Horrible / Live-Action Films (N-Z)

0-F | G-M | N-Z

Important Note: To ensure that the movie is judged with a clear mind and the hatred isn't just a knee-jerk reaction, as well as to allow opinions to properly form, examples should not be added until at least one month after release. This includes "sneaking" the entries onto the pages ahead of time by adding them and then just commenting them out.

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Nativity 3: Dude, Where's My Donkey? is a catastrophic failure of a holiday movie. The threequel of the British holiday franchise stars Martin Clunes as Mr. Shepherd, a teacher who loses his memory when the nativity donkey kicks him in the head. The film's plot, which has the pupils of St. Bernadette's trying to get Mr. Shepherd to New York and remember Christmas with his fiancée (Catherine Tate), is a disorganized mess filled with ear-piercingly bad dialogue. The few characters who returned from previous Nativity! movies have grossly devolved into flanderized caricatures of themselves and repeat the same mistakes they've done in previous films without any of the charms. The film also features cheap-as-chips sets and horrific musical numbers filled with poorly-synced choreography. Moviegoers and critics alike in the UK blasted the film to hell and back, to the extent that Entertainment One removed the like/dislike and comment features from its trailer on YouTube, and it has a pitiful 3.6 average rating on IMDb. Mark Kermode shares his thoughts here and Mathew Buck gives his two-pence here and would later call this the 3rd worst film he saw at the cinemas during an episode of The Film Brain Podcast, which featured guests Ashens and Oliver Harper. When Clunes did a guest spot on Have I Got News for You, not only did the panel constantly take the piss, but Clunes also joined in with the bashing.
The NeverEnding Story III: Escape from Fantasia takes Sequelitis to jaw-dropping extremes. Having run out of material to adapt, the film instead treats characters, locations, and the basic premise of the namesake book as throwaway window-dressing for a trite and otherwise completely unrelated plot involving bratty teenagers in a fantasy setting. The story seems to outright shun even basic reasoning - whole story beats rely upon the cast playing hot-potato with the Idiot Ball, massive plot holes are kept in place by a single word^note, and the dialogue contradicts what occurs on-screen. The film is further mired in desperate attempts at appealing to teens, from the change in setting to the ridiculous dialogue. And to add insult to injury, it just plain looks cheaper. Nothing more so than the animatronics - Jim Henson's Creature Shop's poorest showing to date, especially compared to the first two films. You shouldn't ask Jack Black (who plays the main villain, a high school bully!^note) or The Nostalgia Critic, The Blockbusters Show, Fanboy Flicks and Bobsheaux (who all reviewed the movie) about it...
Night of Horror's "plot" is as follows: a bunch of ugly old farts and a rather pretty girl go on a road trip to the Virginia Mountain Country; 30 minutes of driving, most of it in the wrong direction ^note, can be seen. They then arrive at the site, and at night are haunted by an old ghost. They then bury a fake-looking skull. Bam, movie over. But that's not all: there's a disclaimer at the start of the film warning people that it's "a depiction of an actual event", yet at the very end there's a warning stating that the characters and stories are fictitious and any resemblance to persons living or dead is purely coincidental. There's also a smudge on the lens for 10 minutes of the film. It'd be on the So Bad, It's Good end of the spectrum if it wasn't so dull. (The Cinema Snob also tackled it). The director also remade it as Curse of the Screaming Dead, which as The Agony Booth made sure to point out:
The rights to distribute this movie were eventually bought up by Troma Studios, who repackaged it as Curse of the Cannibal Confederates and proudly declared it to be one of the worst films in its library. I say again: It's one of the worst films in the library of Troma Studios. And as terrifying a statement as that is, [Night of Horror] is that much worse.
North is considered to be Rob Reiner's worst movie. A child prodigy feels that he's unappreciated by his (admittedly prone to comically long faints) parents and decides to go look for new ones around the globe. Sounds like a good idea for a movie, but guess what? The movie's filled with stereotypical Texans, Hawaiians/Japanese-Americans, Eskimos, Amish, Africans, Chinese, and French. The jokes that don't involve terrible stereotypes aren't funny at all. The moral is sadly broken when North is supposed to accept his parents despite their flaws, and then the film reveals itself to be All Just a Dream. The movie bombed at the box office and received a very scathing zero-star review from Roger Ebert (and an equally-scathing review by him and Gene Siskel) that at least one person thinks is too nice. Cinematic Excrement also briefly talks about the film here, and believes that the film should have won the Razzie Award for Worst Picture that year over the eventual winner Color of Night. Reiner's hitherto-awesome career never recovered before his 2025 death. The only other notable thing about this film besides the infamous Roger Ebert review is that it was Scarlett Johansson's acting debut, who would go on to do far bigger things.
Not Cool - directed by and starring the now-infamous Shane Dawson - was one of two films created for the reality TV show The Chair (2014), and unanimously considered the worst of the entries by a long shot. It's pretty much one of his typical comedy skits made into a poorly-paced teen romcom film, and packed full of unfunny jokes, Toilet Humor, and ethnic stereotypes; Cherami Leigh and Michelle Veintimilla give it their all, but can't come close to salvaging it. It currently boasts a 14% rating on Rotten Tomatoes, a 1 on Metacritic, and a 3.6 on IMDb (which is already inflated with 10/10 votes from Dawson fans); pretty much the only reason it won The Chair over the better-received Hollidaysburg was because the show used an online poll to determine the results, which was quickly flooded by Dawson's then-large fanbase. I Hate Everything reviews it here and Nathan Rabin covered it for My World of Flops.
Nukie was intended as a children's movie (specifically, a South African E.T. ripoff), but what sort of sick monster would show it to a child?! It's a depressing mishmash of kid's show ideas mixed with a staggering whiff of Apartheid-era stereotypes, utter boredom, and cloying stupidity. Two alien brothers crash-land on Earth: one in the African savanna and the other captured (never explained) by the "Space Foundation". What follows is a stew of Kudzu Plot and Epic Fail, mixing in ugly alien costumes, talking monkeys, a ridiculously stereotypical tribe, two young boys exiled to die by said tribe, Know-Nothing Know-It-All missionaries, greedy scientists against good scientists, a magical supercomputer, and a dance number. All this in a plot that fucks Show, Don't Tell sideways throughout, a sudden Eagleland moment (America, HELP US!!!), and the dumbest, most saccharine Ass Pull ending in any kid's film. Longtime Something Awful movie reviewer Ben "Greasnin" Platt gave his only -50 review to Nukie, calling it "the most painful experience of my life, with the possible exception of when I had to watch it again." The Cinema Snob took a swipe at it, and ranked it as even worse than Ax 'Em, Night of Horror, and Las Vegas Bloodbath as perhaps the most painful movie he's ever reviewed. Schaffrillas Productions has stated in his Letterboxd review and his James Cameron ranking that this movie made him cry from how awful it was, something not even Megamind vs. the Doom Syndicate or Surf's Up 2: WaveMania could do. This review sums up the film's failures in this paragraph:
"Talking animals with no explanation, poor acting, twins characters that the filmmakers couldn't keep track of, poor science, scenes that add nothing to the rest of the movie, poor writing, comedy that isn't funny, poor special effects, annoying repetitious use of the documentary technique for scene transitions, and alien protagonists that unintentionally resemble giant pieces of fecal matter."
The Nutcracker in 3D demonstrates a complete misunderstanding of its audience, from the premise on down. The plot starts by replacing Drosselmeyer with Albert Einstein, who is the protagonist's uncle despite Einstein only briefly living in Vienna (where the real world segments in the film take place), and then turns out to be All Just a Dream with multiple confusing fakeouts about the subject and the prince from the dream world appearing in the real world as a normal person...somehow. In said dreams, the protagonist and the prince-turned-nutcracker meet a long string of seemingly random, atrociously-rendered characters, including a creepily realistic chimpanzee in a suit, a little drummer boy who for some reason is also a black stereotype, and a living clown doll who bears an uncomfortable resemblance to John Wayne Gacy. The villains are even worse - the rats are A Nazi by Any Other Name, down to camps complete with incinerators. Their major contribution is to just be really really evil to further the Random Events Plot, and most of them, including the two leaders, escape any true punishment at the end. Even the film's potentially interesting Steampunk aesthetic is ruined by the poor color correction and atrocious misuse of post-production 3D. The few Tchaikovsky songs that are even featured are misused. The most baffling part of it all? This film was apparently a serious labor of love for the director, Russian arthouse star Andrei Konchalovsky, who spent upwards of 20 years trying to get it made. Despite all this, the film had a budget of $90 million and somehow managed to attract a cast that includes John Turturro, Elle Fanning, Richard E. Grant, and Nathan Lane. It goes without saying that this movie bombed critically and financially, boasting a stunning 0% rating on Rotten Tomatoes, and is likely responsible for the fact that no one has tried to produce a large-scale adaptation of The Nutcracker until Disney's take nearly a decade later, and even that couldn't escape this one's shadow. Watch Mathew Buck of Bad Movie Beatdown tear it to shreds here, Bobsheaux skewer it here and Musical Hell place it on trial here. The Nostalgia Critic calls it "The Most HATED Nutcracker Movie Ever Made" here.

The Omega Code, a film about the End Times. Casper Van Dien, Michael York, and Michael Ironside become involved in a plot where a code is found in The Bible that allows the UN to be replaced with a Nazi-esque One World Government that nobody seems to object to. It brings about the end of the world, but only after York (the Anti-Christ) becomes stronger because he was shot in the head and Van Dien is chased by a demon truck. The effects and sets look like something out of a bad Twilight Zone episode. The only redeeming thing about this film is its sequel, The Omega Code 2: Megiddo, which manages to be So Bad, It's Good due to York reprising his role with enormous amounts of ham, and an idea so awesome that it really should've gotten its own movie - R. Lee Ermey as the President of the United States! See it being torn apart by Indy Christian Review (with the help of Diamanda Hagan) here.
The American remake of One Missed Call not only bungled every last aspect of Takashi Miike's classic, but it also shamelessly ripped off other horror movies such as Final Destination and Gore Verbinski's rendition of The Ring. The film also failed in adapting the scenes directly ripped from the Japanese version, bewildering viewers who didn't watch the original and angering the viewers who did. Even if the movie wasn't a remake, the plot is hopelessly lazy, the acting is poor, the CGI effects resemble a PS3 game, and the "shocks" were anything but scary. The remake's shortcomings were so egregious that it effectively killed any further interest in remaking Japanese horror films. The film received the "accolade" of being named by Rotten Tomatoes as the 2nd worst movie of the 2000s, with all 80 of the critics tracked by the site giving negative reviews resulting in a rare 0% score. Audiences didn't think much better of it, giving it a user rating of about 4.0 on IMDB.
