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Horrible / Live-Action Films (G-M)

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  • 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 The Western with horror and supernatural elements, the story is undermined by a convoluted plot and an unnecessarily slow pace, even though the film itself only has a runtime of 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. Good Bad or Bad Bad took a dive into this mess, and even they couldn't understand what is going on.
  • 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 (and at least Godzilla's Revenge introduced one new monster). When Gamera dies, you feel good for him even though the sequence is lame because he's out of the picture! With all these factors going against the film, it’s no surprise that it killed the Gamera franchise until Gamera: Guardian of the Universe revived it 15 years later.
  • 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. 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 The plot is trite and predictable, the acting is stilted, and it focuses more on sexist jokes and outdated pop culture references than on sci-fi and video game-related tropes. It's never explained how the titular Game Therapy works, nor what its goal is. The fight against the Big Bad ends with the obnoxious "heroes" defeating him with the help of one of the most flagrant Deus Ex Machinas in film history (FaviJ was incapacitated but somehow freed himself to slay the villain without any explanation of 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 was clumsily rewritten from a horror movie to a family film mid-production. As a result, it's tonally inconsistent, bobbing and weaving between graphic juvenalia and unsettling creepiness. The costumes are cheap and the characters are cheaper (Nat Nerd wetting himself is a Running Gag), and they're cast so poorly that it begs suspension of disbelief. Of note, there's a bizarre inversion of Dawson Castingnote  which makes the romance between Dodger and Tangerine outright uncomfortable. The State Home for the Ugly alone raises a dozen questions the story never attempts to answer, and turns the leads into designated heroes. And it's just one of many such elements, not least of all the characters' attidudes towards the Kids themselves, that take a backseat to wall-to-wall gross-out and Toilet Humour—including a climax consisting of nonstop farting and vomiting. Jim Cummings, who voiced two of the Garbage Pail Kids, hated this film so much he personally got it taken out of theaters. Anthony Newley's once-illustrious acting career was all TV shows from here on out. 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". Doug Walker named this movie as the worst he ever saw, let alone reviewed as The Nostalgia Critic, and the only one that he has never heard an argument for. PhantomStrider would also review the movie and find himself similarly horrified by its disgusting and mean-spirited nature, considering the second-worst movie of all time and even having Doug Walker cameo to feel triumphant when only Freddy Got Fingered managed to rank any higher on Strider's list. I Hate Everything was confounded by the pure meanspiritedness of the film. They couldn't even find a blurb to twist as positive for the DVD case, instead using words like "vile", "rude", "smelly", "ugly", and "gross".
  • 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. The Spill Crew also give their thoughts about the movie here, with Leon even declaring the movie's title to be a warning to those wanting to watch it.
  • 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 in comparison. 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. Smeghead took a swipe at it as part of his Razzie marathon, and was not amused. The Cinema Snob also covered it here. 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") became overshadowed by how Ben Affleck and Jennifer Lopez hooked up during production, and excessive "Bennifer" coverage in tabloid/gossip media certainly drove down the public's interest in the movie. A good call, given how ignoble the end result was. 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, with some terrible attempts at comedy in-between. 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 film went on to be mocked by everyone from Weird Al to Triumph the Insult Comic Dog—and Weird Al did it twice on the same album, even! If anything good came of it, it's that it stopped Jersey Girl from being any worse - according to that film's director Kevin Smith, Harvey Weinstein was pushing relentlessly (something not uncommon for Harvey, really) for Affleck and Lopez to have bigger roles in the movie, rather than have Lopez's character killed off at the beginning; Smith outright joked the end result would've likely ended up as Gigli 2, and following the film's catastrophic failure, it was one of the only times in Weinstein's career that he backed off from meddling with one of his films.
  • 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.
  • Glitter was a vanity project for its star, musician Mariah Carey. Though set in the 1980s, there's very little of the out-there fashion that defined the decade, and then-new flip cell phones are used instead of the brick-like models actually on the market at the time. 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 (with the critics' consensus even noting that the film isn't bad enough to be good), 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 also gives a review here, and declared it the worst film she'd ever reviewed up to that point.
