7% rating on Rotten Tomatoes, is a regular on the IMDb Bottom 100 list, and was nominated for six Golden Raspberry Awards, with Carey winning Worst Actress. Surprisingly, in 2018, its soundtrack saw a sudden skyrocket in sales after the JusticeForGlitter hashtag went viral on Twitter. This is one of the few films that was reviewed by Todd in the Shadows. Musical Hell gives a more informative review here, in which host Christi Estrele found the film's romantic subplot so utterly creepy that, for the first time in the show's history, she broke her Kayfabe as the Affably Evil demon Diva to declare it quite possibly the worst film she'd ever reviewed.
  • While the original The Gingerdead Man could easily be considered So Okay, It's Average and the sequel could at the very, very least be considered So Bad, It's Good, the third film is horrible. Gingerdead Man 3: Saturday Night Cleaver contains pointless references to other films, an insane asylum for crazed food, an unexplained pointless time travel plot (that doesn't even bother to get the period right in terms of making sure there are no anachronisms in the shots), a gingerbread man jerking off, said gingerbread man deciding to kill people for no reason, knocking off the plot of Carrie, and a complete Ass Pull ending. Watch Phelous tear it apart here, as well as a Reaction & Review from Emer Prevost.
  • Going Overboard, the first starring role for Adam Sandler, is a cheap No Budget comedy flick that was shot with poor quality on a cruise ship. It has very unfunny jokes that are either stupid or disgusting, a very degrading story about a struggling comedian taking on another comedian, actors doing very annoying stuff, and even the main character addressing the camera like it's more of a fake reality show than a movie. It's a wonder that Sandler's career wasn't killed in its cradle by this flop (though it helped he somehow was able to get his name excluded from guide listings so it appeared he did only a long, long cameo role). Was the subject of Film Brain's 100th review.
  • Gotti, a 2018 biopic of Mafia boss John Gotti that was adapted from his son's memoir, went through seven years of Development Hell before finally being released... and it shows, with the film going down as quite possibly one of the worst mob movies ever made, earning a rare 0% critics' score on Rotten Tomatoes. The film completely lacks any sort of narrative through-line, jumping between various moments in Gotti's life seemingly at random, while ultimately painting Gotti - a mob boss - as an unambiguous hero and family man. Talented actors embarrass themselves with dreadful performances, with John Travolta, playing the title character, being just about the only person in the cast who seemed like he was even trying. As the cherry on top, the movie-ticket-subscription service MoviePass (which helped fund the film) was widely accused of running an AstroTurf scheme to artificially inflate the film's audience score on Rotten Tomatoes, which it then used in an attempt to create a Critical Dissonance dynamic around it, running ads comparing critics to "trolls behind a keyboard"; it failed, with the film making only $1.7 million on its opening weekend against a $10 million budget, with 40% of the people who saw it getting their tickets for free through MoviePass. The film was nominated for many Razzie awards (Worst Picture, Worst Director, Worst Actor {Travolta}, Worst Supporting Actress {Preston}, Worst Screen Combo {Travolta and Preston} and Worst Screenplay), but won none, with fellow Horrible entry Holmes and Watson (see below) winning the first two. Ralph The Movie Maker tears it apart here, as does What The Flick?!, with Christy comparing the film unfavorably to fellow Horrible entry Battlefield Earth, which Travolta also starred in. Double Toasted also covers the film here.
  • The appropriately named Gross Out is about three siblings making a disgusting movie to get the inheritance from their rich mother. It seems to exist because the makers wanted to see how much shit, piss, and vomit could be stuffed into a cheap 82-minute bottom-of-the-barrel movie, with some good-old-fashioned racism (including a butler in blackface) and fart jokes thrown in just for the hell of it. Seriously, though, does anyone really expect a movie with the line "How would you like to suck the worms from my crotch?" to actually be good? For those with strong stomachs, here's The Cinema Snob's review.

  • For a long time, the original theatrical cut of Highlander II: The Quickening has been the go-to example of a sequel that utterly betrays the original source material. The immortals are suddenly all ancient space aliens from the planet Zeist (something never even alluded to in the first film), continuity is thrown right out of the window as characters who very clearly died in the first film are resurrected for no reason and gain previously-unexplained skills out of nowhere, and the plot and visual aesthetics very blatantly imitate cyberpunk films like Blade Runner... and that's just the tip of the iceberg. It's so reviled that the original version was pretty much buried and forgotten. Since then, every significant re-release was severely recut to remove the more controversial elements, such as the whole Zeist thing... and they're seen as So Bad, It's Good at best. The Spoony One couldn't detail every flaw of the original theatrical version, but he came close. Strangely enough, even though it's one of the most notorious goofs in cinema history, it's not even the worst film in its franchise - that honor belongs to Highlander: The Source (see Horrible.Live Action TV).
  • Hobgoblins is a very 1980s "horror" movie about "hobgoblins" (in truth, nothing like hobgoblins but suspiciously like Gremlins) who live in a vault at an old film studio. They're meant to kill people by causing hallucinations of their greatest fantasies, but only manage this once on-screen. The film features delights like gratuitous sex; a fight scene involving rakes and little Casio noises; terrible puppetry; hair, makeup, and clothing that were hideous even by 1980s standards; and unfunny jokes that mostly revolve around Daphne's promiscuity. If you need the movie summed up in a single sentence, it's been fairly described as a 90-minute porn flick with no porn. The director himself offered it to Mystery Science Theater 3000, and even their version is painful to watch despite containing some of the show's best riffs. And there's a sequel which is equally bad, but was probably aiming for So Bad, It's Good. The special effects are even worse than the original, neither the clothes nor the puppets have changed, and Daphne is still a slut. The whole thing can be summed up with a bonus feature on the DVD titled "Hobgoblins 2: What Were They Thinking?" in which the actors from the first film wonder why anyone would want to reprise their old roles or want anything to do with this monstrosity.