The Oogieloves in the Big Balloon Adventure is a children's film produced by Kenn Viselman loosely adapted from the low-budget Edutainment Show My Bedbugs. It was done on $20 million but doesn't even remotely show it, instead faithfully adhering to every negative stereotype associated with children's entertainment. It's built around Audience Participation - rare for a cinematic release (perhaps for very good reason, given the target audience) - but completely mishandles it, and what little plot there is to speak of is idiotic. The writing is infantile at best, with painfully unfunny jokes, inane and repetitive songs, and the odd jarringly transparent Parental Bonus. Not even the multitude of star actors (all of whom are completely unsuited for their roles) could save it. It made only $1.1 million at the box office, underperforming Delgo in its opening week, yet Viselman said that "it was never about the box office". He also arrogantly asserted that all of the negative feedback would result in The Oogieloves becoming a franchise. Needless to say, that never happened. Brad Jones and his friends on Midnight Screenings tear this movie to shreds here, and he later takes it on as The Cinema Snob here. Nathan Rabin also had some harsh words in his "My World of Flops" article for this film. Cinematic Excrement talked about it here and here. I Hate Everything also talked about it here for his Search for the Worst, and considered it the worst movie he'd seen until several other films came along. Watch Bobsheaux tear it apart here and see AniMat get broken by the movie here. The Spill crew, on the other hand, were awestruck about how insane the movie gets. Musical Hell also rakes this one over the coals.
The Open House is a huge misstep in Netflix's efforts in producing original feature films made exclusively for their streaming platform. It tries to execute a mystery premise in which a mother and her son move into a relative's house in the mountains, where they experience odd things and they suspect that someone is watching them from inside the house. The movie is very dull and boring, taking 40 minutes of content at best and padding it out to feature-length. It also wastes the talents of its cast and has them play one-note characters that barely have meaningful interactions with each other in favor of a Cliché Storm that shoves in jump scares, a fake-out dream sequence, Idiot Ball moments, and a Red Herring or two. All of this was done to build up to one of the worst executions of The Un-Reveal in recent history where everything that happened beforehand is retroactively made pointless. Elvis the Alien gives a good breakdown of the movie here (sparking a common name for one character in the process), and Doctor Wolfula covers it here.
Outtakes is an obscure and astoundingly non-funny No Budget sketch-comedy from 1987, sadly remembered as the last movie for F Troop's Forrest Tucker. A would-be satire of modern pop culture, Outtakes fails on all possible levels, with skits ranging from the tediously lengthy to the moronically offensive. This damning assessment is far more amusing than the actual movie. Somewhat improbably, despite condemnation from all circles, the movie actually spawned an equally humor-challenged sequel (also directed by Jack M. Sell) wittily entitled More Outtakes.

Parentesi Tonde (literally "Round Brackets" in Italian) is a 2006 Italian comedy that has been forgotten for every reason conceivable. It's a No Budget film with an All-Star Cast led by popular TV personalities who were quite famous at the time, such as Raffaella Lecciso, Giucas Casella, and Eva Henger. It had horrid direction, writing, and image quality, the acting is so awkward that it can't be even called "acting", the dialogue makes no sense even in context, and it doesn't help that the audio quality sounds like something recorded in a bathtub. The plot is incoherent and disjointed, jumping between uninteresting situations and confusing subplots, and ending with the main character realizing that the entire film is just a dream of hers. It flopped at the box office, earning just 9,000 euros after being screened in just nine theaters in all of Italy, was trashed by critics, and got a 1.6 score on IMDB. The director and cast were so ashamed of it that they did not release it on DVD (although it does exist on DVD, sold by companies so desperate for money that they bought the film's rights) and did not air it on TV, except for a few local cable channels no one cared about.
Pimp is a 2009 mockumentary that was directed by, co-produced by, co-written by, and starring Robert Cavanah. Cavanah plays Woody, a Soho pimp who works for Stanley, a mob boss played by Danny Dyer. Through the course of the week, Woody gets caught up in involvement with Chinese triads and snuff webcasters. This perfectly interesting plot is ultimately wasted, no thanks to the film's dreadful acting, rambling and directionless story, lack of insight into the sex industry, and oblivious direction. These issues were enough to convince the critics and viewers alike to trash Pimp to kingdom come, as the film got a 0% on Rotten Tomatoes and a 2.8 rating on IMDb. Pimp was also a disastrous Box-Office Bomb in the UK that has yet to receive an international release, as it got pulled after only one screening on its opening day. Listen to the Mark Kermode review here if you're interested.
Pink: El rosa no es como lo pintan is a 2016 "religious drama" by Mexican director Paco Del Toro about a gay couple who adopts a boy. All potential this story had is utterly lost because the nuance required for the premise to work was never Del Toro's intent - the film is anti-gay propaganda created in response to Mexico legalizing gay marriage, portraying gay men in general as effeminate, promiscuous, and predatory. It ends with the main character turning straight after converting to Christianity (his homosexuality is attributed to his bad relationship with his father) while his partner contracts HIV. Besides its blatant homophobia, the movie has lousy acting, writing, and direction. It currently is rated 1.6 on IMDb. It went to the point that, when it was discovered that Netflix Mexico carried the film, the platform quickly removed it, a move that was applauded by Pablo Chung, the actor who played one half of the film's gay couple (and who is gay in real life), who apologized for his role in the film, saying that the result was "trash". Watch The Film Renegado (video in Spanish) reviewing the movie here.
Piranha 3DD, the sequel to Piranha 3D, is one of those movies that could've been So Bad, It's Good in so many ways, but fails miserably. The first film managed to balance seriousness with comedy, but 3DD instead took things into much more Denser and Wackier territory. The piranhas do incredibly outrageous crap even compared to its predecessor (for example, a piranha swims up a woman's vagina, rests there for a while - she doesn't even notice - and finally emerges to attack her boyfriend's penis when they're about to have sex). The acting is predictably terrible (save for Ving Rhames, who gives a passionate Pre-Asskicking One-Liner), its plot is inspired by (read: ripped off from) Jaws 3-D, and they even managed to make David Hasselhoff lame. It ended up with a generous 12% on Rotten Tomatoes and a 3.8 on IMDB. Chris Stuckmann as well as both critics in Schmoes Know called this the worst movie of 2012. The Co-Host 3000 and Cyrus of Spill also gave their thoughts on the movie here.
Pledge This!, yet another memorable film starring Paris Hilton. Much like The Hottie and the Nottie, all the attempts at humor fall flat. It's packed full of immature jokes and Toilet Humour even Surf School was head and shoulders above, and all of it is written (and acted) miserably. PhantomStrider calls it the 10th worst movie of all time. Even Paris Hilton herself hated the finished product, having refused to promote it.
Released in 1987, Plutonium Baby stands as a prime example of how not to make a B-movie. Thanks to deplorable directing and editing, the film makes several sharp jumps in settings and plot points without any warning whatsoever. Speaking of plot, the story is excessively slow and filled with painful dialogue, weak special effects, and pathetic acting. As for the title character, he doesn't appear until the last few seconds of the movie! As if that wasn't enough, fans of over-the-top horror/nasty movies (like films from Troma) view this film unfavorably due to the lack of gore and the wasted potential of the title monster, as it currently "boasts" a 2.4 IMDb rating. You know this film is a fiasco when The Cinema Snob compares this film unfavorably to Nukie, as he did in this review.
Released in 2005, Popstar was made solely to have a film with the late Aaron Carter in it. The film is about Carter getting enrolled into a public school and needing to pass his classes, or else he can't tour in the Summer. During that time, he experiences every cliche possible, complete with him having two third-act break-ups with the same girl. Other highlights include Carter having less than zero acting skills, characters and plot points coming out of nowhere and disappearing as soon as they appear, and Carter getting a better score on his final when he does it himself than when he cheats off a girl who got a perfect score on her SATs. Kyle Norty gave it a look in mid-2016, and later declared it one of the worst things he's ever reviewed.
Pressure Point is a 1997 Edgewood Studios "thriller" about a CIA assassin who has been framed as a terrorist after a botched hitjob against a Chilean diplomat and given one last job to redeem himself by breaking up a right-wing conspiracy against the US government. Written by and starring Don Mogavero as Sebastian Dellacourt: a clumpy, sexless man of action with clown-pattern baldness who meanders from underwhelming action scene to underwhelming action scene like he's trying to remember where he parked his car. The hero is rarely - if ever - in any actual danger, solving any dilemma (including breaking out of a supposedly maximum security prison) with laughable ease. Usually dressed in either a baggy, ill-fitting prison jumpsuit or mom jeans and a striped sweater. In fact, the only genuine threats he has to face are a group of murderous rednecks who he beats up with a six pack of beer before a policewoman intervenes with all the enthusiasm of a tired schoolteacher having to break up a fight. The main villain explains his evil terrorist motives with a blank, confused face and the "climax" of the film has Sebastian wait until the very last second to defuse a truck bomb, which he does by yanking out a loose cord. At the time of writing, the film boasts an enviable 2.7 on IMDB. If you're really that eager to watch this movie, watch the RiffTrax version here. So Bad, It's Good watched it and were left completely stumped. But be warned: even they can't stop this film from being an utter snorefest.
Pure Hearts: Into Chinese Showbiz is a vehicle for main star, writer, and director Bi Zhifei, which became infamous in China as soon as it released. The film is a Cliché Storm, but becomes barely comprehensible due to somehow juggling eleven plotlines at once, most of which pile on film cliches, including sensitive subjects like sexual assault and suicide. Worse, the whole film is split into eight different chapters (each with their own tacky variety show screen) that only makes the plotlines even more confusing to follow. That's not even mentioning the amount of grammatical errors that lay within, which include some Chinese characters using the wrong typeface and other words not being properly spaced-out or misspelled. The presentation is overshot and gaudy, frequently wasting time on showing how "rich" it is, even dedicating the end credits to this, yet it has the gall to try calling out Chinese showbiz for something it's doing constantly. There's also signs of some really bad editing, with some footage being randomly sped-up for no reason. To top it off, the acting is consistently low quality, the main storyline is purely about sating the ego of the main star who just happens to also be writer and director, and the film is bursting with misogynistic depictions of women that frame them as either some bastions of purity or gold-digging sluts. The film also has a very questionable production history: all of the actors were unpaid, most of them still students at that, and were frequently bullied and pushed around, leading to nine of them leaving over the course of production. It averages a 2.2 on the Chinese film website Douban, and YouTube channel Accented Cinema covers the trainwreck here.