  • Gone Fishin' was a 1997 buddy comedy that suffered from an extremely troublesome production; which ranged from writing changes, to firing the original director after only 2 weeks, to an actual stuntwoman's death caused by a stunt boat. The plot of the film involves best friends Joe Waters (Joe Pesci) and Gus Green (Danny Glover), who go to Florida after winning a fishing contest, only for wild shenanigans to ensue. The biggest problem with the film is that the jokes were done much better in other family comedies of the time, and that both Pesci and Glover were miscast as the main characters. The protagonists are also destructive idiots, having destroyed a boat in just a couple hours and burned down an expensive hotel because one of them was sleepwalking, which leaves the audience questioning why they're even rooting for them in the first place. Unsurprisingly, it was a huge flop at the box office, grossing only a third of its money back and earned a pitiful 4% on Rotten Tomatoes. Leonard Maltin gave the film a "BOMB" rating, his lowest rating, and latter called it "an annoyingly unfunny gambit" which wasted Pesci and Glover's talent, remarking "this film really smells". The Walt Disney Company were aware that this film was going to suck, transferring it from Walt Disney Pictures to Hollywood Pictures (the "Walt Disney Pictures Presents" credit ended up staying on the film, which goes to show just how little they cared). The only thing regarded as decent about this forgettable flick was that Willie Nelson provided the main theme ("Down in the Everglades"), but even then, it doesn't excuse the terrible acting, poor writing, and simply dull aftertaste audiences got from watching this. Film Brain takes a great time explaining why Gone Fishin' failed from the start.
  • 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 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 very long cameo role). Was the subject of Film Brain's 100th review.
  • The appropriately named Gross Out is about three siblings making a disgusting movie to get the inheritance from their rich stepmother. It seems to only 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.
  • The Grudge franchise might not be everybody's favorite horror series, but the 2004 remake has its fans despite arguments over whether or not it's as good as the original Japanese movie. The same cannot be said for its allegedly soft reboot, The Grudge (2020). The film supposedly is a sidequel that takes place in between the events of the first film and its sequel, but makes so many contradictions in the movies' already confusing timelines that overcomplicate them even further. The film jumps around between multiple timelines and is so poor at communicating basic information to the audience, and the filmmaking style tries very hard to be cool but only ends up looking obnoxious. When the film isn't padded out with annoyingly predictable jump scares, it tries to ape infamous moments and storytelling techniques from the first film (the film even tries to explain why a little girl has a nose bleed). Top that off with probably one of the most aggravating and obnoxious endings to a horror movie in recent memory and you have one transparent failed attempt at reviving a horror franchise that should have stayed dead. Watch's hilarious review of the movie here, where he jokingly calls it "the best movie of the decade", while adding that it's "the only movie I've seen this decade, so don't expect that to stick for long" (the film came out in the first weekend of 2020). CorderyFX rips into the film here, and Cr1TiKaL skips his usual Moist Meter review to go off on a rant about it here, where he also admits to feeling horrible for making his friend visiting from Australia see it with him.
  • While the works of Derek Savage (of Cool Cat Saves the Kids fame) are typically regarded as So Bad, It's Good, even many who enjoyed his other works found Gun Self-Defense for Womennote  to be unwatchable. The film tackles a very serious topic with little respect and nuance, full of bad acting, Special Effects Failure, and an odd sexualization of guns. Any meaningful advice is drowned out by Derek Savage plugging Cool Cat Saves the Kids merchandise and random footage of him recklessly shooting stuff in an attempt to make himself look like a badass while simultaneously defying the film's messages about gun safety. All this and more earned the film a 2.8 on IMDB. Homeless Movies takes time to blow holes through the movie's shortcomings here.

  • Hangmen is noticeable for being the film debut of Sandra Bullock and a cameo from Jake LaMotta (yes, the boxer that was the subject of Raging Bull). As a film, it's a generic action film featuring terrible sound quality, incoherent editing, baffling script decisions and laughable dialogue. It currently holds a 5% rating on Rotten Tomatoes and 3.0 rating on IMDB. Shitcase Cinema savages it here. Film Brain also gave his thoughts on it via Letterboxd.
  • 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 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).
  • Holmes & Watson intended to reunite the duo of Will Ferrell and John C. Reilly (who had previously done Talladega Nights and Step Brothers together), in a comedic take on the Sherlock Holmes universe. However, the end result is a complete trainwreck — an insult to the source material, and a bad omen for Ferrell's manchild style of comedy. Most of the jokes are painfully unfunny, overdone, or completely rote, if not all of the above.note  The 'topical' humor succeeds in nothing but dating the work.note  The plot given is an Idiot Plot with no purpose beyond the gags. Characterizations are barely consistent and seem to change at random due to a misunderstanding of Rule of Funny. And to crown the film's incompetence, the supporting cast has a waste of good actors such as Ralph Fiennes, Rebecca Hall, Steve Coogan, and Kelly Macdonald. Reportedly, test screenings were so bad that Sony tried to get Netflix to buy the film from them, only for them to turn it down. They released the film during the highly-competitive 2018 Christmas season and didn't screen it for critics, almost the same time as another film starring Reilly and Coogan that was praised for its comedy and display of acting skill. It currently stands at an abysmal 11% on Rotten Tomatoes and a horrendous for a comedy D+ on Cinemascore; many reported that audience members were leaving theaters before the film ended. The film grossed $30.5 million domestically and $11.3 million internationally against a budget of $42 million. Coogan also regrets being part of the movie. The movie was nominated for many Razzie Awards, winning four: Worst Picture, Worst Supporting Actor (Reilly), Worst Remake/Rip-Off/Sequel, and Worst Director (director Etan Cohen). Korey Coleman tells Martin Thomas exactly what he thought of the film here on Double Toasted. Mathew Buck talks about the film with Dan Olson and Petros L. Ioannou (who worked as an extra on the film) on the first episode of The Film Brain Podcast here. Cynical Reviews did an excoriating review here. Alex of I Hate Everything talks about it in his "Search for the Worst" series here, along with his "Trying to Watch" here.