  • Holmes & Watson was meant to mark the triumphant return of Will Ferrell and John C. Reilly as a comedy duo since their Talladega Nights days in a comedic take on the Sherlock Holmes stories, with Ferrell as the great detective and Reilly as Watson. However, the end result is a complete trainwreck that, in particular, was taken by many to be a sign that Ferrell's typical Manchild comedy schtick was beginning to seriously wear thin. Comedically, this comedy movie is flatlining: most of the jokes are painfully unfunny, overdone (such as a gag where Watson is unable to recognize Holmes after Holmes puts on a fake mustache), completely rote (such as an Overly Long Gag revolving around different terms for masturbation), or all at once, and are often run into the ground relentlessly. There's hardly any plot; what little plot there is (involving Holmes and Watson trying to prevent a plot by Moriarty to assassinate the Queen of England) is essentially an Excuse Plot for the gags and is completely stupid. The characterizations are barely consistent and seem to change on the fly to make a gag work; Holmes himself, in particular, goes from an actually intelligent detective to a Know-Nothing Know-It-All ditz/typical Ferrell goofball at the drop of a hat. In the end, this parody of Sherlock Holmes absolutely does not have a clue, despite having lots of perfectly good talent working on it. The film had very little marketingnote  and reportedly test screenings were so bad that Sony tried to get Netflix to buy the film from them note , but when that didn't work they released the film during the highly-competitive 2018 Christmas season and didn't screen it for critics. It currently stands at an abysmal 11% on Rotten Tomatoes (it started at 0%, and even the nicer reviews have cited many parts of the film as being painful to sit through) and a lackluster (especially for a broad comedy) D+ on Cinemascore, with many critics noting that people in the theaters showing the movie were leaving in droves as early as the 30-minute mark. As a result, the film was also a financial failure, grossing only $30.5 million domestically and $11.3 million internationally against a budget of $42 million. Steve Coogan also considers it an Old Shame. Korey Coleman tells Martin Thomas exactly what he thought of the film here on Double Toasted. Matthew Buck talks about the film with Dan Olson and some other guy on the first episode of The Film Brain Podcast here. Cynical Reviews did an excoriating review here. The movie was very swiftly nominated for many Razzie Awards, ultimately winning four of them - Worst Picture note , Worst Supporting Actor (Reilly), Worst Remake/Rip-Off/Sequel, and Worst Director (director Etan Cohen).
  • There are plenty of foreign movies that satirize American culture and still manage to get laughs from American audiences, yet there's always the occasional stinker like the 1981 British film Honky Tonk Freeway that fails on every level. The film's plot centers around a corrupt Florida mayor who, after having his city paved over by an interstate, finances a terrible theme park and vandalizes the freeway with suspicious billboards to cheat potential visitors of their money to give his town more attention. The townspeople also decide to paint the whole town pink (yes, pink) for no logical reason whatsoever. Seems harmless enough, right? Well, things start going downhill when the visitors turn out to be various caricatures of American stereotypes, such as a cocaine-addicted hitchhiker, a drunk elderly woman (???) in retirement, a country singer with exotic animals, and a dysfunctional family living in an RV, among many other stereotypical characters. None of the film's characters exhibit any humorous traits (and can be borderline offensive sometimes), the acting and script are atrociously awful, the Cliché Storm is in full effect, and no one is relatable in any way. It's as if the film has multiple separate subplots that don't come together until the very end, effectively leaving the viewer confused. This is bizarrely a direct contrast of the talent involved in the film: the film was directed by John Schlesinger, best known for directing New Hollywood staple Midnight Cowboy, and boasts a cast of actors that either would demonstrate their talent at comedy not long after (Beverly D'Angelo of National Lampoon's Vacation fame appears as a waitress who is carrying her deceased mother's ashes to Florida, and Daniel Stern plays the cocaine-addled hitchhiker) or were creditable dramatic actors (William Devane, later known for roles such as James Heller on 24, plays the corrupt mayor, while Jessica Tandy plays the drunk elderly woman). Even if the film wasn't so awful, though, it still has a terrible look as during promotion of the movie it was discovered that the film was financed through a tax-dodging scheme by one of the producer's accountants, which resulted in the studio having to sell off the film rights to its investors just to keep authorities from checking their books. Combined with the awful critical reception, the debacle caused the movie to be yanked off theaters after just a week. The film's horrid box office numbers ($2 million against a $24 million budget, one of the biggest bombs of the '80s) led to the slow and painful demise of EMI Films, and it became the poster child of how not to satirize American culture. Leonard Maltin called it "an absurdist view of contemporary America" and that it was failure as a statement on American culture. The New York Times also blasted the movie, as did Variety in their August 1981 review, which, in a nod to the budget fraud scandal, questioned why EMI would spend money on such a horrible movie in the first place. It also got a Razzie nomination for Worst Original Song ("You, You're Crazy"), though it lost and wasn't nominated for other Razzies.
  • The Hottie & the Nottie is a blatant Paris Hilton fame engine with horrid acting, bad special effects, a stockade of clichés, jokes built around insulting people Paris thinks are uglier than her, and the "touching" moral that only the pretty deserve love. Speaking of which, here's an Ebert & Roeper segment ruthlessly bashing this shameless piece of crap. Mark Kermode, meanwhile, slammed the film as a "fascist eugenic tract" and in 2018 named it as the eighth-worst film of the past 10 years. Leonard Maltin finishes his review with "Actually, forget it."
  • Howling: New Moon Rising, the fourth Direct-to-Video installment and the sixth sequel overall to the classic werewolf film The Howling, is low-budget even by Direct-to-Video standards. What little of the werewolf plot exists is buried under long, extended bar conversations between the main character, played by the writer/director/co-producer, and real-life small town residents who clearly had no prior acting experience. This limits the werewolf material to huge Infodumps meant to link this film and the previous three sequels together, an attack scene filmed from the werewolf's perspective showing just the victim's hand curling and uncurling under a red filter, and a werewolf played by an actress in a cheap Halloween mask who appears for only a few minutes before she dies. What's left is a mixture of dick jokes, fart jokes, country music, and tedium that put The Howling sequels to an end until the reboot The Howling: Reborn came out in 2011, 16 years later.