The 2008 film Race and its 2013 sequel are considered guilty pleasures by many Indian moviegoers. However, no one will defend Race 3, which is actually a reboot of the 2008 original. The first two movies had IMDb ratings of 6.7 and 5.3 respectively. The third movie received a 1.9 and sits comfortably on the site's Bottom 100. The film was criticized for its lack of plot, poor structure, weak action, and terrible scriptwork. Despite the panning, the movie ended up becoming the fifth highest-grossing Bollywood movie of 2018, most likely due to the presence of Bollywood superstar Salman Khan. The movie has been reviewed by various Indian publications such as Times of India, Hindustan Times, Bollywood Hungama, The Quint, and Deccan Chronicle''.
While Pressure Point was a pretty bad action flick on its own, it had some moments that made up for its awfulness. That, however, cannot be said for Edgewood Studios' next film, 2000's Radical Jack. Right off the bat, the film's production values are somehow lower than that of the former, with an incredibly cheap soundtrack and a lack of a coherent plot. Radical Jack has Billy Ray Cyrus play former Navy SEAL and CIA agent Jack Reynolds, whose life has just hit rock-bottom after a group of terrorists had annihilated his beloved town, killing many innocent civilians in the process. The CIA gives him one last job to infiltrate a gang of gun-runners in a small town in Vermont. As the film progresses, it becomes quite clear that there is not enough action nor excitement to make up for the runtime, and that most of the story copies elements from the much better Road House (1989), but with less originality. The fight scenes are horrendous to the point where you can tell that they're not even trying to be convincing at all, the dialogue is off-putting and descends straight into Narm, the pacing is all over the place despite being 95 minutes long, the so-called "plot" doesn't seem to make much progress due to severe moments of Padding, and its sole claim to fame is that it permanently derailed Billy Ray's career into being nothing more than just "the father of Miley Cyrus", and it wasn't until 2019 that he finally experienced a Career Resurrection by taking part in Lil Nas X's "Old Town Road". All in all, it's just a dull waste of time to sit through. Critically, the film was rapidly torn to shreds, with IMDB ranking it a 2.4 out of 10, which is 3 points shorter than Pressure Point's 2.7 rating, and Prime Video gave it that same rating as well. Even Rotten Tomatoes did not gave it spare kindness, judging by the 20%. RiffTrax would go all out, as did So Bad Its Good, and Good Bad or Bad Bad. The Stinker Madness podcast would go all out on this burnt turkey here.
Raiders of the Lost Shark is a would-be horror Mockbuster that - even by mockbuster standards - manages to fail on every level. The plot is equal parts Jaws 1 and Deep Blue Sea: A genetically-engineered great white shark escapes its military lab into an inland lake on a private island^note and proceeds to devour every human in its sight. The kills are silly and repetitive: Most can be described as "Woman in bikini stands in waist-high water. Shark bigger than she is manages to sneak up, dive out of the water, swallow her whole, and disappear, the blood splatter of the kill being bigger than the splash coming into or out of the water." The writing is awful, the acting is worse, and the special effects (the shark kills) seemed to have been completely and haphazardly lifted from the original Sharknado. Two Brazilian reviewers who highlighted it as possibly the worst of 13 shark movies they watched for Shark Week also pointed out the production values are comparable to a film school production, with no attempt to make the cinematography and audio consistent throughout the movie. Currently sports a 1.7 on IMDB and an audience score of 7% on Rotten Tomatoes.
When The Nostalgia Critic challenged The Angry Video Game Nerd to review the worst "nostalgic" movie he could find^note, he found Ricky 1 - a movie so obscure, he remarked that the copy he found was probably the same one he saw at a video shop when he was a kid in 1989. Although the film was meant to be a parody of the Rocky franchise, Ricky 1 ends up as a flick that suffers from poor editing, cheap-looking sets and costumes, and clueless directing. What's worse, Ricky 1 takes the usual characteristics of bad parody films and somehow makes films from Seltzer and Friedberg look inspired in comparison. The film is loaded with unfunny sight gags, lousy, outdated puns, and an overall juvenile, trite, and just plain annoying sense of humor. It's no wonder why it currently has a 1.5 on IMDb and a 6% audience rating on Rotten Tomatoes. In case you're interested, the AVGN shares his thoughts here and you can watch the full movie here.
Rock: It's Your Decision is one of the worst Christian propaganda films ever made. It centers around a Christian boy named Jeff, whose love of rock music concerns his mom because she believes that all rock is evil. After a preacher suggests giving it up for a week and researching why it's "bad", Jeff transforms practically overnight from a fairly normal teenager into a fundamentalist, bigoted Jerkass who alienates his friends by chewing them out for simply listening to the music they like. The film is utterly painful to watch as Jeff claims several things about rock (such as it being occultist) that he never backs up, and winds up becoming an unlikeable protagonist who is forced to hate something he likes, while his friends become Designated Villains who bring up several good points about why Jeff is wrong - among other things, he makes Melissa cancel her plans to go to a rock concert and forces her to listen to another station in the car, and gets pissed at Marty for simply playing instrumental rock at his party. The film ends with a mind-numbingly stupid speech from Jeff, who then lists several supposedly Satanic songs, including Santana's "Evil Ways"^note, Jefferson Starship's "Dance with the Dragon"^note, The Rolling Stones' "Sympathy for the Devil"^note and "Dancing With Mr. D"^note(which refers to Death, not the Devil), AC/DC's "Hell Ain't a Bad Place to Be"^note, and also bashes songs by milder artists such as Barry Manilow, Rod Stewart, and Captain & Tennille just for having suggestive but largely non-explicit mentions of sex or magic, even attacking some musicians as "homosexuals". With poor camera quality, terrible messages, and no mention of Christian Rock music anywhere,^note it's no wonder why the film has received such notoriety. The film has a 1.6 rating on IMDb, and was torn apart by several reviewers: Shock Cinema here, Letterboxd here, Brad Jones on DVD-R Hell here (as well as giving it the Cinema Snob treatment here), The Happy Spaceman here and Emer Prevost here.
The 2002 remake of 1975's Rollerball. Ostensibly an attempt to update the story to modern times, this version suffers from dropping the dystopian concept, choppy editing, shameful attempts to pander to a teenage audience, a confusing narrative, and an overabundance of violence that shows that the makers of the film had missed the point of the original (in which the titular Blood Sport was used as Bread and Circuses for the underclass). The film also features a sequence featuring night vision, where you can barely make out anything that's going on. The film was a huge Box-Office Bomb, making just $26 million worldwide against a budget of $70 million, and it holds a 3% rating on Rotten Tomatoes and a score of 2.9 on IMDb. It also derailed Chris Klein's promising career, and along with Basic the following year, director John McTiernan would never direct another movie again; what's more, it was on production of this film that McTiernan had wiretapped the film's producer Charles Roven over Creative Differences, which ultimately got him sent to prison. Here's That SciFi Guy doing a review of it, and here's The Sports Guy trashing it, even lamenting how it could've been So Bad, It's Good. Media Pastimes talks more about its troublesome production, including McTiernan's arrest, here. The Double Toasted crew join in on the party with their own take on it.
R.O.T.O.R., a Terminator / RoboCop ripoff about a scientist in a grimdark cyberpunk future creating a robot cop / leather daddy for the purpose of judging felonies and misdemeanors and killing the people responsible for them, only for the robot to go rogue. The title robot is incredibly inept and the movie is full of Padding, pretentious dialogue, Fight Scene Failures, and continuity errors. It also can't seem to make up its mind on whether it wants to be a serious movie or a parody of the movies it's ripping off, leading to serious tonal problems. And to top it off is one of the most unnecessary Diabolus Ex Machinas ever to be in a bad movie. RedLetterMedia's Best of the Worst rips it a new one here, Something Awful's Neil brothers honor it as their second -50 rating here, the So Bad, It's Good crew were left completely stumped here, and Shitcase Cinema also panned it here, as did RiffTrax.
The film adaptation of Ray Cooney's hit West End play Run for Your Wife. The film stars Danny Dyer as a bigamist taxi driver who deceives his wives (Denise van Outen and Sarah Harding) to keep them away from each other. However, whereas the play was a well-received farce, the film adaptation ended up being yet another Awful British Sex Comedy that failed miserably. This is thanks to horrible acting, a confused plot, retrograde and misogynistic attitudes toward women, excessive and pointless cameos from celebrities such as Judi Dench and Ray Winstone,^note and a lack of timing for lazy, uninspired jokes. The horrible casting decisions, such as making Danny Dyer the lead character of this movie, adds insult to injury. The perfect storm of these shortcomings allowed Run for Your Wife to earn a 0% on Rotten Tomatoes and a 2.5 on IMDb, with many critics commonly comparing this film unfavorably to Sex Lives of the Potato Men (one critic declared that thanks to this, Movie 43 was now only the second worst movie of the year). Run for Your Wife was also a Box-Office Bomb in the UK, earning only £747 at the box office, and effectively finished Danny Dyer's film career. Mark Kermode shares his thoughts on the matter here.
Ignoring the child exploitation allegations against the brand it's associated with, Ryan's World the Movie: Titan Universe Adventure holds a 1.8/10 on IMDb and made only six percent of its budget back despite being the only film starring a YouTube personality to premiere in multiple countries, and it's not hard to see why. The film follows Ryan Kaji, who buys a Red Titan comic at a souvenir store while taking a break from his content creation. After he lashes out at his sisters Emma and Kate over something entirely trivial, the sisters fall into a portal inside the comic, with Ryan diving in shortly after to save them. That's most of the plot. What follows is an aggravating Cliché Storm of a film aimed at children using the familiar Ryan's World characters, with only the animation itself being passable since it was done by veteran studio Shin-Ei Animation. To top it all off, the Big Bad (who literally uses the pseudonym "Big Bad") comes off as a Designated Villain who blames Ryan for being an Attention Whore for his sister, causing them to grow apart from each other, which doubles as a flimsy Take That! to the people accusing the brand of exploitation. Barring that, the original Ryan's World characters are one-dimensional Advertised Extras, several of the live-action scenes border on creepy (especially the scenes involving Ryan's parents), and the ending is just a Surprise Party with no actual resolution to Big Bad's trauma. The film also contains a Sequel Hook, but the atrocious reception and box office likely scuppered that and might even serve as a Franchise Killer to the brand overall. Also, it was the last movie that iconic Fairly OddParents composer Guy Moon scored before his untimely death in January 2026. Watch Saberspark rip it apart here, and watch T3rr0r tear into it here.