  • At one point in Home Sweet Home Alone, a character complains about how Hollywood feels the need to constantly remake and reboot old franchises. Unfortunately, critics and audiences alike felt the movie unintentionally proved its own point by being a completely lackluster, confused attempt at reviving the Home Alone series, with a houseful of story issues that make for a just plain joyless viewing experience that rivals fellow Horrible entry Artemis Fowl as the worst exclusive film on Disney+. A Distant Sequel set in the same universe as the first two movies, the premise involves a rich boy named Max (played by Jojo Rabbit's Archie Yates) being left home alone while a married couple resorts to desperate measures to retrieve a very valuable doll they think Max stole, which they intend to sell online in order to save their family's house (and their kids' Christmas). With the parents having very sympathetic motives, it ends up resulting in the series' signature slapstick violence that they later endure being much less funny and more mean-spirited than it was with previous Home Alone antagonists like the Wet Bandits or the four spies from the third movie (especially since it's made clear that all they want is the doll and have no intention to harm Max, despite how pissed off they get with him). Max himself is not very likable either; with very few scenes that expand upon his character, he ends up coming off as an annoyingly smug spoiled rich kid who doesn't come out of the film seeming like he actually learned anything, resulting in rampant Rooting for the Empire from critics and viewers. Beyond this, the plot repeatedly bashes the face of Willing Suspension of Disbelief in with paint cans on ropes with the unbelievable amount of Contrived Coincidences used in order to make it worknote , while being largely devoid of humor and ending on a painful "Shaggy Dog" Story ending that makes all the elaborate traps Max set up and the abuse the married couple went through for their family All for Nothing (though they at the very least still get a happy ending). A misfire by almost all accounts, critics and audiences responded with thrown bricks and an abysmal 16%/12% critic/audience rating on Rotten Tomatoes (the consensus bluntly states: "Nobody's Home") and a paltry 3.6 on IMDB, while Home Alone fans skipped it over in favor of the more genuinely heartful and funny first few films already available on Disney+.
  • Many foreign movies satirize American culture, and still manage to get laughs in America. Then, there's Honky Tonk Freeway, a 1981 American-British film. The plot centers around a corrupt Florida mayor who paves his city over with an interstate, finances a terrible theme park, and vandalizes the freeway with suspicious billboards, to scam visitors. The townspeople also decide to paint the whole town pink for no logical reason. Seems harmless enough, right? Well, the visitors that turn up are all various flavors of overblown American stereotype; a cocaine-addicted hitchhiker, a drunk old retired woman, a country singer with exotic pets, and a Big, Screwed-Up Family of trailer trash, among many others. None of them exhibit any humorous or even relatable traits (a few are borderline offensive), The acting and script are an atrocious Cliché Storm. The film's plot is so disjointed as to make a viewer's head spin. Bizarrely, a lot of talent was involved in the film: it was directed by John Schlesinger, and the cast includes Beverly D'Angelo, Daniel Stern, William Devane, and Jessica Tandy, to name a few. Fun fact: the film was financed through a tax-dodging scheme by one of the producer's accountants; the studio had to sell its investors the movie rights just to keep authorities from checking their books. Combined with the awful critical reception, the debacle caused the movie to be yanked out of theaters after just a week. The film's horrid box office numbers ($2 million against a $24 million budget), unrivalled at the time, caused the slow and painful demise of EMI Films. Leonard Maltin called it "an absurdist view of contemporary America" and a failure of a statement on American culture. Variety blasted the movie in a review which questioned why EMI would even bothered spending the money. It also got a Razzie nomination for Worst Original Song ("You, You're Crazy").
  • The Hottie and the Nottie is a blatant Paris Hilton fame engine with horrid acting, bad special effects, disgusting jokes, 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."