  • The Human Centipede 3 (Final Sequence). The first two films both have their fans despite their infamy, but even they won't defend this one. Attempts to top the two previous films in terms of shock value fall flat thanks to Special Effect Failure, while the attempts at "politically-incorrect humor" and commentary on the American prison system amount to little more than gross-out gags. The Villain Protagonist, the Corrupt Hick prison warden Bill Boss, is one of the most annoying characters to ever grace the screen due to Dieter Laser's grating Large Ham performance that renders half his dialogue virtually incomprehensible, a big step down from his acting as the Mad Doctor Heiter in the first film (which even that film's critics generally feel was a redeeming quality). The rest of the cast, which includes Eric Roberts and former porn star Bree Olson (both phoning it in), is only better in comparison. It currently enjoys a Metacritic score of 5 and an IMDb score of 2.9. It was also a Box Office Bomb, making a tiny $16,184.
  • Humshakals is an Indian comedy made ostensibly for families about two best friends who get sent to an asylum by the first friend's evil uncle, and are accidentally replaced by lookalikes. From there it all goes downhill, as the film proceeds to boast a scattershot plot furthered only by stupidity, unfunny jokes, blatantly family-unfriendly content, and bad acting (as in "the cast really would rather be somewhere else" bad acting). It only made $10 million (63.75 crore) of its $12 million (75 crore) budget back, The Hindustan Times gave it 0.5 stars, and it scored a measly 2.1 on IMDb. Most of the cast also consider it an Old Shame. Esha Gupta warned her parents not to see the film upon its release, and Saif Ali Khan later admitted that acting in the movie was a mistake. Mashhood of Mind Blasting Cinema Reviews shares his two cents on this piece of work.

  • The Identical, a faux-biopic of Elvis Presley (sorry, "Drexel Hemsley") whose story is about "Drexel" having a twin brother who is put up for adoption by his dirt-poor parents during The Great Depression, going on to become a "Drexel" impersonator. note  Despite sporting an All-Star Cast composed of the likes of Ray Liotta, Ashley Judd, Joe Pantoliano, and Seth Green (most of whom were either phoning it in or hamming it up), it fails on every conceivable level. Lead actor Blake Rayne (real name Ryan Pelton, a professional Elvis impersonator) is wooden as both Drexel and his twin brother, the story plays out like a parody of rock-star biopics played entirely straight, the production values and music are laughably amateur, and despite ostensibly being a Christian film (it was funded by a Messianic Jewish group) the religious elements feel stapled on. To give an example, the film stops entirely for five minutes to give an out-of-nowhere message about the Six-Day War and supporting Israel, something that is never mentioned again. The premise completely falls apart when Drexel's manager namedrops Elvis, indicating that the film's really about an impersonator of an Elvis impersonator (and further making one wonder how the Hemsleys managed to mirror Elvis' style and career so closely without the latter suing them out of existence). It bombed badly, entering the box office at #11 against a post-Labor Day row of films that had been out for weeks note  despite opening in nearly 2,000 theaters, and enjoys a 4.1 on IMDb and a 5% on Rotten Tomatoes - and of the three positive reviews on that site, one still calls it just mediocre, and another compares it to The Room as a So Bad, It's Good movie. Brad Jones concurs in his Midnight Screenings review and tears this sorry excuse of a film to shreds again as The Cinema Snob.
  • Lindsay Lohan plays a double role in I Know Who Killed Me as good girl Aubrey and foul-mouthed stripper Dakota. Throw in an incomprehensible plot, laughable dialogue, the two most inept FBI agents in the history of film, and symbolism that is as subtle as a sledgehammer to the skull... and you've got not only the worst film of 2007, but the one that effectively ended Lohan's career and "it girl" popularity. At the time it was made, it won eight Golden Raspberry Awards, then breaking the record set by Battlefield Earth for most Razzies won in a single year. note  Kyle Norty talks about the movie here.
  • Ever wondered why there's few, if any, American war movies about the Korean War? Well, you can blame 1981's Inchon, a movie that tops many critics' "worst movies of all time" lists, for that. It features an All-Star Cast led by Laurence Olivier and Jacqueline Bisset, and was directed by Terence Young (who directed three of the Sean Connery James Bond films: Dr. No, From Russia with Love, and Thunderball), so how did it go wrong? Well, the movie was funded by the Unification Church and its leader, the Rev. Sun Myung Moon, and he saw the film as, first and foremost, a way to spread his religious group's message. Evidently, making a good movie fell by the wayside. The film itself starts with a disclaimer stating that it's not a documentary, and only gets worse from there. The "special effects" include cardboard cutouts for planes, the acting is one-dimensional (Olivier said that "Money, Dear Boy" was his only reason for taking the role, and nobody else cared either), and history is mangled in order to shoehorn in Moon's religious message and political agitprop. The final result was one of the biggest bombs in film history, making only $5.2 million of its $46 million budget, and not even The Washington Times, a newspaper owned by Moon, could bring itself to publish a positive review. The movie was never released on home video, and only appears on obscure cable channels. About the only thing anyone likes about it is Jerry Goldsmith's score (and he once said about another composer who turned it down, "Williams was smart - he got out in time"). This review by "The Analyst" Tyler Lublin sums up the problems of the film, see it riffed by Mister X and Alex Jowski for GeekJuiceMedia's Live Nude Geeks here, Cinematic Excrement covers the film here, and you can watch The Cinema Snob (who proclaims it by far the worst big-budget war film he'd ever seen, even comparing it negatively to Heaven's Gate minus the critical reevaluation) be driven to frustration by it here.