Santa with Muscles is a Hulk Hogan movie that makes other Hogan movies seem like cinematic masterpieces. The plot revolves around Blake Throne (Hogan), a fitness guru who sells health products under his name. He sets up a paintball game for his employees after refusing to give a charitable donation. Their speeding and all-round roughhousing catches the attention of the local authorities. Blake escapes into a mall, changes into a Santa outfit, hides in the trash, and gets whacked on the head. The mall elf (Don Stark) convinces Blake that he's the real Santa Claus... and the film goes downhill from there. The Idiot Ball's passed around a lot - adults believe a famous bodybuilder is Santa, the Mooks are easily dispatched by children, police officers are armed with rocket launchers, etc. It has almost nothing to do with Christmas besides Santa, and is basically a cheesy action flick. This is considered one of IMDb's Bottom 100 Worst Movies of all time and barely got recognition when it hit theaters since it only stayed for 2 weeks before being pulled out, merely grossing a measly $220,000. You will not be surprised to hear that Mila Kunis (whose big-screen debut this was; she plays one of the kids) would rather wish you didn't bring it up. The Spoony One, Allison Pregler, Cinematic Excrement, Two Takes and So Bad, It's Good all reviewed it on their own terms, while Cecil defends it... but keep in mind, his show is called Good Bad Flicks.
Saving Christmas (2014), a film by Growing Pains star turned evangelist Kirk Cameron that has been cited as one of the worst Christmas movies ever made. The production values are like those of a home movie, thanks in no small part to director/co-star Darren Doane being known primarily as a director of music videos, not of feature films. It also has terrible actors (Cameron stars As Himself yet still feels stilted, Doane is clearly not an actor, and nearly everyone else is actual members of Cameron's family), including one character that would fit every stereotype in the Sassy Black Woman trope (other than being male) and another character who espouses conspiracy theories yet his overall attitude seems to actually make him a parody of conspiracy theorists and people who believe in the "War on Christmas" (never mind that the latter group is probably the one target audience the movie would've had, meaning that they cast people of their own side as crazy people) and a plot that goes nowhere. Its greatest sin, though, is how it's built around the message that the True Meaning of Christmas is all about crass commercialism, portraying the guy criticizing the materialism of the holiday as a strawman for Cameron to cut down with painful contortions of history and scripture. To top it all off, Cameron tried to get his fans to flood sites like Rotten Tomatoes with positive reviews, which backfired predictably and led to a torrent of negative reviews that sent the film to the top of IMDb's Bottom 100 in a heartbeat. He still refuses to acknowledge that he made a terrible film, instead blaming the scorchingly negative publicity on "haters and atheists". The movie wound up "winning" the most Golden Raspberry Awards that year, including Worst Actor and Worst Picture. Oddity Archive has a look at the movie here. Brad Jones and the rest of Team Snob were so flabbergasted by the film's astounding awfulness that they ended up posting three separate reviews on Midnight Screenings, and a year later Brad did a Cinema Snob review of it. You can also watch the reviews by Smeghead here, I Hate Everything here, Double Toasted here, So Bad, It's Good here, and Kyle Norty here.
The previous Scary Movie films were never critical darlings, but they at least each have dedicated fandoms and earnest cult followings. Unfortunately, the same can't be said for the fifth installment, Scary Movie 5. The humor is stale and unfunny, often bordering on tired Seltzer and Friedberg-esque gags. The replacements for Cindy and Brenda^note are rather lifeless and lack the charm of the former duo, the special effects look fake, the costume designs are ridiculously laughable, the cinematography is downright abysmal, tons of celebrities were wasted for pointless cameos,^note and the writing has been heavily downgraded into spoofing movies that aren't even horror as its main plot point, which all caused the movie to end up having a 4% on Rotten Tomatoes, a 11 on Metacritic, and a 3.6/10 on IMDB (it is ranked 62th on their Bottom 100 list). Overall, the disastrous failure ended up killing the Scary Movie franchise for more than a decade until a sixth movie was announced for a 2026 release. Jeremy Jahns gives his thoughts on it here, as did OcpCommunications in his own separate take.
Segurança Nacional is a 2010 attempt to cash in on The Elite Squad's success by making a Brazilian action movie. However, it lacks everything that made the latter memorable by having a ridiculous story about Latin American drug dealers who aim to explode an atomic bomb in Santa Catarina (seriously), laughable and inexplicable action scenes (the main character and his girlfriend make out while a bomb is about to explode), blatant patriotic symbolism, and bizarre dialogue. It is currently rated 3.5 on IMDb. Brazilian YouTuber Tralhas do Jon tears it apart here (in Portuguese).
Mae West's final film, Sextette, adapted her 1961 musical... 17 years later. West steadfastly averts Playing Against Type, even though all the makeup and soft focus in the world couldn't make her look one second shy of her 84 years. The sheer amount of Wag the Director is obvious from the very beginning; her costar Timothy Dalton is more than 50 years her junior, and the plot revolves around the media's obsession with their characters' marriage. The film emphasizes Stunt Casting (George Hamilton, Ringo Starr, Tony Curtis, Dom DeLuise, Keith Moon, Alice Cooper, numerous Mr. Universes) over good dialogue or even a coherent plot. And it's mostly a jukebox musical, with selections (including "Hooray For Hollywood", "Love Will Keep Us Together", "Honey Pie", and some badly-recorded originals) all various flavors of self-congratulatory. The Spy Fiction subplot is a contrived, limp attempt at giving the story any substance, ending on yet another self-congratulatory note. And the less said about Mae still trying to be Ms. Fanservice this late in her career, the better - even her trademark innuendo falls flat, delivered uncertainly by a performer many years past her prime. Check out Diamanda Hagan's words on the matter here. Musical Hell also tore it apart.
Shark Exorcist may have a title that makes it sound like it's a fun cheeseball B-movie, but the reality is very different. The plot is disjointed and incomprehensible, coming off as more of a series of things just happening with no rhyme or reason. Even taking this into account, there are multiple scenes that serve no discernible purpose. The main plot ends 45 minutes in, with the rest of the runtime spent on two Filler scenes that are only tangentially related to the plot and were obviously made to pad out the movie. The acting is stilted, awkward, and unnatural, with actors looking and performing like they're in a really bad porno flick. The special effects and production values wouldn't even pass on YouTube. Even the lighting and sound mixing are horrible, and the cameraman's labored breathing is clearly audible multiple times! All in all, it's a boring, confusing, incompetent mess that barely even meets the definition of a "movie", and is a chore to sit through. Is it any wonder the movie has a rating of 1.3 on IMDb? I Hate Everything reviewed it and called it the worst movie he'd ever seen up to that point (surpassing The Amazing Bulk, which at least had a plot); Best of the Worst warns people to stay away from it, finding it worse than Bigfoot vs. D.B. Cooper, their previous "worst movie ever". Savantics took it to task here, characterizing the cinematography in particular as "neckbeard".
Show Dogs, a buddy cop dog movie that has all the makings of a crappy direct-to-video release, but somehow got a wide theatrical release. It involves a cop and a dog who are partnered up to infiltrate a crime ring that steals valuable animals and sells them to the highest bidder, all backstage behind a popular dog show. The Idiot Plot runs entirely on Fridge Logic that makes the movie fall apart if you even take two minutes to think about the feasibility of the criminal's grand plan. All the actors give lifeless performances playing flat characters that spew insipid jokes mostly consisting of a Hurricane of Puns involving canines and shallow pop culture references worthy of the early 2000s (for instance, a zip-lining tiger makes a Life of Pi reference just because he's a tiger). The production design and special effects are horrendously cheap, occasionally dipping into the Uncanny Valley with the artificial animal expressions. By far the most infamous scenes in the movie (which were removed for the home release) are where the cop dog has to learn how to endure the experience of getting his genitals inspected during the dog show, which he does by going to his Happy Place where he dances with his human partner in the style of Dirty Dancing. This led to the film becoming the target of accusations from parents that it was normalizing child groominginvoked. Brad and Dave reviewed this movie for Midnight Screenings, where they unfavorably compare it to The Emoji Movie. I Hate Everything also gives it a look here, the No Such Thing as a Bad Movie podcast talks more about it here, and Chris Stuckmann also takes a look at its trailer here with his dog Zeev. Mark Kermode, in his review, declared that "no dogs is better than Show Dogs", and drew particular attention to a moment where a character remarks that no one makes movies about talking dogs any more, even as the film demonstrates exactly why no one makes those movies any more.
Shut In is a poorly-made horror movie that wastes its talented cast, including Naomi Watts (among many other top-notch actors like Charlie Heaton, Jacob Tremblay, and Oliver Platt). The film's premise revolves around Watts' character being trapped in her house with her paralyzed stepson (Heaton) due to a Winter storm and having to survive when it appears that someone is in the house and wishes them harm. This potentially-interesting premise is ultimately wasted, as the film jams in every horror cliché from the book, including Jump Scares and dream sequence fakeouts, along with a lot of Skype scenes between Watts' and Platt's characters. The film is then completely ruined by the ridiculous twist in the third act, when it is revealed that her stepson has been faking paralysis the whole time, somehow fooling all of his doctors, and has also been drugging his stepmother the whole time, also without being noticed. It's no surprise that this film was panned by critics and audiences alike (it received a Tomatometer rating of 8% with critics on Rotten Tomatoes, with only 3 positive reviews out of 38, and 24% with audiences) and was EuropaCorp's second Box-Office Bomb of 2016, only making back $8.4 million worldwide on its $10 million budget. Chris Stuckmann talks about the film here, considering it the 8th worst film he'd seen in 2016. Smeghead shared his thoughts on the movie here and later called it the 2nd worst film he'd seen in 2016.