  • House of Numbers: Anatomy of an Epidemic is a documentary produced, directed, and starring HIV/AIDS denialist Brent Leung. The film not only propagates the denialism, contradicted by conclusive evidence, that the HIV virus is harmless and not the cause of AIDS, but also states that AIDS is instead caused by the drugs used to treat HIV. Like Vaxxed after it, it depicts the world as hostage to the medical industry, at one point including depicting former South African president Thabo Mbeki's rejection of HIV medication — which directly resulted in well over 300,000 deaths that could have been avoided — as heroic. Quotes from scientists are taken out of context and edited in order to toe the director's party line. The most disturbing part about this whole thing, however, is that several of the people the film who are interviewed (including Christine Maggiore, whose refusal of anti-HIV medication resulted in the infection and subsequent death of her daughter) have died (which the film states had nothing to do with HIV/AIDS.) and people have taken the film seriously and died as a result. The LA Times considered it “not especially well-organized or focused” and criticized Leung’s lack of screen presence. British chemist and debunker Myles Power dissects the film here. Oh, and some of the people involved in producing the movie tried to take Power's videos down at one point.
  • 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 evil 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 have spoken out against the movie. 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 who has not starred in anything else to date) 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.
  • 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 editing is so inept that multiple lines are cut off mid-sentence, 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. Olivier is stunningly miscast as Douglas MacArthur, putting on an unconvincing American accent that sounds like a bad W. C. Fields impression and wearing a downright hideous makeup job that makes him look like a mummified Bob Newhart. 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, to the extent that the soundtrack album has received multiple expanded releases. (and he once said about another composer who turned it down, "Williams was smart - he got out in time"). Mister X and Alex Jowski riffed it for GeekJuiceMedia's Live Nude Geeks here, The Cinema Snob took on the film here (proclaiming 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), and Cinematic Excrement covers the film here as part of his Razzie marathon.
  • Perhaps the notorious Innocence of Muslims was only shown twice for a reason. 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: 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, 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, in the US version, goes on forever note . 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.
  • While the I Spit on Your Grave movies were heavily criticized and highly controversial for their Rape and Revenge subject material, they still had their fans. I Spit On Your Grave: Deja Vu is hated even by the fanbase of the films. Disregarding the Audience-Alienating Premise, the film has numerous flaws. There is a very bad case of Writers Cannot Do Math (the film takes place 40 years after the first and Jennifer's daughter was born from her rape in the first film, yet she's portrayed as in her 20s, the family members of the rapists from the first film are in their 40s instead of their 60s or 80s in the case of the parents, Johnny's children are in their 20s instead of mid-40s), the characters make incredibly stupid decisions (Jennifer has a gun in one scene with all the family members at her mercy, and instead of killing them, she runs away, the daughter has access to a phone more than once and never uses it), the acting from the villains is terrible, characters constantly fail to hear things that should be very easy for them to hear (one family member can hear another moaning in the woods but cannot hear a gunshot from the exact same distance, at one point characters are being brutally killed right behind a man and he doesn't notice any of it despite the screaming), the villains are very annoying to the point that you hate them more for their annoyance than their heinous acts, the film drags on through Padding to the point that it is nearly two and a half hours long, and it unceremoniously kills off Jennifer Hills, the heroine of the franchise. As of this writing, the film has a 2.3 rating on IMDB and a 16 percent user rating on Rotten Tomatoes, with no critical consensus. Wolfman's Got Nards reviews it here, you can see Sinister Cinema Reviews already start his review with a Facepalm here, and Veganluke gives his two cents here.
  • 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 note , 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. You can learn more about its problems here in Two Takes' "IMDB's Worst 100 Movies" marathon, and from the Double Toasted crew's review here. Also, you can watch Evasive make a group of non-binary people watch it to see just how awful it truly is.

  • Jaws In Japan, a.k.a. Psycho Shark, a Japanese No Budget film from 2009, which is not related to the Jaws franchise, fully earns its 1.4 on IMDb and 9% audience rating on Rotten Tomatoes. A substantial percentage of the running time contains of badly done (shaking camera, abysmal sound) hand-made home-video-style footage of bikini-wearing college girls on vacation. These shots are reused a few times and the viewer spend some minutes watching Japanese girls watching Japanese girlsnote  on video. There are only quiet shots in between, so the rather minimal plot is built up very, very slowly and the cheap animated shark doesn't attack until the very end of the movie.
  • Jem and the Holograms gave a whole new meaning to In Name Only. Ditching the campy fun of the original series for an ostensibly realistic critique of the music industry, the end result is instead a Cliché Storm borrowing from nearly every rock-star franchise but its namesake. We say "ostensibly" because almost every beat is a nonsensical Contrived Coincidence. The acting is uniformly terrible, in both extremes. The film also makes several unfitting changes to the characters, with Synergy being similar to R2-D2 rather than being a computer, Eric Raymond being gender flipped, and the Misfits (including Kesha as Pizazz, one of the few positive elements of the film) reduced to an unanswered Sequel Hook. In addition, the film features supposed clips of fans praising the movie, which are actually edited clips of fans praising the original show.note  The movie only had a budget of $5 million, and in all the fourteen days it was in theaters, couldn't make half of it back. Several online film critics took it to task, including RebelTaxi, Cinematic Excrement, Andre the Black Nerd, and Brad Jones (as part of Midnight Screenings). The Nostalgia Critic admitted that, even though he was never a fan, the movie still felt like an insult.