  • Perhaps the notorious Innocence of Muslims was only shown twice for a reason. Besides its religious slant (which won't be touched on here for presumably obvious reasons), there's the shoestring budget, the wooden acting, crude and incomprehensible "jokes" that include Mohammed sweet-talking a donkey, and the duplicitous backstage antics of director Nakoula Basseley Nakoula, aliases "Sam Bacile" and "Alan Roberts". (Case in point: pretty much nobody except Nakoula had any idea it was an anti-Islamic film. All the references to Islam were obviously overdubbed; there's no effort to even keep the voices consistent!) The kicker: besides Nakoula, literally everyone involved in the production of the film hates it! What's worse, it caused multiple countries to block YouTube after the trailer of the movie was released there.
  • Invasion of the Neptune Men has the dubious honor of being one of the most offensive movies ever shown on MST3K. A barely-comprehensible plot, laughable special effects and costume designs, a pathetic Designated Hero, and a dogfight that goes on forever. The offensive part comes in where viewers outside Japan mistook one scene as actual World War II bombing footage. It wasn't. Instead, it was footage from the 1960 film World War III Breaks Out. (It was still a strange thing to include a building with Adolf Hitler's image plastered on it, even if it was blown up.) The film received some of the most intense riffing in MST3K history until Hobgoblins came around, and Kevin Murphy considers it one of the absolute worst movies the show's ever riffed on.
  • Following the successes of The Blues Brothers and Wayne's World, the producers of Saturday Night Live greenlit an interminable series of sketch-based movies of questionable quality. It's Pat! stood out as particularly terrible. It, like the skits it's based on, consists primarily of scenes in which the revelation of Pat's gender is set up and then avoided, with a few scenes of Pat just being irritating to pad the movie to feature-length. It grossed only $60,822, among the lowest totals of any major-studio release. The worst part about It's Pat (spoilers ahead; you're welcome) is that the movie never reveals Pat's gender, nor does it even hint at it, thereby negating the entire purpose of a movie based on a skit whose only purpose is to raise speculation about the character's gender! Without that, it's just a feature-length version of a skit which isn't even all that funny in its short forms. Imagine a locked-room murder mystery where neither the killer or the method is ever revealed, and the story just... stops in its tracks at some undefined point after about the 60-minute mark. If Monster A Go-Go is a Dadaist anti-movie, It's Pat is the cinematic equivalent of Nihilism. Oddly enough, Quentin Tarantino did uncredited work on the script. Allison and Brad give out their reasons as to why it failed.

  • Jaws: The Revenge takes Sequelitis to unfathomable levels. It doesn't so much have plot holes as it has plot canyons and is over-the-top ridiculous in its execution. This is the premise, to quote Arnold Furious:
    "The plot is that the shark (yanno, the one that Chief Brody killed in Jaws) now has a hatred of the Brody family and wants to kill them all as revenge for Brody's actions in Jaws. Yanno, the shark that's dead. That shark. That shark that's dead, wants revenge."
    • Its badness also inspired an entire stand-up routine by the late Richard Jeni, as well as a review by The Nostalgia Critic, and a Hilariocity review by Chris Stuckmann. Unsurprisingly, the film also has a 0% Tomatometer rating on Rotten Tomatoes, whose critics' consensus mocks it as "a sorry chapter in a once-proud franchise".
    • Astoundingly, the novelization is a decent book. Writer Hank Searls must have realized how ridiculous much of the movie was: he tweaked the shark's death so it was more realistic (though almost anything would've been) and added an interesting subplot about drug trafficking. The novel was based on an earlier screenplay of the movie. It also explains the shark's motives, even if it did end up being the Trope Namer for Voodoo Shark - it's the spirit beast of a Bahamian witch doctor who places a curse on Michael Brody for a slight he made against him. In the film's final version, the voodoo and drug trafficking aspects were taken out, leaving a Plot Hole about Hoagie's character (an undercover officer investigating the drug trafficking in the earlier draft).
    • The version just before the final theatrical cut has the shark killed by being impaled in the boat's prow and sinking into the deep, taking the boat with it. The ending was then changed, but no money was given to do it, leading to one of the worst effects shots in a major motion picture EVER.
  • Jem and the Holograms is a horrendous example of how low an In Name Only adaptation can go:
  • Just Another Romantic Wrestling Comedy attempts to put itself as an intentionally-cheesy rom-com, but fails to deliver even that. It has almost no real jokes, incredibly-offensive depictions of minorities, an incoherent story and a love story built that depicts a Stalker with a Crush as sympathetic even when he sexually assaults the female lead. What's more, despite attempting to appeal to wrestling fans, it has only one real scene of wrestling in the middle of the movie. Brian Zane takes a look at the movie here, and considers it the worst movie he's ever seen.
  • Jurassic Shark is a ripoff of both Jaws and Jurassic Park made by a Canadian independent studio. The acting is horrible. The writing makes no sense (for example, the shark is supposedly 36 feet {10.97 m} long yet can swim in shallow water undetected). Also, the characters are supposedly stranded on an island despite the fact that pylons are clearly visible and the film is obviously shot near a river. The special effects are terrible and they give the aforementioned Jaws: The Revenge a run for its money. The framing is terrible and looks like an amateur YouTube video. There's blatant Product Placement for a local microbrewery. I Hate Everything reviews it here. It was so bad that for a time it was the lowest rated movie on IMDb, and currently holds an IMDb score of 1.5.

  • Keith Lemon: The Film, a movie based on Leigh Francis' alter-ego personality character. Besides the sheer overstretching of the character's material, there's the wooden acting from pointless cameos of D-List celebrities, the poorly-written jokes that are filled to the brim with insults to minorities, and the actions from the movie's Designated Hero. This movie was unanimously blasted by critics (a 0% Rotten Tomatoes rating) and bombed at the UK box office. Film Brain in particular was outraged and disgusted by this movie, as you can clearly see in his Projector review and would later call it the worst film he ever saw in the cinemas on The Film Brain Podcast 7 years later, to the non-surprise of that episode's guests Ashens and Oliver Harper. Mark Kermode also despises the film, naming it the worst movie of 2012. note  You can listen to his review here.