Simon Sez is a 1999 action buddy comedy that revolves around Interpol agents named Simon (Dennis Rodman) and Nick (played by Dane Cook in a role originally meant for Robert Downey Jr.), who team up in order to save a kidnapped girl (who was later revealed to be just hanging out with her boyfriend) and defeat an arms dealer. The acting (aside from Rodman, who Took the Bad Film Seriously) is gratingly over-the-top, with Cook spending most of the film doing a bad Jim Carrey impression. Aside from that, you've also got extremely terrible special effects, random nonsense (at one point, Micro and Macro, a duo of "cyber-monks" played by the late John Pinette and Ricky Harris, pointlessly make Nick do stupid dances while Ricky talks through a speaker to make it look like he's actually God), unnecessary pop culture references, and a villain who acts like he came out of a cheesy 1970's cartoon. The film was trashed by critics, gained a 0% on Rotten Tomatoes, resides in the IMDB Bottom 100 with a 2.6 rating, and it bombed spectacularly at the box office, grossing only $292,152 out of its $10 million budget. Predictably, it was also a Star-Derailing Role for Rodman. Here is The Nostalgia Critic and Obscurus Lupa dissecting it. Good Bad or Bad Bad and Double Toasted also express their dissatisfaction with this film, while also mocking Dane Cook throughout the whole review. Two Takes also tackles this pathetic mess as part of their IMDB Bottom 100 marathon. Nathan Rabin had his own take on the film, and was merely grateful that Robert Downey Jr. saved himself from a total disaster.
Jorge Ameer's The Singing Forest ^note: What was supposed to be an introspective, touching duet of stories fails miserably and turns into a creepy, pretentious melodramatic mess. A middle-aged widower comes out of the closet and falls for his daughter's fiancé after believing the two of them are reincarnated lovers from 1933 Germany. The tabloid-worthy concept is replete with whiny characters, with the protagonist coming off as bad as Arthur from Ben and Arthur. Slapdash nudity and badly-written sex scenes abound. As Variety's Dennis Harvey writes, "Forest bungles even its sexploitation card so thoroughly it's unclear whether they actually have sex." Its cosmetic qualities and editing are unacceptable for a 2003 film, looking like it was shot with Super 8 film and a tin can for a microphone. Its inaccurate, tasteless, and completely pointless use of graphic pictures from concentration camps and executions, taken from the 1980 German documentary The Yellow Star, can't even spice up a boring 72-minute dramatic slog that doesn't even show the Nazis persecuting the young lovers. The Nazis were just coming to power in 1933, predating the Holocaust's beginning by several years. In one of the most extreme examples of No Budget, the two young men in 1933 sleep in the same bed (sheets, room, and all) as the present-day couple, only in black-and-white. The Singing Forest represents the worst of arthouse drama, where poor research and low budget lead to meteoric bed death. Unlike many of the movies on this page, its obscurity has far overshadowed its inadequacies. As of November 2022, no online video review of it exists. The film itself can be found on pirate MPEG sites and $75 self-distributed DVDs on Amazon. It has earned a prestigious 1/100 on Metacritic ^note and 0% from Rotten Tomatoes. Stephen Holden of The New York Times described Forest as "exploitative, amateurish, prurient and pretentious are other adjectives that could also be applied to this film, which is swamped in badly used classical music and burdened by purple hand-wringing dialogue and crude black-and-white flashbacks." Kevin Thomas of the Los Angeles Times gave Forest a half-star out of five, saying "if nothing else can be said of The Singing Forest, it is assuredly fearless in defying credibility at every turn and on every level." Amusingly, a review from LGBT-newspaper The Washington Blade mined for this film calls it "a Gay Ghost."
The Slender Man movie was released in 2018, 4 years after the character fell out of popularity, but that's the least of this movie's problems. The protagonists are selfish and make poor decisions (such as summoning Slender Man in the first place), and the movie ruins whatever mystery and spook factor the character had left for a weak, laughable twist, plus the film is rarely scary as the film shoves in hackneyed horror clichés such as cheap jump scares a fake out dream sequence and random disturbing imagery that has nothing to do with the plot. Not only that, the advertising went beyond tasteless by showing scenes closely resembling the infamous Slender Man stabbing incident of 2014, which was already horrible enough to kill buzz about Slender Man in the first place, but the backlash to that resulted in at least one local market refusing to screen the film at all - which is just as well, because with or without the scenes the residents of the community where it happened would've absolutely hated its celluloid/electronic guts anyway, as when the offending scenes were removed in an effort at damage control it rendered the film a lot harder to understand and created enough giant plotholes that you can drive a semi through the whole length of the film. Many critics wondered if the movie was a deliberate attempt to sabotage the character. It ended up getting 8% on Rotten Tomatoes (17% audience score), 3.2 on IMDB, and a D- Cinemascore. Jeremy Jahns and Chris Stuckmann look at the movie here and here, respectively. Elvis the Alien gave his own thoughts here, with him later calling it one of the dumbest horror films to ever be made.
The Smokers: The plot is about smokers who are tired of only getting one-night stands with men. Their plan for revenge? Raping men at gunpoint. Mind you, this revolting plot is entirely Played for Laughs. Add lazy direction and unlikeable protagonists, and you got a disaster that deserves its 2.2 score on IMDb. Not surprisingly, this would prove to be the only "legit" film directed by Kat Slater (credited here under her real name Christina Peters), whose subsequent work has entirely been in pornography. A review can be found here, and here are Emer Prevost's thoughts.
The Sneak Over, released in 2020, follows a boy named Henry Hudson who is part of a film geek club with a few other boys his age, nicknamed Chip, Stats, and Stink. Henry's father is a huge cinephile with a prized collection of rare movies that were never released. Henry brings his dad's copy of a rare, unreleased movie titled The Blue Shadow for the club to watch, only to discover that he left the tape at home, so the boys hatch a plan to sneak out and retrieve the tape from Henry's house. The entire film is absolutely riddled with immature fart jokes all over the place, far too many fourth-wall breaks that try way too hard to imitate Malcolm in the Middle and fail miserably, and numerous in-between animated segments with an art style that looks like a dollar store version of Diary of a Wimpy Kid. What's worse, the cover art for the movie◊ blatantly rips off Stranger Things, right down to the logo design and font. Watch Kurtis Conner review it here.
The Snowman is a Jo Nesbø adaptation that is almost unanimously considered one of the worst movies of 2017, despite the help of the director of like Let the Right One In. The basic premise of a Serial Killer who leaves snowmen as his calling card (something that the source material played for Black Comedy instead of playing it dead seriously like the film tries to do) is the least of the film's problems, the main one being the editing. Despite the contributions of two famed editors, Claire Simpson and Thelma Schoonmaker ^note, the way the film is edited makes it almost completely incoherent, with multiple scenes ending on bizarre notes, frequently referencing things left out from the final cut and creating numerous plot holes, made worse by the director's own admission that they weren't able to shoot 10-15% of the script due to the film's Troubled Production. This also leads to some very strange occurrences, such as multiple secondary characters outright vanishing from the story and the music the killer plays changing without any explanation. Even leaving the incoherent editing aside, the film's handling of the source material renders it a dull Cliché Storm, with some elements (such as the killer's motivation) making no sense, and a large amount of screentime is devoted to a subplot created exclusively for the film concerning the Nordic Winter Games that ultimately adds nothing to the film and, despite boasting a very impressive cast that includes Michael Fassbender in the lead, a lot of the acting is dull and lifeless, the worst by far being the casting of a very visibly ill Val Kilmer, whose poor health they attempt to mask through blatantly obvious dubbing. The result is a gross of $6.7mil in the US, a 28 on Metacritic, a 1.9 on Letterboxd, and an 8% on Rotten Tomatoes. Watch Mathew Buck rip it apart in his Projector review here. You can also watch Double Toasted tear it apart here, and Smeghead questioning why the Razzies didn’t nominate it here. Chris Stuckmann also talks about it here, where he considers the film's great cinematography and cast members' somewhat-decent performances to be the few redeeming aspects of the film, and he named it the tenth worst film he'd seen in 2017. The biggest cultural impact this film really had was a brief meme stemming from its hilariously bad official poster.
Songbird is a 2020 exploitation thriller about, conceived, and made during the COVID-19 Pandemic produced by Michael Bay. Set in 2024, an extremely deadly mutation of COVID has turned Los Angeles into a dystopia where the infected are sent to concentration camps called "Q-zones". When the grandmother of artist Sara Garcia (Sofia Carson) falls ill from the virus, her boyfriend, immune contraband courier Nico Price (KJ Apa), has to save her before the L.A. sanitation department takes her away. Audience-Alienating Premise aside, the film suffers from an uninteresting romantic subplot due to neither Nico or Sara having much development, with Nico's attempt to bring a highly-contagious person to a remote community coming off as dangerous and selfish rather than romantic, which has two other subplots involving the immunity bracelet contraband and another romantic plotline to distract from it. While the actors involved are generally considered to be decent, the rest of the characters also suffer from being uninteresting or undeveloped, such as the governor Emmet Harland being an evil politician hell-bent on capturing Sara and her grandmother, and Nico's main client being an overprivileged rich couple selling illegal immunity bracelets for profit. The setting and plotline leave many questions unanswered, such as how Los Angeles came to be a dystopia, how the government has the technology to make a phone app that can check if a person has COVID-23, or how nowhere else seems to be affected by the pandemic. The film was immediately panned by critics, with some saying it didn't handle pandemic plotline well or found its premise to be fearmongering. It received a 9% rating on Rotten Tomatoes and 27/100 on Metacritic, and only made back just over $400,000 in the box office. Double Toasted reviewed the film in-depth, where Martin flat-out calls it one of the worst films he's ever seen. YouTuber Heavy Spoilers also criticized the film, finding it to be dull and devoid of fun.
Son of the Mask is a failure of a family comedy with loose ties to The Mask (1994) at best. When the writing (complete with copious moments of characters acting like idiots) isn't built around completely childish jokes, it's jumping between Accidental Nightmare Fuel, Stock Footage, plagiarism of said stock footage, and obvious, heavyhanded morals. The cast^noteexcept for Ben Stein (and after a few minutes, setting) are completely replaced, and none of them act properly. The direction is clueless, nearly all of the characters are completely unlikeable, and the CGI is consistently hackneyed. Perhaps the most baffling fault is the inclusion of Loki (Alan Cumming) who is looking for the mask, despite the original film establishing that what gave the mask its power is the fact that Loki is imprisoned inside of it. The film barely made back two-thirds of its budget, and it got a 2.1/10 on IMDb, a 6% on Rotten Tomatoes, and a 20/100 on Metacritic. It also got the most nominations of the 26th Razzies convention (including winning an award for "Worst Remake or Sequel") and the 75th ranking on Rotten Tomatoes' Worst of the Worst 2009 list. Jamie Kennedy's career nearly ended right here, and in response he co-created a low-budget documentary built largely on decrying criticism. Meanwhile, Traylor Howard's already lackluster movie career never recovered; the only movies she's appeared in since are an animated short about climate change and the direct-to-streaming Mr. Monk's Last Case: A Monk Movie. Here's the Nostalgia Critic's take on this trainwreck of a movie. He later considered it the second-worst sequel in existence, behind only Troll 2.