  • Jurassic Shark
    • The first movie is a ripoff of both Jaws and Jurassic Park (1993) 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 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.
    • Not that the negative reception was enough to prevent Jurassic Shark 2: Aquapocalypse from being made. Far from improving upon it or even merely being as terrible, this sequel exacerbates every single problem its predecessor had, with terrible acting, flat cinematography that never even shows the shark in the same shot as anyone, and rancid, inconsistent effects, ranging from the shark's CG model being taken from a video game to some of the worst compositing effects ever made. For instance, an explosion effect is pasted over a boat to simulate being blown up and yet afterwards it can still be seen, and that's one of the less bad ones. This sequel wasn't even made by Brett Kelly, instead being done by Mark Polonia, whose entire portfolio consists of the cheapest schlock ever put to film. It has an IMDB score barely higher than the first flick with a rating of 2.1. You can watch Rickraptor105 rip both the first and second apart here and here as part of a larger series on B-Movies like these.
  • Just Another Romantic Wrestling Comedy attempts to sell 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 plot built on trying to make a Stalker with a Crush sympathetic even when he sexually assaults the female lead. Even the ending is a fake-out that segues into a bizarre scene that needs to be seen to be believed.The long explanation What's more, despite attempting to appeal to wrestling fans, casting wrestlers Don Frye, April Hunter and Chyna, 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.

  • 2001's Keeper of Souls is so obscure only 220 people have rated it on IMDB, and it still managed to get only 2.1. It starts off with a simple enough premise of a couple being tormented by a backwoods cult. Unfortunately, the acting is wooden, the sound is barely audible at times, and the editing is incoherent even outside of the nightmare sequences that make up a quarter of the runtime. Despite the Opening Scroll promising a plot about an Ancient Evil from the time of the Salem Witch Trials, there is no explanation for motives or personality of the cult that shows up, and the demon they worship never even appears. To add insult to injury, the film's ending resolves absolutely nothing. All in all, it deserves to languish in obscurity.
  • 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.
  • While Kidnapping, Caucasian Style is a beloved classic of Russian cinema, its 2014 remake is definitely not. The whole film is an Ashcan Copy of the original one, filmed in a manner that looks more like a bad parody, with histrionic acting and over-the-top accents. The only differences from the original are the flaccid attempts at being modern (for example, a dance lesson is replaced by the suds party), and the ending, where the main villain is Easily Forgiven. Kinopoisk gives this movie a rating of 1.1.
  • Kinky, a 2018 film that's essentially a very cheap mockbuster 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 a generically 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 that came out of nowhere. 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 wrote a first draft that was described as "gorgeous". Unfortunately, there was enough Executive Meddling to give Shyamalan a Heroic BSoD—not least of all, his script being thrown out and ghostwritten in full. The movie came under fire the moment the trailers revealed that almost every character suffered a Race Lift.note  Come the actual opening, it got even worse. Every element that brought the show its charm—the intricate worldbuilding, the characterization, even its well-researched choreography—was treated as an afterthought. The plot kludged together bits and pieces from season 1, tacking on Adaptation Induced Plot Holes big enough to wreck it. Entire arcs are summarized in narration or rendered through exposition, which takes priority over any emotional sincerity. The end result was a Disowned Adaptation that another famous fan called "an agonizing experience in every category I can think of and others still waiting to be invented." It was among the first movies on Rotten Tomatoes whose first ten reviews straight were Rotten. It won "Worst Picture" at the 2010 Golden Raspberry Awards by a landslide, as well as "Worst Director," "Worst Screenplay," "Worst Supporting Actor," and "Worst Eye-Gouging Misuse of 3-D." Channel Awesome repeatedly tore into it, as did I Hate Everything, plus Spill, and Cinematic Excrement as well. This was a topic of one of Chris Stuckmann's first reviews, and Emer Prevost even got in on it. AniMat also placed the film at #3 on his Top 10 WORST Films Based on a Cartoon. The only upshot is that the actress who played Yue got to meet the creators, and voice Asami Sato in The Legend of Korra. Nickelodeon Movies reinvented themselves the next year with the Academy Award-winning Rango.