  • Kinky, a 2018 film that's essentially a very cheap version of Fifty Shades of Grey but without any edge, highly explicit sexual content, or any flavor to speak of. What is left is a very dry and surprisingly chaste movie involving the pretty much perfect relationship between two flat characters who want to explore their sexual natures in an incredibly boring manner. The movie looks like a cheap soap opera and features actors that deliver dull and generic dialogue in a very stilted manner. When the incredibly thin plot isn't trying to focus on the main couple, it has subplots that go nowhere and only serve as filler to pad out the movie to feature-length. And to top it all off, it ends on a Sequel Hook cliffhanger with a Shocking Swerve pulled straight out of its ass. Double Toasted takes a look at it, with Korey actually getting angry while he's describing the ending.
  • Krampus: The Reckoning is a cheap, shoddy direct-to-DVD Mockbuster of the later theatrically-released film based on the same creature. It was made for the sole purpose of being "first", as it was released just over a month before Krampus, and it shows. For a start, the "Krampus" in this movie has absolutely no relation to the German mythical creature - he's the protagonist's imaginary friend who goes around killing people like a generic slasher movie villain. It's also rife with Special Effect Failure - Krampus looks like something out of a 1993 PC game. The pacing is glacial, and if you're just here for Krampus, well, you're shit out of luck: He's treated like a side character in his own movie, appearing for a grand total of two minutes. The only positive review on IMDb was clearly written by someone involved with the studio - his only review is of that movie, and he goes out of his way to slam the theatrical Krampus film despite it not being released when he wrote it.

  • The Last Airbender, M. Night Shyamalan's adaptation of Avatar: The Last Airbender. Shyamalan is a self-described fan of the show, which got the fans' hopes up of seeing a faithful treatment. And to his credit, he was the only one who actually gave a damn and wrote a first draft that was described as "gorgeous". Unfortunately, the production was plagued with enough Executive Meddling (including a ghostwriter who crapped out the script that was eventually used) to give Shyamalan a Heroic BSoD. The final result ended up being what another famous fan called "an agonizing experience in every category I can think of and others still waiting to be invented", and a product that not even the original showrunners could get behind. The movie came under fire almost right after its conception, with almost every character's race inverted note , and it only got worse when fans saw the finished product. The world is butchered, note , character was completely disregarded note , the acting's hopelessly wooden, the fight scenes are poorly shot, and the choreography looks absolutely nothing like the series' martial-arts roots, with the styles used in Bending replaced by random flailing that has no distinction between the different elements. The plot reads like a clip show of various Season 1 episodes, except less coherent and made of Swiss cheese (the Fire Nation's Earthbender camp is on land in this one, and yet Aang has to remind them years later that they can escape), and whole arcs are either summarized in narration (such as Sokka falling for Yue) or rendered through utterly-blatant exposition (such as Zuko asking a random Fire Nation citizen about his own backstory). It prioritizes exposition over emotional sincerity as its way of connecting to the source material, even when it's irrelevant to the story. It was one of the first movies on Rotten Tomatoes to get ten rotten reviews in a row right at the starting bell, and markedly outdid Vampires Suck, Eclipse, Sex and the City, and The Bounty Hunter for "Worst Picture" at the 2010 Golden Raspberry Awards, where it ended up raking in a total of five Razzies, including a special award ("Worst Eye-Gouging Misuse of 3-D"), Worst Director, and Worst Screenplay. Several Channel Awesome critics tore the movie apart, such as the four person team of Y: Ruler of Time, RolloT, Todd in the Shadows, and JesuOtaku here, The Nostalgia Critic here and The Angry Joe Show here. I Hate Everything also covered it here, as well as Cinematic Excrement here, and Chris Stuckmann here in one of his first reviews (the latter even says that it's the only Shyamalan film he considers to be terrible). Its one redeeming feature is that the show's creators were able to meet Seychelle Gabriel, who played Princess Yue, and cast her as Breakout Character Asami Sato in the sequel series The Legend of Korra.
  • Last Ounce of Courage might be in the running alongside Saving Christmas (mentioned in N-Z) for worst Christmas movie ever made, taking the claim of a "War on Christmas" and taking it to uncharted territory. While the film begins with the sign of things to come by showing that the protagonist is named Bob Revere (you know, after Paul Revere, the American Patriot), it otherwise starts sensibly enough by showing how his son Thomas died in the war and years later is still affected by it. From then on, however, it becomes a jumping board for him to discuss some talking points of the "War on Christmas" after being encouraged by his grandson (named, subtly enough, Christian) which, while beginning with common complaints (like people saying "Happy Holidays" instead of "Merry Christmas" or concentrating on Santa Claus instead of the birth of Jesus Christ), it soon snowballs into claims that are very unlikely to take place in reality, beginning with the claim that a church community center's cross got taken down because "it offended somebody" (when in reality no such incident would occur due to being an obvious violation of the First Amendment), claims that it's not possible to put up Christmas decorations on government property (not even secular Christmas lights) because they're public property (when many cities both big and small put on Christmas decorations, even including Nativity scenes), and Bob butting heads with some sort of lawyer/politician/government official who represents either the federal government or an ACLU-like organization (the movie doesn't specify which), whose accusations against Bob are ridiculously flimsy and limited to very broad claims like he's "breaking the law" or "violating the Constitution" without ever mentioning any specific law, article, or amendment. But the film's most baffling moment comes from its subplot about the local school putting on a Nativity play set in space, complete with aliens; apparently the filmmakers symbolizing their "Christ being taken out of Christmas" beliefs, as if the Nativity is the only Christmas story in existence even though if someone wants a secular play, there are dozens of those such as A Christmas Carol. Not only does Bob's grandson and other kids rewrite the play to a standard Nativity play, but at the end of it they show the audience Thomas' final message to his family, which ends with him getting killed by a bomb. And instead of being horrified that they watched footage of a man dying a gruesome death, the audience (filled with many families) feels patriotic in seeing a soldier's brave sacrifice and goes along with celebrating Christmas again. Even ignoring all this, the film has the look and the feel of a Direct-to-Video or Made-for-TV Movie (and even worse acting than what that may imply), but somehow got a theatrical release at 1,400 locations in the US. It received overwhelmingly negative reviews from critics, getting a 0% on Rotten Tomatoes and only a 11 (critics' score) and 4.5 (users' score) at Metacritic. The Washington Post described it as "preaching to the aggrieved choir", and the Los Angeles Times said that the film was "weighed down by zealotry" and "has been made with the conviction of true zealots, but also the competence of amateurs." It was the subject of a review by The Cinema Snob, which ends with him completely fed up with the movie's inaccuracies (debunking two of them in particular just by going outside his house), the cheap-quality look, and the bad acting of almost everybody involved that he sums up those involved in the making of the film as "Idiots. Idiots made this movie. The movie is written and directed by fucking idiots, for idiots. Idiots made this film". It was also reviewed by Cinematic Excrement, in which Smeghead declared it the worst Christmas movie he'd ever seen.