Although The Pink Panther films were already on the decline after Peter Sellers suddenly died before the intended conclusion to the series could be filmed, Son of the Pink Panther, the ninth, is hands-down considered the nadir. Taking place ten years after Curse of the Pink Panther, the film stars Roberto Benigni, in one of his first international film roles, as Jacques Gambrelli, Inspector Clouseau's bastard son with Maria Gambrelli from A Shot in the Dark. Chief Inspector Dreyfus sends Gambrelli to rescue Princess Yasmin of Lugash. Given that he's supposed to have the same personality and traits as his father, you'd think he would be just as funny as Sellers' Clouseau. Alas, you'd be wrong - Benigni's performance may be charming at times, but it can't save the horribly-written script, overused slapstick jokes, confusing storyline, and bland, tired retreads of past films' humor. Even the opening credits sequence, featuring the animated Pink Panther character, wasn't anywhere as good as the ones in previous movies. Son of... was released to universally negative reaction, currently boasting a 6% score on Rotten Tomatoes, the lowest of any Pink Panther film. Benigni almost lost his overseas reputation to a Razzie nomination for Worst New Star, until he bounced back with Life Is Beautiful. Adding salt to the wound, the movie grossed just $2.4 million against a $28 million budget, joining Last Action Hero and Super Mario Bros. as one of 1993's biggest summer flops. And to top it all off, the original Pink Panther franchise died for good; co-creator and director Blake Edwards became disillusioned with filmmaking and retired, and composer Henry Mancini was stuck with this as his swan song when he died the following year. David Mills of The Washington Post summed up his feelings about the movie and expressed fears of further Sequelitis in his review for Son of... in 1993:
But even more unsettling... is the inescapable feeling, by the end, that Blake Edwards has laid the groundwork for more wild, wacky film adventures with Benigni in the role of Clouseau Jr.
Soul Survivors is a horror flick from 2001 that aims to ride on the coattails of the glossy teen slasher trend frend from the late 90s, inspired by movies such as Scream (1996), I Know What You Did Last Summer, and Urban Legend. ^note However, despite having Eliza Dushku, Luke Wilson and Casey Affleck in its cast, this does not stop the movie from sporting a very confusing plot that often makes the story hard to follow with many of the various scenes being tackled on without relating to the plot (Many Malevolent Masked Men appear throughout the movie but do not affect the plot in any way, and if those characters were removed, the plot wouldn't have changed at all), very piss-poor editing, a shameful lack of suspense, a tone that is more akin to a supernatural teen drama than a horror movie and a laughable twist/ending that destroys any attempt at tension that was previously built. The film bombed horribly at the box office, and scored 4% on Rotten Tomatoes, a 20 on Metacritic and a 4/10 on IMDB. Chris Stuckmann gave a particularly scathing review here.
Frank Miller may be famed for his work in comics, but few, if any, would defend his comic book adaptation, 2008's The Spirit. Spurred on by the the passing of Will Eisner and success of the 2005 Robert Rodriguez adaptation of Sin City, Miller used his honorary co-director credits on that to try and launch his own solo directorial career. It uses Sin City's trademark greenscreen in a way that makes the world feel shockingly empty, despite the efforts of at least at least 10 different FX companies. The tone ranges wildly from Miller's trademark noire-esque deadly seriousness to goofy slapstick with no consistency, and the dialogue is excruciating. The plot, spread thin over 103 minutes, boils down to a 3-way conflict between the Spirit, his rival/lover/former childhood friend Sand Saref, and the Octopus over a vague McGuffin called "the Blood of Heracles", which the Octopus wants to use to turn himself into a god. Eva Mendes' Sand Saref is reduced from the cunning rocket scientist/engineer foil from the comics to an oversexualized Catwoman knock-off, the Spirit himself is constantly lusted after by every female character he encounters, including Death herself, Scarlett Johansson gives a wooden performance as the Octopus' henchwoman, and Samuel L. Jackson, playing The Octopus (who was The Unseen in the source material), is stuck desperately trying to ham his way through nonstop contrived randomness. That's not getting into the Spirit's new backstory, where The Octopus' experiments on the two of them gave him a Healing Factor. The movie was savaged by critics and movie goers alike, bombed horribly at the box office, and aside from co-directing the Sin City sequel, served as a Creator Killer for Frank Miller's tenure in Hollywood. Also, it completely ruined Gabriel Macht's film career and he would later make his comeback to TV by playing Harvey Specter in Suits. Film Brain and Linkara teamed up to rip it to shreds here. The Nostalgia Critic had his own separate take right here. Double Toasted also talks more about its absurdity here.
Spy Kids: All the Time in the World was the product of contractual obligations and it shows. With a mere 23% critic rating and 36% audience rating on Rotten Tomatoes, the plot is a weak rehash of the first movie, with Cousin Oliver newcomers Rebecca and Cecil being blatant expies of their cousins Carmen and Juni that come off as timid rather than charismatic. What little isn't blatantly ripped off from the first film is immature Toilet Humor^note and cheap gimmicks, such as the "4D" smell-o-vision scratch cards provided to use with the film (that mostly contained fart and poop smells). The visual effects are "amateurish at best", even by 2011 standards. Called "unbearably juvenile", it featured on whatculture's Worst films of 2011 and New York Times critic Mike Hale called it "straight-to-DVD filler".
Made entirely without input from the estate of the man it was based on, Stardust ^note is a 2020 biopic about David Bowie that Bowie fans and film critics everywhere regarded as, to quote one of Bowie's most famous songs, "a godawful small affair" that would stir up a minor dust storm in Bali, where the real Bowie's ashes were scattered. The film doesn't even pretend to hide the fact that it's riding the coattails of the far better-received Bohemian Rhapsody, and everything that film did right when telling the story of Freddie Mercury and Queen, this one got completely wrong (which considering that Bohemian Rhapsody did take its fair share of artistic license with the history of Queen, enough to make an entire page, is saying something). The plot is very loosely based on the real David Bowie's life and offers no meaningful insight nor anything new about the man himself. Bowie's portrayal is In Name Only at best (and borderline insulting to the man and his legacy at worst) and despite trying his darnedest to do so in spite of the poor script, lead actor Johnny Flynn is unfortunately unable to fully capture Bowie's charisma. Worst of all is, despite having many songs, the movie has no David Bowie songs at all despite taking place at the point in Bowie's life when he was just starting to become a music superstar, draining the movie of one of its possible saving graces.^note Boring, pointless, and lacking any of the charisma of Bowie and his music, this Bowie biopic was roundly dismissed as a disservice to the man himself by nearly everyone who saw it, receiving an absolutely miserable 14%/31% critic/viewer rating on Rotten Tomatoes and a 3.6 on IMDB. Elliot Roberts takes an in-depth look here.
RT Consensus: Ground control to Major Tom, Stardust forgot to put its helmet on.
The Starfighters, another common candidate for "films that are almost unwatchable even on MST3K", is much more boring than a movie about fighter pilots has any right to be. It details the lives of US Air Force pilots as they... don't do anything. Scenes of routine flight tests, mundane conversations about corn detasseling, and a half-assed romantic angle that doesn't go anywhere are what pass for the plot of what may be one of the most boring movies ever made about the military. A popular "game" when watching the film is to dare the person next to you to name a single character by the film's halfway point. As one YouTube user said, "If I were in the Air Force, and it was actually this boring, I would pray for a war to break out, just so I could finally get some action — or get killed. Either would be better than this." In the end, the entire film comes across as essentially a giant ad for the F-104 Starfighter...which practically needed one due to the plane being plagued with various performance and mechanical problems which had practically dried up interest in it.
Star Games is a paltry excuse for a direct-to-video kids film featuring Tony Curtis and a pre-fame Daran Norris. This steaming heap features laughably bad special effects and props, a villain that looks like a bug-eyed turd wearing a shawl, repetitive dialogue, half-assed attempts at humor, and a plot that reads like an adventure played by 9-year-olds at recess. And then there's the supposedly Non-Ironic Clown that's the Digital Avatar of the secondary character's spaceship, who's clearly meant to be the comic relief on paper, but in practice only serves the purpose of tricking the audience into thinking there's a gas leak in the building. It comes across as an exaggerated parody of bad 1980s kids films and sci-fi instead of an actual 1990s movie. An almost fitting end to the directing career of Greydon Clark (Fun Fact: Two of his sons played the protagonists in what wound up being their only acting role), the man behind stinkers like Joysticks and Final Justice. Tony Curtis himself has gone on record saying that he has never seen the finished product, but remembers the hatchback it paid for. Watch the Rifftrax version here if you really want to see this movie and still keep your sanity. Good Bad or Bad Bad would eventually review it on their own terms, and also had similarly negative thoughts abound.
Starship Troopers 2: Hero of the Federation is an In Name Only sequel which ditches the satirical tone of the original to play its plot disappointingly straight... and rip off superior horror films such as The Thing (1982) and Invasion of the Body Snatchers (1956). The characters are dull, the acting is awful, and the budget was clearly small leading to Special Effect Failure. While its Rotten Tomatoes rating seems reasonable at 33%, this is based on a sample of only eight reviews (with two in favor). The audience rating is only 12% and its IMDb rating is 3.5 out of 10. Shitcase Cinema covered it here, while The Angry Joe Show slated it during his look through the whole series here.
Star Trek: Section 31 is a straight to Paramount+ Star Trek film, and it shows. It’s full of bizarre yet generic aesthetic and tonal choices that go further than Discovery ^note, Picard, the Kelvin trilogy, and certain novels did when it comes to disregarding the usual Star Trek formula, but not even in interesting ways - the characters and plot are generic Guardians of the Galaxy-style sci-fi action that barely taps what made Section 31 in the franchise so compelling, namely the moral ambiguity. It also features little in the way of the franchise's cerebrality. The characters themselves range from mediocre at best to badly acted at worst, and the continuity of the movie will make Trekkies' heads explode. Michelle Yeoh of Everything Everywhere All at Once fame had her talents wasted here according to most. Overall, it is no wonder why many fans have considered Section 31 to be one of, if not, the absolute worst installments of the Star Trek franchise as a whole. On Rotten Tomatoes, both critic and audience scores are below 20% (with the former's Consensus dryly stating "Beam it out of here, Scotty") and IMDb sits on 3.8. RedLetterMedia spends a good 45 minutes on why it truly sucks, and SF Debris wasn't much kinder to it.