  • The Last Days of American Crime is a 2020 Netflix action-thriller film directed by Olivier Megaton. Based on a graphic novel by Rick Remender and Greg Tocchini that was already generally considered mediocre, this version sucked out whatever positive qualities it had. The premise seems fair enough: the U.S. government prepares to activate an antenna signal that would prevent the population from breaking the law by stopping anyone from doing anything the moment they think of doing anything illegal, and a group of thieves plans to do a bank heist during a signal disruption. Unfortunately, the film's release timing couldn't have been worse, as it happened a few days after the killing of George Floyd and the protests it sparked, and drew everyone's attention for all the wrong reasons due to its violent content and exploitive depictions of police brutality. Even putting all of that aside, the film itself is just unpleasant from beginning to end, especially in the misogynistic treatment of Anna Brewster's Shelby who only exists to be nothing more than a Damsel in Distress and a Ms. Fanservice, often to disturbing levels. On top of that, the action scenes are barely focused on and hard to distinguish, the editing is terrible and there's tons of padding that only exists to add to the film's 142-minute runtime, various sections of laughable dialogue, poor acting from Édgar Ramírez and Michael Pitt (with the latter at least being hilariously over-the-top) and muddled plotting. The film currently stands at 0% on Rotten Tomatoes and a 3.8 on IMDb. Watch Double Toasted suffer through the disasterpiece here, with Martin Thomas calling it the 6th worst film of the year.
  • The Last Face is a romantic drama set in Liberia, and is cinematic Condescending Compassion taken to its logical extreme. The talents of Charlize Theron and Javier Bardem are wasted in a movie that not only ignores its setting (a refugee camp), but focuses on a generic, underdeveloped romance between the leads. The refugee characters are treated less like people and more like props for the film's "people are suffering" message. It was considered to be the worst film to screen at the 2016 Cannes Film Festival, landing 8% RT score and 4.9 on IMDb.
  • Last Ounce of Courage might be in the running alongside Saving Christmas (mentioned in N-Z) and The Christmas Tree (Horrible.Animated Films) for worst Christmas movie ever made, taking the "War on Christmas" premise to lengths unprecedented. The film starts out unsubtle at best, as a jumping board for the directors' talking points, but quickly goes into insane territory. All the while, they demonstrate a total misunderstanding of the First Amendment, the separation of church and state, or how government works. The War on Straw gets taken to ridiculous extremes—A major plot point implies secular Christmas stories do not and should not exist, and it resolves in schoolchildren showing a character's violent death to a wildly appreciative all-ages crowd. But all this aside, 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 "made with the conviction of true zealots, but also the competence of amateurs." The Cinema Snob took it apart here, and was the subject of a review by Cinematic Excrement (who took a break from his Razzie marathon), 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.
  • 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 fusion 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".
  • 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 & Ebert's beatdown is 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 as part of his Razzie marathon.
  • 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 IMDb and a 0% on Rotten Tomatoes.
  • The Life Zone, an anvilicious anti-abortion screed masquerading as a Saw-esque Torture Porn horror film made by Ken Del Vecchio (a former New Jersey judge who once ran for State Senate). 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, all on the watch of a man named John (Robert Loggia) with the help of one "Dr. Wise" (subtle), played by Blanche Baker.* After two of the pregnant women decide against having the abortion and agree to have their babies, whilst the third still resists, the film ultimately ends on the twist that John is the Devil himself, and that the third woman and Dr. Wise were dead and in purgatory (the third woman had died on the abortion table and Dr. Wise had committed suicide), and due to not changing her mind, the third woman will go to Hell, condemned to forever re-experience her pregnancy and abortion. It doesn't even make clear what happened with the other two pregnant women (Were they also in purgatory but went to Heaven for deciding to give birth? Were there because they had a near-death experience but survived when they changed their minds? Were they even real, or just imaginary?). Apart from the fact that the film casts its own side as evil people who engage in kidnapping and psychological torture and are 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 Cinema Snob suffered through it, noting that even putting aside its message, the boring and poor acting made it nigh-unwatchable, and even saying that, when compared to Voiceless and Unplanned, two other anti-abortion films he had previously reviewed, this one was clearly the worst.note 
  • 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 barely topped The Avengers' first-week per-cinema average. Lionsgate definitely agreed with critics and audiences, as they 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).
  • Loqueesha is a comedy, so to speak, written, produced, directed by, and also starring Jeremy Saville. Saville plays a down-on-his-luck, divorced, white bartender who, in order to cover his son's tuition, becomes a radio host impersonating the titular Sassy Black Woman he invented and finds himself becoming a nationally-syndicated sensation. Do you really even need to go further after reading that? The premise apparently attempts to go two-for-two by not only being racist but also misogynistic (with some transphobia thrown into the mix as well). A film like this probably wouldn't have even flown in The '70s, never mind in 2019. Groundbreaking concept aside, the direction is about stale as a sawdust smoothie and takes the gold in being impossibly unfunny. Needless to say, it has earned its zero percent on Rotten Tomatoes. Brad Jones (who would later rank Loqueesha as one of the worst movies of 2019) and his wife spent quite some time discussing it. MacDoesIt, a gay black man, also highlights the faults of the film himself.
  • 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. The movie was so bad, Spill made two reviews out of it. One consisting of the crew angrily talking about the movie and Mike Myers, and another one that was more professional. Cinematic Excrement takes a look at it here as part of his Razzie marathon.