  • Lawnmower Man 2: Beyond Cyberspace (or Lawnmower Man 2: Jobe's War) highlights the dangers of making a sequel to a beloved Cult Classic an In Name Only installment. While the first Lawnmower Man film was also very loosely based on Stephen King's short story, the second movie's plot (if you can even call it a plot) has next to no continuity with both the short story or the first film's plot. The film also suffers from careless direction, weak and outdated visual effects, and cringeworthy acting. Speaking of acting, with the exception of Austin O'Brien (who played Peter), everyone in the original cast failed to return for the sequel. The result? A disjointed and awkward trainwreck that more than deserves being a regular on the IMDb Bottom 100. Watch Film Brain give out his review if you must. One release of the original Lawnmower Man bundled this movie as a "special feature" on a separate disc, rather than releasing it as a standalone DVD.
  • Bill Cosby co-wrote, produced, and starred in Leonard Part 6. A 1987 parody of spy movies such as James Bond, this movie suffers from many, many flaws including weak direction, haphazard Product Placement, and trite dialogue. The plot was also damned by viewers and critics alike, with many viewing the story to be nothing but an arrogant display of self-indulgence. Cosby was so disappointed by what was turned out that, during a TV interview prior to its release, he asked people to stay away from it. And for good reason: it "earned" a 2.1 on IMDb and three Razzies for Worst Actor, Worst Picture, and Worst Screenplay. It was also a major-league Box Office Bomb, making only $4,615,255 out of a $24 million budget. Siskel and Ebert's beatdown and The Agony Booth's recap are worth a look...if only for the lulz. I Hate Everything came across this film, and had quite a few things to say about it, followed by Cinematic Excrement here.
  • The Legend of Hercules, a 3D action movie starring Kellan Lutz, is one of the worst-directed action movies in recent years. The acting is awful throughout, ranging from wooden Dull Surprise to overacting Large Ham. The romance is plain dull. The CGI and green screen look like a direct-to-DVD movie (despite the film costing $70 million), and the costumes and makeup look cheap. The action scenes are obnoxious, overusing 300-style Adrenaline Time and choppy editing. It butchers the Classical Mythologies, instead going for a Cliché Storm of 300 and Gladiator. Unsurprisingly, the movie flopped with critics and audiences (3% on Rotten Tomatoes and 4.2/10 on IMDb. The Smeghead talks about the film here, as does Chris Stuckmann here. Jeffrey Kauffman of acknowledges that its spectacular use of 3D does count as a redeeming quality, if only for the niche 3D crowd, while at the same time trashing it as a "lumbering, stumbling film" and "the worst kind of epic: an epic disaster".
  • Leprechaun: Origins, an In Name Only reboot of the Leprechaun films. The director admitted to never having even seen any of the original films. Not only does the title monster look nothing like the original character, he even looks nothing like a leprechaun, more like some gray troll thing. The film is a Cliché Storm with characters in a cabin in the woods being sacrificed to appease the leprechaun who had his gold stolen. One wonders why he never even tries to get his gold back. For a 90-minute running time, 12 of them are the ending credits. While the original films were often So Bad, It's Good or Camp, this had no redeeming features at all. It has a 3.3 on the IMDb and a 0% on Rotten Tomatoes.
  • The Life Zone, an anvilicious anti-abortion screed masquerading as a Saw-esque Torture Porn horror film. Just being heavy-handed isn't normally enough to get a film listed as Horrible, but this one can't even get the values it's preaching right. It's about three pregnant women who had been considering abortions who get kidnapped, locked up, abused, and forced to watch pro-life videos and talking points in order to dissuade them from going through with the abortions, ultimately ending on the twist that their captor was the Devil himself, and that the three were dead and in purgatory. Apart from the fact that the film casts its own side as evil people who engage in kidnapping and psychological torture and are literally demonic, the film is simply boring, with poor acting from everyone other than Robert Loggia and a script that comes across more like a pamphlet handed out at a rally than natural dialogue.
  • The American remake of LOL, which turns a highly-acclaimed, César-winning French film into little more than a star vehicle for Miley Cyrus. All the funny moments of the original have the humor sucked clean out and replaced with gratuitous obscenity - which is odd, as other parts of the script were Bowdlerised. It's loaded with padding, and panders nonstop. The plot is mangled, and the dialogue never gets better than trite aphorisms passed off as profound. Its total box office from its first week of release didn't even match The Avengers' first-week per-cinema average. It's considered an Old Shame by the gents at Lionsgate, who couldn't even be bothered to promote it properly, and together with So Undercover (which didn't receive quite as bad a reception) marked the beginning of the end for Miley Cyrus' acting career, although she later gained musical success again (and major infamy).