Still Flowin' - The Movie by none other than rapper Raed Melki (whose music is covered here and here). The film is a fictionalized depiction of Raed's life story, particularly his feud with noted Australian record producer Michael Gudinski and subsequent admission to a mental institution. It contains three songs, all of which are even more random and disorganized than his usual standards, while the rest of the movie is Raed and company just... doing things. The audio editing is awful, and the writing's even worse. Good luck watching it all the way through with more than 20 brain cells remaining by the end of it.
Street Fighter: The Legend of Chun-Li is a Street Fighter property that is In Name Only at its absolute worst, combined with horrible casting, a script filled with Plot Holes that caused Capcom to want to forget its existence, and no-effort fight scenes. Kristin Kreuk is woefully miscast and doesn't do the material any favors, and Neal McDonough's Bison looks less like the game's Bison and more like he's trying to channel equal parts Hannibal Lecter, Lex Luthor, and Sho' Nuff, and failing miserably on every one, further cementing the late, great Raúl Juliá's already classic interpretation of Bison as the cinematic Bison to beat. The film also ends on a Sequel Hook that teases the Street Fighter Tournament, despite Bison, Balrog, and Vega (played by Taboo of The Black Eyed Peas) all being dead by the end of the movie. Critics have bashed it and Michael Clarke Duncan (who played Balrog) was ashamed of it. Here's Spill giving their review of the movie. James Rolfe from Cinemassacre and Chad James from Rooster Teeth give their thoughts on this movie here. Folding Ideas dissects the film and its many storytelling flaws here.
Super Capers fails in nearly every imaginable way at being a great parody of superhero films. Ed Gruberman,^note a powerless superhero, decides to join a league of superheroes to retrieve a gold bullion and figure out his past. The actors chew the scenery at every opportunity to parody superhero films, but as a result it's too corny for even the audience to stand. Add in uninteresting characters and predictable jokes and you have an unimpressive result. Worst of all is its blatant plagiarism of other movies such as Star Wars and Back to the Future. Not even prayer, which is the main character's power, was able to save it; the film only raked in $30,955 against its $2,000,000 budget.
Surf School is a 2006 film that takes a crack at the late '90s/early '00s era of teen movies, which gave us cult classics such as American Pie, Road Trip, and EuroTrip. Thing is, Surf School fails to remotely understand what made its predecessors click with their audiences, or what was even liked and popular at the time despite coming out among a slew of similar media in the decade as a product of what is now called the Surf Crush aesthetic. Instead of giving viewers a story of relatable teenagers who grow closer as a result of the hijinks they face, Surf School gives us a lazy Cliché Storm loaded with stereotypical characters that would make a viewer punch his or her TV. As if that isn't enough, the jokes are painfully unfunny and excessively crude even for teen movies, relying on notions of bestiality and a running gag of an old couple talking about all the sex they have for the "laughs". Those who watch teen movies for the hijinks are going to hate this too, as the ones featured here are dull, boring, and done way better by its predecessors. The only funny thing that came from this: when Harland Williams was asked why he doesn't list this film on his film credits, he replied "You actually saw that piece of shit?!" Perhaps it also has to do with the fact that Surf School has a 2.0 on IMDb...
The 2002 remake of Swept Away with Madonna, directed by her then-husband Guy Ritchie. The first half consists of a fingernails-scratching-the-chalkboard shouting match between the two main characters (seriously; just argue with your friend, spouse, or children for 40 minutes, occasionally shoving each other, and you'll get an idea of what it's like); the second half is a misogynistic fantasy in which Madonna's character seems to fall in love with the male lead after he abuses her and threatens to rape her.^note The film brought in less than $600,000 at the box office, got a 5% on Rotten Tomatoes, and won five Razzie Awards including "Worst Picture" and "Worst Remake or Sequel". It also permanently ended Madonna's career as an actress. Eegah-Taki wrote a review of it that can be found here, as did Todd in the Shadows. Cinematic Excrement also takes a look at it here.

Things is a 1989 film that can be best described as an aspiring filmmaker's worst nightmare. The meandering plot involves two guys who stay over at a brother's house, whose infertile wife was impregnated by a mad doctor and gives birth to the titular "Things", which look like clay spiders. Then they do nothing except hang lampshades about their situation until the Things attack them. The camerawork is dark and disgusting, taking aspects from other movies like Alien (1979) and The Evil Dead (1981) and executing them as if the cameraman drank a bottle of whiskey beforehand, and the sound design is absolutely atrocious. Almost all the sound effects were made by some guy making sounds with his mouth and nearly the entire movie is dubbed very poorly, with sound clips from the main actors, who sound wasted while recording their lines, occasionally overlapping each other. The Things don't look much better and they're killed in such an unsatisfactory manner; that is, if you can make out what's even happening with all the shaky cam, Dutch angles, and lack of lighting. And if all that wasn't enough, you get former porn star Amber Lynn as a news reporter who's clearly reading her lines off of cue cards to the side. The Neil Brothers from Something Awful gave it a -50, calling it the worst movie they've ever seen at the time. Mike from Half in the Bag shares the same sentiments while Jay calls it a movie best watched with a friend so you can enjoy their suffering and ire toward you at having been subjected to such trash. RiffTrax called it worse than Roller Gator and Baby Ghost, two prior contenders for the worst movie looked at on Mystery Science Theater 3000 or RiffTrax. So Bad, It's Good were also flabbergasted by its awfulness here.
The Time Machine (I Found at a Yardsale) is a 2011 Internet film by small-name director Steven A. Sandt that feels more like it should be found in a junkyard, considering its low budget of $3,500. The "plot" is about a man being gifted a time machine by a middle-aged man running a yard sale which he uses to travel to the future. He meets a random woman, and they steal a CGI flying saucer and travel across space to visit set piece after set piece in a very random fashion. That's not counting the fact that over 90% of the movie is horribly greenscreened, the CGI is extremely laughable,^note both lead characters are as bland as expired milk, the pacing is as slow as silicone rubber due to scenes dragging out longer than they need to be,^note and the main characters sometimes seem to forget that the eponymous time machine exists. It truly is no wonder that the film currently sits at a measly 1.3 on IMDb and that Phelous and Allison Pregler had nothing nice to say about it. Good Bad or Bad Bad were also unsatisfied with the movie, unfavorably comparing it to After Last Season due to its lack of substance.
The Trump Prophecy is a 2018 faith-based film loosely based on a book in which the author, retired firefighter Mark Taylor, claims to receive prophetic visions of Donald Trump becoming president of the United States prior to his nomination as the Republican candidate during the 2016 election (despite the book being released long after the election). While the book itself is highly controversial, the film is near-unanimously despised by even the most hardcore of evangelists and Trumpists alike thanks to a number of factors, including but certainly not limited to: acting that ranges from unbearably wooden and emotionless to narm-filled hamminess that borders on unwatchable at times, melodramatically cliché-laden writing that has no natural flow to its dialogue or between narrative events whatsoever, and remarkably poor research on psychology that makes the main protagonist's experiences with PTSD comically unbelievable at times and consequently cheapens the real-life author's experiences with it as a result. To top it all off, the film outright sidelines most of the material regarding Trump and Mark's prophetic visions in order to promote film writer and book co-author Mary Colbert's prayer-based hotline business. As a result, the movie has attained an absolutely abysmal 1.6 score on IMDb out of almost 3,000 ratings, with another 1.6 out of 10 on Prime Video and a 22% audience score on Rotten Tomatoes. Korey from Double Toasted criticizes it here, stating that "even propaganda films have gotta have standards", The Cinema Snob easily calls it to be one of the worst from 2018, and Kurtis Conner skewers the film himself here.
Turn It Up, a 2000 attempt to make rappers Pras and Ja Rule movie stars, which obtained an 8% on Rotten Tomatoes and an 18 on Metacritic. The film is an obvious attempt to ape the cult success of Belly, but while that film covered up its shortcomings with an unmistakable style that wowed its fans, this film is simply boring and has awful acting and production values to boot. Not even Jason Statham can make it watchable, and New Line Cinema essentially gave it the Invisible Advertising treatment, as it grossed only $1.2 million on a $9 million budget. Further rubbing salt in the wound is that this was the last movie to ever be screened at the legendary Indian Hills Theatre before it was demolished following Carmike's bankruptcy.

The Undefeated ^note is perhaps one of the biggest critical and commercial failures in the world of documentaries, with a 1.9 on IMDb. The title makes it clear from the start that this is little more than a personal vanity project for Sarah Palin. As a result, it blatantly and shamelessly promotes her while ignoring facts that reflect poorly on her (including the fact that the John McCain/Sarah Palin ticket lost the 2008 presidential election to Barack Obama and Joe Biden). It's chock-full of yes-men, over-the-top, heavy-handed imagery and obvious falsehoods, with the odd demonization or two of left-wing ideologies. It came off as more of a lengthy campaign ad than a documentary, and with its many intelligence-insulting moments it failed at being that, too. When The Atlantic sent one of their reporters to do a review, he noted that he spent most of the movie alone. Yes, three people bought tickets, and the other two walked out after 20 minutes (keep in mind this was in arch-conservative Orange County, California), on the same day as the last Harry Potter film. It was released the same year as Jack and Jill, which set the record for most Razzies won. On both Rotten Tomatoes and IMDb, it still has a lower rating than Jack and Jill.
In 2014, in the midst of a mounting corruption scandal concerning the 2018 Russia and 2022 Qatar World Cups, FIFA commissioned the film United Passions in an attempt to salvage its battered public image. This film, about the founding and history of FIFA and the World Cup, boasted a £20 million budget and an All-Star Cast led by Tim Roth (who later admitted that he only did it for the money), Sam Neill, and Gérard Depardieu, but they couldn't save it from an absolutely toxic reception from almost everybody who saw it, with a 0% on Rotten Tomatoes, a 2.0 on IMDb, and a Metacritic score of 1.^note The film is just as bad as you can expect for a film made purely for PR purposes - a sycophantic, self-congratulatory hagiography that doesn't even try to have a dramatic throughline and gives a laughably biased history lesson (told through a mix of board meetings and archival footage of football matches) that descends into pure narm. The Guardian's review called its tone more appropriate for a film made by Scientologists or the Rev. Sun Myung Moon^note, the New York Post's review called it "The Room of sports movies", while the New York Times invoked the trope by saying it wasn't even a good bad movie watch, and the fact that the film's US release in 2015 coincided with the resignation of FIFA president Sepp Blatter (who is portrayed in the film as a valiant crusader against corruption) in the wake of several FIFA officials being arrested on corruption charges only made the mocking ten times more venomous. As a result of all this the film, produced for €23,000,000 (approximately $25,910,000), made a grand total of $607 in its U.S. opening weekend, and $918 overall - the worst opening weekend gross in North America ever. Worst of all, director Frédéric Auburtin described it as trying to balance between making a Disney propaganda film and a Michael Moore movie. Maqwell watched this pathetic travesty so you don't have to.