  • Lower Learning 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. Aside from that, you've got the lackluster premise, which follows an elementary school named Geraldine Ferraro Elementary, which has been deemed to be one of the worst schools in the state, thanks to its low test results, unprofessional teachers, and the fact the principal of the school (Rob Corddy) is corrupt. So, it's up to the vice principal (Jason Biggs) to save the school from further declining, and getting shut down, with the help of a school inspector (Monica Potter). Aside from the celebrities mentioned above, it also wastes the talents of Ed Helms, Will Sasso, Zachary Gordon, Sandy Martin, etc. 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.
  • 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 was made for 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. It doesn’t even have Zenigata in it despite featuring all four of Lupin's gang! Yuichi Maeda, a popular-if-contentious Japanese film critic, gave it a 3 out of 100.

  • Maradonia and the Shadow Empire is a pitifully amateur, No Budget adaptation of the awful, self-published Maradonia Saga directed by Gerry Tesch, father of series author Gloria Tesch. It spent years in Development Hell before finally being released in 2016... when the Tesches rented out one Florida theater for one showing. It fails to fix the problems of its source material — the characters are still unlikable, the dialogue is still awkward, and the story is still a confusing mess with lots of generic fantasy tropes, plot holes and ideas plagiarized from better works. On top of that, the change of medium added many new problems: It's hard to make any sense of the plot because the writing cuts out a lot of important scenes, and the editing is terrible and nonlinear. Most of the actors either overact or act flatly.note  Uninteresting scenes tend to drag on and on. The prologue in particular is so long that the main plot starts 22 minutes in. The production values are horrendous — there's a gratuitous amount of Stock Footage, the 180-degree rule is ignored, the sound mixing makes it hard to hear the dialogue over the trite musical score, most of the costumes are ridiculous, the special effects are awful, the settings seem to have been chosen because "no one's looking, so let's film here", and there's a baffling moment when they show a still image of a screaming demon woman. Read a detailed review here. note 
  • Marci X is a 2003 film in which 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 critics claimed that the material was too thin for feature length. Also, everything about it feels like it was intended for the '90s, but somehow got pushed back into the early 2000s, resulting in an extremely awkward flick that is embarrassing in all aspects. It's no wonder why Chris Rock turned down the script, saying he would've prefered to have received an envelope full of anthrax. 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 Italy, it was actually marketed as a Spaceballs sequel (known as Balle Spaziali 2: La Vendetta, or Spaceballs 2: Revenge) for no other reason than making money.
  • Abdellatif Kechiche followed up the acclaimed Blue Is the Warmest Color with Mektoub, My Love, which was meant to be a three-part romantic epic. While the first part (Canto Uno) received mixed reviews, the second part, Intermezzo was criticized as an excuse to appeal to Male Gaze (to further prove this point, the film has an explicit, long and unsimulated sex scene; reportedly the actors filmed it reluctantly after being plied with alcohol). It has minimal plot, weak characterization, and a lengthy runtime of 212 minutes, rendering the film painfully boring. While Blue and Mektoub have similar themes, it worked in the former due to the charm and chemistry between the leads, something that was absent in the latter. It has 10% rating on Rotten Tomatoes and 3.9 on IMDb. It is considered to be the worst film to come out of the 2019 Cannes Film Festival, with lead actress Ophélie Bau attending its premiere but leaving before its screening and subsequently not attending a press conference for the film; she would reveal in 2020 (article in French) that she refused to attend the screening because she had requested Kechiche allow her to view the sex scene in question at a private screening before the film was publicly shown, but it was denied. Overall, the negative reception has left the third part in limbo.
  • Metal Man (also known as Iron Hero) might have been an unintentionally funny Mockbuster of Iron Man, but utterly fails in every way imaginable. 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, reducing what would typically be a big part of the character to a Big-Lipped Alligator Moment. Youtubers Sean Yeager and Emer Prevost both reviewed this stinker. Mathew 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. The film's name is the Dutch word for "mistakes", which is quite fitting a title. 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 Mod Squad is a prime example of how not to adapt a Cult Classic from TV Land. The source material is considered So Bad, It's Good at its worst, but its film adaptation, produced in 1999, fails at even that, being not just woefully predictable within the first ten minutes, but also horribly miscast—Claire Danes in particular doesn't look very interested in her role, forcing her co-stars to overcompensate, and Omar Epps looks a quite bit too old to easily pass for a high school delinquent. The film attempts to go in a Darker and Edgier direction than its predecessor, complete with an R rating from the MPA, at the expense of quality humor, with Giovanni Ribisi struggling to imitate Horatio Caine or Gil Grissom when they were just a brace of glimmers in Jerry Bruckheimer's eye, and the action scenes come across as quite lacking. Even the retraux vibe fails miserably. Small wonder Rotten Tomatoes reported only 3% positive reviews out of 63 and Metacritic gave it an average score of 16 based on 21 reviews.