  • Lost Continent, a 1951 science-fiction film starring Cesar Romero. The movie concerns a group of rock climbers who are on a rescue mission in a mysterious island to recover a downed atomic rocket. How could such an idea end up as a grueling trainwreck instead of an interesting B-movie? Plain and simple: incompetent direction. The film is poorly paced, as the audience is forced to watch 20 straight minutes of the characters rock climbing, with minimal dialogue, effect on the plot, or even soundtrack music. The characters themselves, despite being played by fine actors, are mind-numbingly dull. Most of their lines are unfunny jokes or generic comments that add nothing to the story. The standout here is probably a completely random moment where one guy seems to be dreaming about humping a plane. The Special Effect Failure only made matters worse, wasting an intriguing twist involving the existence of dinosaurs on the island. Overall, it's hardly surprising that this wasted opportunity of a film got a 2.8 on IMDb, as well as a riff on Mystery Science Theater 3000 (which you can watch here). It also holds the honor of being one of the only MST3K films that made the normally-placid Joel start shouting.
    "Rock climbing, Joel."
  • The Love Guru was intended to resurrect Mike Myers' acting career following the failure of The Cat in the Hat. Instead, it sank his acting career even further, as the film suffers from overall unfunny gags (including its heavy reliance on penis jokes), wooden acting (made all the worse since it's coming from a naturally good cast), and its over-focusing on an unlikable main character at the expense of virtually everyone else. The film flopped at the box office, making back only $40 million out of its $68 million budget, won the Worst Picture award as well as receiving the most awards and nominations at the 29th Golden Raspberry Awards, and a 14% rating on Rotten Tomatoes and a 24% rating on Metacritic. Myers has regretted starring in the film, as shown in this Saturday Night Live sketch. Film Brain tears it down with this scathing review. We Hate Movies also tears The Love Guru down for its 400th episode.
  • Lupin III is a beloved Long Runner franchise, but the second Live-Action Adaptation, simply titled Lupin the 3rd, is a complete butchery. (The first, Strange Psychokinetic Strategy, wasn't a great adaptation but at least succeeded as a Benny Hill-esque slapstick comedy.) An incoherent plot with both items seemingly pulled out of Hammerspace (which in fairness is done often in both the manga and anime, but it doesn't translate well at all to live-action) and massive Plot Holes, terribly directed, boring action scenes, ridiculous-looking costumes, a Hong Kong Dub even in the original Japanese, and a dull soundtrack that sounds like it comes out of a porn film (especially galling, considering what the anime is like in that regard) makes it a film that fails spectacularly in capturing the appeal of either Lupin III or action films in general. Yuichi Maeda, a popular-if-contentious Japanese film critic, gave it a 3 out of 100.
  • Lower Learning, starring Jason Biggs, Eva Longoria, and Rob Corddry. It takes badness and vulgarity to uncharted levels, with tasteless scenes and offensive "jokes", including one gag taken straight from Monty Python's The Meaning of Life and bungled every step of the way. The filmmakers managed to make 88 minutes seem like 3 hours. The only redeeming aspect is the behind-the-scenes featurette, in which Rob Corddry talks about how the best part was getting paid. Unfortunately, that's Paratext.

  • Maradonia and the Shadow Empire is a pitifully amateur, No Budget adaptation of the awful, self-published Maradonia Saga (read more about it on the Literature subpage). It spent years in Development Hell before finally being released in 2016... when its creators rented out one Florida theater for one showing. Like the book it's based on, it features unlikable characters, awkward dialogue, and and a confusing story with lots of plot holes and ideas plagiarized from better works. On top of that, the change of medium added many new problems like bad acting note , an overly long prologue (the main plot starts 22 minutes in), and horrendous production values such as gratuitous usage of Stock Footage, ignorance of the 180-degree rule, bad sound mixing, occasional ridiculous costumes, awful special effects, and a baffling moment when they show a still image of a screaming demon woman. Read a detailed review here. note 
  • The 2003 film Marci X. Lisa Kudrow plays a spoiled Jewish heiress who has to take control of a hip-hop record label as well as their controversial artist (played by Damon Wayans). The film was slammed for having outdated jokes regarding Jews and hip-hop and claimed that the material was too thin for feature length. It sports a 9% rating on Rotten Tomatoes as well as a score of 2.7 on IMDb. The movie bombed at the box office as well, grossing only a little over $1 million against a budget of $20 million, and director Richard Benjamin hasn't helmed a theatrically-released picture since. The Cinema Snob panned it as part of "Friendsuary".
  • Based on a comedy book, Martians Go Home is just a continuous annoyance from start to finish. The supposedly "funny" aliens are dreadfully obnoxious (and tellingly, International Video Entertainment appeared to be quite aware of it when marketing the film's videocassette release, one of their last under that name, and tried to play both angles in the synopsis on the back of the box), and the unfunny song numbers and slapstick sketches are there just to make the film longer. It scores 2.8 on IMDb and 18% on Rotten Tomatoes. The worst part? In some countries, they had marketed it as a Spaceballs sequel for no other reason than making money.
  • Metal Man might have been an unintentionally funny Mockbuster of Iron Man, but utterly fails on every way possible. The characters all have a heat-seeking, precision-guided, extra-sticky Idiot Ball, the story is stupid, the CG is the fakest you'll ever see, and the villain exists only For the Evulz. The powers of the suit are all useless and they're used just once in the whole film, and they are never used (or even mentioned) again. Youtubers Sean Yeager and Emer Prevost both reviewed this stinker. Matthew Buck and Allison Pregler also teamed up to tear this film a new one.
  • Misstoestanden is considered to be one of the worst Flemish films of all time. It was only screened in theaters and was never released to DVD. Those that viewed it were horrified to see how such well-known Flemish actors as Urbanus, Karel De Luwe, and Jorce de Troch wound up in a movie lacking any sort of writing or direction whatsoever. Comic book writer Merho himself, who went to the premiere because they used his property for the film, absolutely despised the film, going as far as to use the elements of the film in an experimental album known as The Simstones, in which the comic album is being reimagined by someone who hates his own comic book franchise. It is telling that the only other film based on his comic book, the low-budget flick Het Witte Bloed, was considered good enough by him to be included as a freebie gift with album #99 of the franchise Mona de Musical. It barely escaped being part of the IMDb Bottom 100 by 0.1 points and the Dutch website rates it as even worse than that.