Glenn Danzig is one of the most beloved musicians of all time, but not even his most devoted fans will defend his directorial film debut, 2019's Verotika. Based on the comic book from his adult company Verotik, this horror anthology is a go-to example of how not to adapt your own work. Split into three separate chapters, each of them suffer from a plethora of flaws, ranging from Special Effects Failure^note to really bad acting (which makes sense considering that the actresses have backgrounds in hardcore pornography and not film acting). The first story revolves around a sex worker with eyeballs in place of her nipples, which was achieved through unconvincing makeup and glass eyes. The second is a generic slasher of a woman who steals her victim's faces, and the last one revolves around a murderous countess, which was loosely based on an actual historical figure, Elizabeth Báthory. Many critics unfavorably compared it to The Room (2003) by Tommy Wiseau, but a lot of viewers believed that was too harsh on Wiseau's work. Everything else would have been excusable if it wasn't so boring, with sluggish pacing and moments that drag on for way too long^note. Danzig would go on a two-year hiatus from film-making until he returned with the similarily-panned (but somewhat better-received) Death Rider in the House of Vampires in 2021. Overall, it is no wonder why IMDB users gave it a 1.9 rating, the lowest rating for any horror film. So Bad, It's Good and Chris Stuckmann sat through it and were baffled by just how awful it truly is. RedLetterMedia were also conflicted by it during their Half in the Bag review.
Voiceless is a 2016 Christian thriller film that focuses on anti-abortion with the subtly of a sledgehammer smashing through glass. It's all about a young war veteran named Jesse Dean (played by Rusty Joiner) who returns back to his old neighborhood in Philadelphia to start anew, only to discover that a new abortion clinic (remarkably called "A Woman's Choice") has just opened up. Despite having a new job as a minister, he is extremely worried over the well-beings of the town's women that he starts to take measures on protesting the clinic, much to the chagrin and discomfort to everyone around him. Aside from being extremely heavy-handed to its message, the movie suffers greatly from its protagonist ending up as a Designated Hero due to his highly questionable actions^note, and yet the audience is supposed to believe that the clinic is in the wrong for giving women abortions. Not only that, the acting and dialogue is very wooden and dull, the cinematography is ugly, the lighting is muddy and amateurish, and the overall execution completely fails to live up to its potential. Overall, it is no wonder why critics and audiences hated it, with a 2.5 on IMDB, and opening up with a pathetic $250,000 on its opening weekend. The Cinema Snob tears this one apart right here.

Werewolves of the Third Reich promises some So Bad, It's Good schlock potential, but completely squanders it. For starters, it's a British film where all the actors are putting on horrific American or German accents, which would be funny if anything happened in the movie. 70% of the piece is Josef Mengele and Ilse Koch going through the minutiae of running a concentration camp and their own marital problems (don't ask why they're married here despite Koch's Real Life husband being an important part of her atrocities), along with some boring dialogue between American soldiers escaped from the brig. The film has no concept of originality, flat-out stealing lines from Inglourious Basterds and Full Metal Jacket and expecting nobody to notice. And worst of all, the werewolves don't show up before the last 20 minutes! All in all, this waste of potential deserves its 2.8 IMDB rating. Geek Legion of Doom discusses the film here.
While She Was Out is a 2008 suspense-thriller based on a short story by Edward Bryant and starring Kim Basinger as an abused suburban housewife named Della who is forced to fend for herself in the woods against a clichéd four token band of hoodlums. In practice, it's one part Lifetime Movie of the Week, one part gory Exploitation Film... or an offbrand Eden Lake. Even then, it tries and fails to choose between being a horror movie, a Black Comedy, or a thriller, and its central message is outright reprehensible. But all that aside, the script has numerous plotholes and logic gaps, and the story is completely telegraphed. The chase sequences are badly choreographed, and a few scenes just didn't need to be there. There are also long stretches - 5-10 minutes at a go - where nothing happens. And the gang just plain isn't a convincing threat; Della just picks them off one by one, each in the same predictable, contrived way. The story offers no insight into Basinger's character, or the impact of her trauma - she just turns into a killing machine capable of MacGyvering with no justification. The supposed shocker ending where it's implied that her abusive husband is next feels rather abrupt, over-the-top, and tacked-on. While She Was Out only garnered a Rotten Tomatoes score of 31% and an audience score of 17%. It did marginally better on Metacritic with a score of 40% and a 4.8 score on IMDb. Mathew Buck eventually would cover it as part of Bad Movie Beatdown.
Despite (or perhaps because of) an All-Star Cast with Big Boi, Lil Wayne, Terry Crews, and Andy Milonakis, Who's Your Caddy?, beyond being a poor rip-off of Caddyshack, gave in to the worst stereotypes of African-American culture. There's loads of Toilet Humor, extremely bad direction, and a shocking amount of misogyny at times. When the film doesn't rely on taking the absolute worst stereotypes for comedy, it focuses on taking the already funny jokes from the original Caddyshack and somehow making them less funny than before^note It has a 6% on Rotten Tomatoes and a 2.3 rating at IMDb. What box office it did draw was bolstered by people thinking it was a film adaptation of the book of the same name by sportswriter Rick Riley. Allison, Phelan, and Mathew air their thoughts on how awful Caddy truly is, with the exception of James Avery (who had the only funny line in this entire "comedy")^note. Double Toasted also dissects this unfunny travesty further.
The Wild World of Batwoman, released in 1966 and directed by Jerry Warren, was clearly made to cash in on the popularity of the Batman (1966) TV series, but completely lacks the charm of its "inspiration". Its plot is centered around Batwoman, who simply wears the most garish outfit, and her Batgirl minions, who don't really fight crime and spend more time go-go dancing instead. There's also a ridiculous plot about trying to find a hearing-aid that the villain, Rat Fink, wants to obtain for himself. Even more, there are too many Big-Lipped Alligator Moments to count, most of which seem to be stock footage from other movies. For example, there's a scene where two Batgirls witness a mugging scene and don't do anything about it. Whatever "funny" moments are in this movie are hardly even worth laughing over, feeling so dry and boring instead, and its opening scene of "synthetic vampires" has nothing to do with the rest of the movie, considering it was shot to avoid a lawsuit from DC/National Comics. Ultimately, this film is so dry and lifeless, even the crew of Mystery Science Theater 3000 have found it difficult to sit through, with Tom Servo famously screaming "END! ENNNNND!" shortly before the film ended. Their book, The Amazing Colossal Episode Guide, said that even their writing crew had issues riffing the film because it was that bad, with Trace Beaulieu going on record to compare it to walking into a building filled with tear gas. Currently, this film has a rating of 1.9 out of 10 on IMDb, and rightfully so. Fanboy Flicks gives this steaming pile all he's got in here.
Wired (aka "the movie Hollywood doesn't want you to see") is a notorious biopic about the late John Belushi (played by Michael Chiklis in a very unfortunate debut) based on the book of the same name by Bob Woodward, which was criticized for being exploitative and sensationalist and derided by John's family and friends with good reason. The movie treats Belushi as a stereotypical drug addict,^note and thus treats its message like an Afterschool Special. The film also contains moments in John's life that either never happened or are heavily disputed, like him being punched by an Expy of John Landis while being high on coke (which Landis denied doing) or performing live in concert as The Blues Brothers; it also contained rather mean-spirited scenes of John being chastised for his drug use by (get this) his Puerto Rican guardian angel (played by the decidedly not Puerto Rican Ray Sharkey)^note and by Woodward (who John never met in real life), and John's ghost screaming for help as his body is cut open by a coroner while a laugh track plays. Even putting aside the relentless amount of victim blaming and tasteless sequences, the non-linear structure is poorly handled and the story is incredibly repetitive, being made up of various scenes of John taking drugs, being chastised by various characters, and SNL re-enactments. Even the tone is inconsistent, attempting to be a serious drama whilst incorporating bizarre fantastical elements that render the film hard to take seriously overall. The movie's reception was overwhelmingly negative, with a Rotten Tomatoes rating of 4%. Dan Aykroyd hated the movie so much that he fired J. T. Walsh (who played Woodward) during the production of Loose Cannons due to Walsh's involvement in the film. Pretty much the only nice thing many will say about the film is that Chiklis was an excellent choice to play John, capturing his comedic style and energy and tics perfectly, and is clearly doing his best with the material he's been given. Perhaps as the result of the film's infamy, even in the age of streaming, Wired has never received a physical home video release outside of a brief life on VHS and Laserdisc and a poor-quality out-of-sync print on Amazon Instant Video. The Cinema Snob takes a look at it here, while Nathan Rabin explains his thoughts here. Interestingly, musician Peter Gabriel was said to have enjoyed it, but he was under the impression he was watching a rough cut of Say Anything....^note
Witless Protection, the last of a triad of films which featured Daniel Whitney's Larry the Cable Guy character As Himself, and it's easily the weakest of the bunch. Larry's a small-town sheriff named Larry Stalder who unwittingly abducts a witness under protection by FBI agents... who it turns out are actually in the employ of a big-city gangster and are out to silence her. On top of a plot that plays every cliché straight, the film features Larry at his least likeable, a load of unfunny jokes (mostly the ones in the Toilet Humor department, which is amped up to an absurd degree when compared to Larry's previous two films), and a plethora of outright insulting moments, with little to redeem it in the slightest. To top it off, Larry makes a lot of racist remarks, as Leonard Maltin noted in his reviews. Unlike the films that preceded it, it made only around half of its budget, currently harbors a 1.9 rating on Letterboxd and a 4% on Rotten Tomatoes, and was more or less the Star-Derailing Role for Whitney as a live-action leading film actor. Also, it was Yaphet Kotto's last film.

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