  • 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 film, Mortal Kombat: The 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; it's not a good sign when the film's own Tagline tells you to "destroy all expectations". 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 was voted as number 1 for Watch Mojo'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 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 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. Emer Prevost of Reaction & Review demolishes the so-called "comedy" here, and 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. The Nostalgia Critic also took a look at it, though he believes it would have been brushed aside as just another bad movie if not for how much celebrity talent was wasted. 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.
  • Mr. Magoo was a 1997 film adaptation (or abomination) of Mr. Magoo. The movie involves Magoo (played by Leslie Nielsen) being mistaken for an international jewel thief and getting chased around the world by the authorities and said jewel thieves. All of this takes a backseat to tired slapstick gags long ago run into the ground by not just the source material, but other films in that genre from that era. Magoo's Flanderization into an oblivious, nigh-on Scatterbrained Senior didn't do it any favors either, as it resulted in heavy backlash from blindness awareness groups. And speaking of insensitivity, the film casts Jennifer Garner as a vaguely South Asian woman named Stacey Sampanahodrita, and has Agent Chuck Stupak (Stephen Tobolowsky) dress up in brownface makeup and a turban to look like an Indian. The only redeemable things about this movie were the surprisingly catchy music score by Mike Tavera and some brief animated segments that illustrate the film's sheer waste of potential. The backlash ultimately resulted in the movie being pulled from theaters after only a few weeks and becoming a financial failure for Disney, only so much as being mentioned again via Disney+. The movie received absolutely scathing reviews (an abysmal 18% on Metacritic and a 7%/24% critic/audience rating on Rotten Tomatoes), and the career of its director, Stanley Tong, crashed and burned. This all but killed Mr. Magoo, with only the obscure 2010 movie Kung-Fu Magoo and a very loose TV adaptation in the decade since. Siskel and Ebert both gave the film two thumbs down, and Ebert called it "transcendently bad" in a separate review. Doug Walker and AniMat were no kinder.
  • In 1996, Ellen DeGeneres made her film debut in a romantic "black" comedy called Mr. Wrong. This flick revolves around Martha Alston (DeGeneres) who falls head over heels for a man named Whitman Crawford (Bill Pullman), who she thinks is "Mr. Right". However, her dreams are crushed when she realizes that Whitman is actually a sociopath whose erratic behavior comes to destroy her life. Needless to say, it's all downhill from there. For starters, Ellen and Bill have no romantic chemistry whatsoever, and every joke comes out as painful and wretched. The dialogue is bizarre, the loud trumpet music gets old way too fast, and everything else is just tedious and pitiful. It's got a rancid 7% on Rotten Tomatoes, a poor 3.8 on IMDB. Ellen DeGeneres herself would later throw shade at it on The Ellen DeGeneres Show. The Hastings Bad Cinema Society Stinkers Awards would later nominate Ellen for Worst Actress for her role in the movie and also win her the award (without competition) for Biggest Acting Stretch (for Ellen playing a heterosexual woman). Allison Pregler does a very good job summarizing everything "wrong" with Mr. Wrong.
  • Music, a 2021 musical film directed by pop singer Sia, follows drug dealer Kazu (Kate Hudson), who has to care for her autistic nonverbal half-sister, the titular Music (Maddie Ziegler) after her mother's death. Rife with Glurge and general ignorance about autism, the film shifts between realistic drama and cheery romantic comedy, resulting in an incoherent story that tries and fails to juggle several plotlines at once. For example, one subplot which leads to the violent death of Music's neighbor has only the slightest bearing on the A-plot and never comes up again. Music in particular is a womanchild whose Hidden Depths only show through choreographed musical numbers, a Living Prop for Kazu's character development, and a burden to her caregivers. Infamously, the film contains scenes which depict Music being put in a chokehold in an attempt to calm her during a meltdown.note  The film was most likely nominated for two Golden Globe awardsnote  only for want of competition. Not only did it lose both, Hosts Tina Fey and Amy Poehler outright called it a "floparooni." It has poor Rotten Tomatoes scores (9% from critics, 13% from audiences), only has a 3.1 on IMDB, and it won three Razzies.note  Sia herself saw a massive blow to her reputation for her poor handling of the criticisms. Sara Luterman of Slate criticizes the film here. Jessie Gender, who herself has autism, goes further into the deeper problems with Music's depiction of autism here. Cynical Reviews also takes a shot at it here. Watch Mojo even placed the film at #1 on their list of the Top 10 Worst Movies of 2021. Diva of Musical Hell made it the centerpiece of her 10th-anniversary episode, giving it 11 sins; it also replaced Glitter as the worst movie she's ever seen.
  • 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 going forth to say that "some of you may not be cool enough to laugh at this movie."