  • The 1965 film Monster a-Go Go. Its original director, Bill Rebane, ran out of money while making the film and left it half-finished in 1961. Four years later, Herschell Gordon Lewis was looking for a B-movie to release with Moonshine Mountain; he found this, shot new footage of people sitting around and talking, and released it. This led to an awkward movie that even fans of Mystery Science Theater 3000 find hard to sit through, riffing included. The film's filled with replacement actors, Take Our Word for It moments, scenes with a taller-than-average man with an acne problem as the monster, and one of the strangest twist endings ever: The heroes are hunting for some vague spaceman monster thing in some subway tunnels, and then the Narrator is heard saying "Suddenly, there was no trail. There was no giant, no monster, no thing called Douglas to be followed. There was nothing in the tunnel but the puzzled men of courage who suddenly found themselves alone with the shadows and darkness." ...So there was no monster after all. False alarm, sorry to make you sit through the movie, have a nice day. Please stop asking what happened to all the people the monster killed, there was no monster! It's like a Dadaist anti-movie... except instead of making us question our conceptions about beauty and what makes a good movie, it sucks. The MST3K team has stated that, yes, they believe this to be the worst film they have ever featured.
  • The first Mortal Kombat movie was considered one of the rare exceptions to Video-Game Movies Suck. The same, however, could not be said for its sequel Mortal Kombat: Annihilation. For starters, only Liu Kang and Kitana's actors reprise their roles from the first movie. This movie tends to shove in characters who only serve to either appear in fight scenes (like Smoke, Cyrax, and Milleena) or just hang out (Rain), and the ones that don't die end up leaving the story altogether for unexplained reasons like Sub-Zero (the younger brother of the one from the first movie), Scorpion (who has an Unexplained Recovery after getting killed by Johnny in the first movie), and Nightwolf. This not only makes the movie feel cluttered, but some of them could have benefited from being fleshed out, particularly Sub-Zero and Milleena (who is Kitana's sister in the games). The acting is horrendous at times, especially from Shao Kahn, Sindel, and Jade. The characters tend to make idiotic decisions throughout the story, like Raiden not using his powers to terminate Shao Kahn's forces after the latter didn't uphold his end of the bargain to spare Johnny Cage, or Shao Kahn killing his minions for minor infractions. The effects are also a point of contention. The Animalities for Liu and Kahn were bad CG effects even for the mid-90s, there’s an obvious green screen effect when Sonya and Jax escape an exploding military facility, there's a heavy use of sometimes visible Wire Fu, and Baraka's death scene just recycles the same footage that was used for Rain’s death scene. This movie currently has a 3% on Rotten Tomatoes, a 3.7 user average rating on IMDB, and an 11% on Metacritic, and although it just barely made a decent amount of money, it ended up being a Franchise Killer and Ed Boon publicly said that this movie was the worst thing with the brand's name on it. This of all movies was voted as number 1 for WatchMojo’s Top 10 Worst Movies of the 1990s. The Nostalgia Critic and Phelous gave their own takes on Annihilation, neither of them flattering. The director would go on to act as director of photography for fellow Horrible entry I Know Who Killed Me, and also to direct films like Annabelle and Wish Upon, which were also poorly-received (with the latter falling into the other end of the spectrum), but not nearly as badly as this film was.
  • There's a reason why Movie 43 has become one of most notorious films to come of the 2010s, going so far as to win the Razzie for Worst Picture of 2013. Its fully-loaded All-Star Cast (which includes Halle Berry, Kate Winslet, Hugh Jackman, Emma Stone, Richard Gere, Naomi Watts, and Johnny Knoxville) and sheer number of directors can't save this disaster from collapsing under its truly disgusting jokes, lack of creativity in the script, and jumbled editing. It was panned by almost every reviewer, receiving a 4% on Rotten Tomatoes, a 4.4 on IMDb, and a Metacritic score of 18. Richard Roeper has called the film "the Citizen Kane of awful movies", and it's currently on the MRQE's list of the 50 worst movies ever. It served as the Creator Killer for the Rogue film company, which was quietly euthanized after Movie 43 became a huge critical bomb. Mark Kermode has stated that he and a few others could only watch in "deathly, gobsmacked, jaw-dropping silence" at the horror unfolding on-screen. While you're at it, check out the reviews from Spill here and here. Chris Stuckmann also talks about it in a video simply titled "Why Movie 43 is Wrong", going so far as to call it worse than Dragonball Evolution, his least favorite movie of all time. Also worth noting is that the DVD and Blu-Ray releases don't have any quotes from reviews at all; apparently, they couldn't find any positive quotes nor quotes to twist into looking positive.
  • My Big Fat Independent Movie, a 2005 Seltzer and Friedberg-esque movie featuring parodies of independent movies such as Clerks, Swingers, and My Big Fat Greek Wedding. Perhaps it may have had some potential if done with undertones of love to the original work, but instead it's just a shallow mess that attempts to deconstruct the movies shown even though there's barely anything wrong with them. It earned major internet backlash when it was first released because of this concept, and was singled out for the fact that most mainstream filmgoers would only get a handful of the movie references featured. And then everything went From Bad to Worse when the reviewing publication Film Threat, who co-produced the film alongside Anchor Bay, gave it a highly positive review and called anybody who hated the movie an idiot. The script and acting in the final result are downright awful, and the film opens with a scene involving man-on-man molestation. The film was a Box Office Bomb, earning only $4,655 out of its $3 million budget, and has since fallen into obscurity. It received the "BOMB" (1 star out of 4) rating from Leonard Maltin, who called it "unfunny, self-indulgent, and a struggle to watch." The film posters are even worse, taking incredibly mean-spirited shots at the movies being parodied, advertising the movie as something for "everyone who wanted to slap that sweet French girl" to see, and even going forth to say that "some of you may not be cool enough to laugh at this movie."


Example of: