(Photo by New Line Cinema/courtesy Everett Collection)
It’s bad movies galore as we encounter the Rottenest of the Rotten: 100 movies that scored less than 6% with the critics on the Tomatometer!
You’re going to see lots of 0% movies, and there’s even more out there, but the ones on this list all have at least 20 reviews. We wanted to make sure the movies we’re “vouching” for as the worst ever have inflicted a minimum threshold of agony on critics. And the 20-review entry applies for every other movie on this list, and that includes the usual suspects of garbage cinema, like the deep space train wreck Battlefield Earth, the box office turkey (turtle?) The Master of Disguise, Netflix’s lazy western The Ridiculous 6, and flaccid softcore Killing Me Softly (which also makes a dubious appearance in the 200 best and worst erotic movies).
You may also note a number of significant stinkers are from the past 20 years. It’s not just because Uwe Boll was employed during this time period. And, by the way, he’s actually beat by dubious directing duo Aaron Seltzer and Jason Friedberg, who have four movies on the list. Instead, it’s the fact more reviews are being written and collected than ever before, so today’s disasters have a better chance of vaunting over 20 reviews. (And for movies that share the same score, more reviews means you’re placed higher within the ranking.)
But fret not: Plenty of yesteryear’s bombs are here. After all, the decade that produced Mac & Me has a lot to account for. Some of the classic trash featured includes the soul-sucking Mortal Kombat: Annihilation, Speed 2: Cruise Control (see what happens when you throw Keanu overboard?), off-the-deep-end Jaws: The Revenge, and prime directive-violating RoboCop 3.
What you won’t see: Some legendary bad movies like Cats, Birdemic, and The Room, all of which have cleared at least a 10% Tomatometer. That’s right, they were too good. And Miami Connection and Plan 9 From Outer Space are actually Fresh!
Most recently, Winnie-the-Pooh: Blood and Honey has squeezed in, the first movie to appear since 2020’s The Last Days of American Crime.
Now that we set the mood for truly bad movies, start the most painful watchlist you’ll ever make with the 100 worst movies of all time! —Alex Vo
#1
Adjusted Score: 3329%
Critics Consensus: A startlingly inept film, Ballistic: Ecks vs. Sever offers overblown, wall-to-wall action without a hint of wit, coherence, style, or originality.
#2
Adjusted Score: 2333%
Critics Consensus: One of the weakest entries in the J-horror remake sweepstakes, One Missed Call is undone by bland performances and shopworn shocks.
#3
Adjusted Score: 1985%
Critics Consensus: Yea verily, like unto a plague of locusts, Left Behind hath begat a further scourge of devastation upon Nicolas Cage’s once-proud filmography.
#4
Adjusted Score: 1536%
Critics Consensus: Dated jokes (A Thousand Words was shot in 2008) and removing Eddie Murphy’s voice — his greatest comedic asset — dooms this painful mess from the start.
#5
Adjusted Score: 2076%
Critics Consensus: Fuhgeddaboudit.
#6
Adjusted Score: 1001%
Critics Consensus: Roberto Benigni misfires wildly with this adaptation of Pinocchio, and the result is an unfunny, poorly-made, creepy vanity project.
#7
Adjusted Score: 817%
Critics Consensus: A startling lack of taste pervades Superbabies, a sequel offering further proof that bad jokes still aren’t funny when coming from the mouths of babes.
#8
Adjusted Score: 650%
Critics Consensus: It aspires to Farrelly-level offensiveness, but the PG-13 rating and a dearth of decent gags renders Gold Diggers tame, toothless, and dull.
#9
Adjusted Score: 1895%
Critics Consensus: This Crime is punishment.
#10
Adjusted Score: 2480%
Critics Consensus: Illogical, tension-free, and filled with cut-rate special effects, Jaws: The Revenge is a sorry chapter in a once-proud franchise.
#11
Adjusted Score: 1683%
Critics Consensus: Every bit as lazily offensive as its cast and concept would suggest, The Ridiculous Six is standard couch fare for Adam Sandler fanatics and must-avoid viewing for film enthusiasts of every other persuasion.
#12
Adjusted Score: 927%
Critics Consensus: Dark Crimes is a rote, unpleasant thriller that fails to parlay its compelling true story and a committed Jim Carrey performance into even modest chills.
#13
Adjusted Score: 877%
Critics Consensus: Stratton‘s action-thriller ambitions are roundly thwarted by a derivative story, misguided casting, and a low-budget feel underscored by unimpressive set pieces.
#14
Adjusted Score: 825%
Critics Consensus: London Fields bungles its beloved source material and an intriguingly eclectic cast, leaving audiences with a would-be neo-noir of interest only to the morbidly curious.
#15
Adjusted Score: 296%
Critics Consensus: No consensus yet.
#16
Adjusted Score: 164%
Critics Consensus: Despite its lush tropical scenery and attractive leads, Return to the Blue Lagoon is as ridiculous as its predecessor, and lacks the prurience and unintentional laughs that might make it a guilty pleasure.
#17
Adjusted Score: 89%
Critics Consensus: Wagons East! is a witless, toothless satire of Westerns that falls far below the standard set by Blazing Saddles, and is notable only for being John Candy’s final screen performance.
#18
Adjusted Score: 265%
Critics Consensus: Mean-spirited and hopelessly short on comic invention, Problem Child is a particularly unpleasant comedy, one that’s loaded with manic scenery chewing and juvenile pranks.
#19
Adjusted Score: 728%
Critics Consensus: No need for a quarantine — enthusiasm for this inert remake is not contagious.
#20
Adjusted Score: 168%
Critics Consensus: 3 Strikes lacks direction and its low-brow humor isn’t even that funny.
#21
Adjusted Score: 609%
Critics Consensus: The Disappointments Room lives down to its title with a thrill-free thriller that presumably left its stars filled with regret – and threatens to do the same for audiences.
#22
Adjusted Score: 139%
Critics Consensus: Redline has plenty of bad acting, laughable dialogue, and luxury cars.
#23
Adjusted Score: 19%
Critics Consensus: This sequel to Saturday Night Fever is shockingly embarrassing and unnecessary, trading the original’s dramatic depth for a series of uninspired dance sequences.
#24
Critics Consensus: Look Who’s Talking Now: Look away.
#25
Adjusted Score: 13%
Critics Consensus: There should have been only one.
#26
Critics Consensus: A lazy collection of obsession thriller clichés, Homecoming will leave viewers wishing they’d opted for a lopsided football game and some awkward dancing instead.
#27
Adjusted Score: 370%
Critics Consensus: Bolero combines a ludicrous storyline and wildly mismatched cast in its desperate attempts to titillate, but only succeeds in arousing boredom.
#28
Adjusted Score: 310%
Critics Consensus: No consensus yet.
#29
Adjusted Score: 311%
Critics Consensus: Bereft of characterization or even satisfying rock ’em sock ’em, Max Steel feels like futzing with an action figure without any childhood imagination.
#30
Critics Consensus: Respected director Chen Kaige’s first English-language film is a spectacularly misguided erotic thriller, with ludicrous plot twists and cringe-worthy dialogue.
#31
Critics Consensus: This overly wacky farce strains for sophistication but lacks polish and a coherent narrative.
#32
Critics Consensus: Never aiming higher than threadbare jokes and offensive attempts at politically incorrect humor, Transylmania is a vampire comedy that truly sucks.
#33
Critics Consensus: Shallow and brackish, Dark Tide fails to rise.
#34
Adjusted Score: 735%
Critics Consensus: Don’t watch this alleged comedy looking for more than pained performances in support of ill-advised ageist jokes, because that’s all Folks! has to offer.
#35
Critics Consensus: Though earnestly directed, Constellation lacks dramatic fireworks and eventually falls into TV-movie sentimentality.
#36
Critics Consensus: With plot points Stolen from countless superior films, this would-be thriller squanders a solid cast on overly serious and suspense-free storytelling.
#37
Critics Consensus: Simon Sez no matter how starved you are for something to watch, there has to be a better option than this dreadfully misguided action thriller.
#38
Adjusted Score: 5103%
Critics Consensus: Inept on almost every level, Alone in the Dark may not work as a thriller, but it’s good for some head-slapping, incredulous laughter.
#39
Adjusted Score: 3782%
Critics Consensus: An ill-concieved attempt to utilize Dana Carvey’s talent for mimicry, The Master of Disguise is an irritating, witless farce weighted down by sophomoric gags.
#40
Adjusted Score: 3416%
Critics Consensus: A mirthless, fairly desperate family film, Daddy Day Camp relies too heavily on bodily functions for comedic effect, resulting in plenty of cheap gags but no laughs.
#41
Adjusted Score: 3081%
Critics Consensus: Returning to their seemingly bottomless well of flatulence humor, racial stereotypes, and stale pop culture gags, Jason Friedberg and Aaron Seltzer have produced what is arguably their worst Movie yet.
#42
Adjusted Score: 6333%
Critics Consensus: An implausible, overheated potboiler that squanders a stellar cast, Twisted is a clichéd, risible whodunit.
#43
Adjusted Score: 3783%
Critics Consensus: A crude comedy with nothing new or insightful to say about the subjects it satirizes.
#44
Adjusted Score: 3626%
Critics Consensus: This heartfelt but incompetent, cliche-ridden sports picture is the cinematic equivalent of an airball.
#45
Adjusted Score: 3417%
Critics Consensus: A dull, soapy potboiler that lacks the energy to qualify as a guilty pleasure, The In Crowd is undone by slow pacing, poor acting, and a stunning lack of originality.
#46
Adjusted Score: 3364%
Critics Consensus: Dull and unfunny, One For the Money wastes Katherine Heigl’s talents on a stunningly generic comic thriller.
#47
Adjusted Score: 3180%
Critics Consensus: As far as westerns go, Texas Rangers is strictly mediocre stuff.
#48
Adjusted Score: 3041%
Critics Consensus: A tired, unfunny, offensive waste of time, Meet the Spartans scrapes the bottom of the cinematic barrel.
#49
Adjusted Score: 3032%
Critics Consensus: Filled with crass dialogue, unlikable characters, and overdone slapstick gags, King’s Ransom is an utterly inept would-be comedy.
#50
Adjusted Score: 3000%
Critics Consensus: Strange Wilderness is a laugh-free comedy that’s both aimless and overly crass.
#51
Adjusted Score: 3092%
Critics Consensus: Flat direction and actors who look embarrassed to be onscreen make Baby Geniuses worse than the premise suggests.
#52
Adjusted Score: 2813%
Critics Consensus: Kickin’ It Old Skool is one big unfunny pop culture reference that doesn’t feature many laughs.
#53
Adjusted Score: 3504%
Critics Consensus: A wholly misguided tribute to its subject’s searing talent and enduring impact, Nina is the cinematic equivalent of a covers project featuring all the wrong artists.
#54
Adjusted Score: 2708%
Critics Consensus: The Haunting of Molly Hartley is a rather lifeless horror endeavor, with a pedestrian plot and few scares.
#55
Adjusted Score: 8163%
Critics Consensus: Ugly, campy, and poorly acted, Battlefield Earth is a stunningly misguided, aggressively bad sci-fi folly.
#56
Adjusted Score: 6293%
Critics Consensus: Removing the social critique of the original, this updated version of Rollerball is violent, confusing, and choppy. Klein makes for a bland hero.
#57
Adjusted Score: 6726%
Critics Consensus: Although it features an inexplicably committed performance from Al Pacino, Jack and Jill is impossible to recommend on any level whatsoever.
#58
Adjusted Score: 6511%
Critics Consensus: Bless the Child squanders its talented cast on a plot that’s more likely to inspire unintentional laughs than shivers.
#59
Adjusted Score: 8086%
Critics Consensus: Monotonously fast-paced to the point of exhaustion, Getaway offers a reminder of the dangers in attempting to speed past coherent editing, character development, sensible dialogue, and an interesting plot.
#60
Adjusted Score: 5675%
Critics Consensus: As frustrating as a 404 error, Fear Dot Com is a stylish, incoherent, and often nasty mess with few scares.
#61
Adjusted Score: 5199%
Critics Consensus: Seagal is now too bulky to make a convincing action hero, and Half Past Dead is too silly and incoherent to deliver any visceral kicks.
#62
Adjusted Score: 5445%
Critics Consensus: Devoid of chills, thrills, or even cheap titillation, The Roommate isn’t even bad enough to be good.
#63
Adjusted Score: 4692%
Critics Consensus: Melodramatic and weighed down with silly dialogue, Deuces Wild is a forgettable, overheated thriller that leaves no cliche unturned.
#64
Adjusted Score: 4933%
Critics Consensus: The Mod Squad aims for stylish cool and thrilling adventure, but collapses in an incoherent jumble of dated source material and unintentional hilarity.
#65
Adjusted Score: 4665%
Critics Consensus: The Apparition fails to offer anything original, isn’t particularly scary, and offers so little in the way of dramatic momentum that it’s more likely to put you to sleep than thrill you.
#66
Adjusted Score: 4288%
Critics Consensus: A grungy, disjointed, mostly brainless mess of a film, House of the Dead is nonetheless loaded with unintentional laughs.
#67
Adjusted Score: 4457%
Critics Consensus: Down to You is ruined by a bland, by-the-numbers plot and an awful script.
#68
Adjusted Score: 3442%
Critics Consensus: A severely misguided and inept comedy incapable of even telling its single joke properly.
#69
Adjusted Score: 3455%
Critics Consensus: Employing multiple cinematic clichés and milking stale performances, Deal proves inadequate for even the lowly regarded poker movie genre.
#70
Adjusted Score: 4083%
Critics Consensus: The Darkness clumsily relies on an assortment of genre tropes, leaving only the decidedly non-frightening ghost of superior horror films in its wake.
#71
Adjusted Score: 3323%
Critics Consensus: Passion Play has a terrific cast, but don’t be fooled – the only real question at the heart of this misbegotten mystery is what its stars were thinking.
#72
Adjusted Score: 3325%
Critics Consensus: Overly formulaic and tonally inconsistent, Getting Even with Dad tries for a sentimental conclusion it doesn’t earn and winds up a slapsticky cash grab aimed at fans of Home Alone.
#73
Adjusted Score: 3953%
Critics Consensus: About as funny as a keelhauling, McHale’s Navy will leave most viewers feeling they’ve been the victim of a particularly dishonorable discharge.
#74
Adjusted Score: 4176%
Critics Consensus: Aside from an opportunity to watch a mustachioed Nicolas Cage acting from under a wig and behind a prosthetic nose, Arsenal has depressingly little to offer.
#75
Adjusted Score: 3217%
Critics Consensus: As pretentious as it is hopelessly clichéd, this Twelve is closer to zero.
#76
Adjusted Score: 4679%
Critics Consensus: A muddled and unfunny collision of two comedic titans, The Toy is unsuitable for children — or anyone else seeking entertainment.
#77
Adjusted Score: 3888%
Critics Consensus: Rather than exciting audiences with a thrilling race against time, Shadow Conspiracy suggests there may be a secret cabal duping talented actors into selecting woefully deficient scripts.
#78
Adjusted Score: 9663%
Critics Consensus: Overly reliant on caricatures and lacking any human insight, Because I Said So is an unfunny, cliche-ridden mess.
#79
Adjusted Score: 8441%
Critics Consensus: A murky thriller with few chills, Godsend features ludicrous dialogue, by-the-numbers plotting, and an excess of cheap shocks.
#80
Adjusted Score: 7736%
Critics Consensus: A strained, laugh-free sequel, The Whole Ten Yards recycles its predecessor’s cast and plot but not its wit or reason for being.
#81
Adjusted Score: 7111%
Critics Consensus: A romantic comedy that’s neither funny nor particularly romantic, Serving Sara is a forgettable time waster.
#82
Adjusted Score: 6904%
Critics Consensus: Witless, unfocused, and arguably misogynistic, Playing for Keeps is a dispiriting, lowest-common-denominator Hollywood rom-com.
#83
Adjusted Score: 6691%
Critics Consensus: Witlessly broad and utterly devoid of laughs, Vampires Suck represents a slight step forward for the Friedberg-Seltzer team.
#84
Adjusted Score: 6716%
Critics Consensus: A star-studded turkey, Movie 43 is loaded with gleefully offensive and often scatological gags, but it’s largely bereft of laughs.
#85
Adjusted Score: 6542%
Critics Consensus: Code Name: The Cleaner is a limp action/comedy flick that alternates between lame, worn-out jokes and cheesy martial arts.
#86
Adjusted Score: 8722%
Critics Consensus: Flatliners falls flat as a horror movie and fails to improve upon its source material, rendering this reboot dead on arrival.
#87
Adjusted Score: 6159%
Critics Consensus: Speed 2 falls far short of its predecessor, thanks to laughable dialogue, thin characterization, unsurprisingly familiar plot devices, and action sequences that fail to generate any excitement.
#88
Adjusted Score: 6027%
Critics Consensus: The Covenant plays out like a teen soap opera, full of pretty faces, wooden acting, laughable dialogue, and little suspense.
#89
Adjusted Score: 5863%
Critics Consensus: The Fog is a so-so remake of a so-so movie, lacking scares, suspense or originality.
#90
Adjusted Score: 5745%
Critics Consensus: Lacking the punch and good cheer of The Incredibles and Sky High, Zoom is a dull and laugh-free affair.
#91
Adjusted Score: 5209%
Critics Consensus: Yet another predictable variation on the hoary old haunted-house movie, Darkness is an illogical, portentous mess.
#92
Adjusted Score: 5364%
Critics Consensus: A Little Bit of Heaven subjects viewers to a whole bunch of schmaltz – and strands Kate Hudson and Gael García Bernal in a fatally misguided film.
#93
Adjusted Score: 5180%
Critics Consensus: Plagued by paper-thin characterizations and a hackneyed script, Material Girls fails to live up to even the minimum standards of its genre.
#94
Adjusted Score: 6450%
Critics Consensus: With its shallow characters, low budget special effects, and mindless fight scenes, Mortal Kombat – Annihilation offers minimal plot development and manages to underachieve the low bar set by its predecessor.
#95
Adjusted Score: 5199%
Critics Consensus: BloodRayne is an absurd sword-and-sorcery vid-game adaptation from schlock-maestro Uwe Boll, featuring a distinguished (and slumming) cast.
#96
Adjusted Score: 5171%
Critics Consensus: Juvenile even by Scary Movie standards, this fifth installment offers stale pop culture gags that generate few laughs.
#97
Adjusted Score: 6872%
Critics Consensus: Oh, bother.
#98
Adjusted Score: 5125%
Critics Consensus: Featuring mostly wooden performances, laughable dialogue, and shoddy production values, In the Name of the King fulfills all expectations of an Uwe Boll film.
#99
Adjusted Score: 5102%
Critics Consensus: No consensus yet.
#100
Adjusted Score: 4589%
Critics Consensus: A trifecta of failure for writer-director-star Keenen Ivory Wayans, A Low Down Dirty Shame lives repeatedly and resolutely down to its title.