{"id":1496,"date":"2024-09-25T11:49:47","date_gmt":"2024-09-25T08:49:47","guid":{"rendered":"https:\/\/trustedresponse.net\/?p=1496"},"modified":"2024-09-26T16:39:50","modified_gmt":"2024-09-26T13:39:50","slug":"the-11-most-excruciatingly-awful-films-to-ever-exist","status":"publish","type":"post","link":"https:\/\/trustedresponse.net\/index.php\/2024\/09\/25\/the-11-most-excruciatingly-awful-films-to-ever-exist\/","title":{"rendered":"The 11 Most Excruciatingly Awful Films to Ever Exist"},"content":{"rendered":"

<\/a> 1. Jaws: The Revenge (1987)<\/span><\/h2>\n

\"\"<\/p>\n

When asked about his performance in Jaws: The Revenge<\/i>, star Michael Caine gave the best possible answer. \u201cI have never seen the film, but by all accounts it was terrible,\u201d he responded. \u201cHowever, I have seen the house that it built, and it is terrific.\u201d Thus, Michael Caine is the one person who enjoyed Jaws: The Revenge<\/i>.<\/p>\n

No one who saw Jaws: The Revenge<\/i> expected the fourth entry in the franchise to match the wonder of the Steven Spielberg original. However, director Joseph Sargent and screenwriter Michael de Guzman couldn\u2019t figure out how to make a movie about a killer shark interesting. Between an unbelievable plot, one-note characters, and lackadaisical direction, Jaws: The Revenge<\/i> has no reason to exist.<\/p>\n

<\/p>\n

<\/a> 2. Star Wars: The Rise of Skywalker (2019)<\/span><\/h2>\n

\"\"<\/p>\n

Fans waited years for the final Star Wars<\/i> trilogy to make it to screen, and despite mixed feelings about the middle entry The Last Jedi<\/i>, many had high hopes for the last entry. Director J.J. Abrams, teaming again with co-writer Chris Terrio, returned to complete the series that he began with the safe but enjoyable The Force Awakens<\/i>, which at the very least promised to please the traditionalists put off by the big swings of The Last Jedi<\/i>.<\/p>\n

However, The Rise of Skywalker<\/i> pleased no one. A complete mess of a film, The Rise of Skywalker<\/i> featured multiple fake-out deaths that get reversed the very next scene, a mind-numbing quest plot, and fan service that made no sense in the universe. When Poe Dameron (Oscar Isaac) says, \u201cSomehow, Palpatine returned,\u201d viewers can feel the Force seeping from their bodies.<\/p>\n

<\/p>\n

Lions For Lambs (2007)<\/span><\/h2>\n

\"\"<\/p>\n

No one can deny Robert Redford\u2019s movie star bonafides. Handsome and charming, Redford makes a welcome addition to any film. However, Redford has struggled to retain those likable traits when he steps behind the camera to direct. As a director, Redford tends to take a heavy hand, sacrificing dramatic tension to underline his movies\u2019 important themes.<\/p>\n

No movie underscores this problem like Lions For Lambs<\/i>, a Gulf War treatise written by Matthew Michael Carnahan. Redford stars alongside fantastic actors such as Glenn Close and Tom Cruise but asks them to deliver overwrought monologues. Even those who agree with the politics of Lions For Lambs<\/i> feel harangued by the movie\u2019s self-righteousness.<\/p>\n

<\/p>\n

<\/a> 4. Eat, Pray, Love (2010)<\/span><\/h2>\n

\"\"<\/p>\n

Ryan Murphy continues to create successful shows such as American Horror Story<\/i><\/span><\/a> and 9-1-1<\/i>. Yet, even Murphy\u2019s biggest fans admit that he\u2019s not for everyone. Everyone can agree that Murphy\u2019s second directorial feature stinks.<\/p>\n

Based on the novel by Elizabeth Gilbert and co-written by Murphy and Jennifer Salt, Eat, Pray, Love<\/i> stars Julia Roberts as a vacuous woman who feels guilty about being selfish until she travels the world and decides to not feel guilty that she\u2019s selfish. Roberts tries to find charm in the material, and Murphy gets some compelling co-stars in Javier Bardem and Richard Jenkins. Eat, Pray, Love<\/i>\u2019s first-world feminism and glib perspective make most viewers want to gag, scream, hate.<\/p>\n

<\/p>\n

<\/a> 5. Rollerball (2002)<\/span><\/h2>\n

\"\"<\/p>\n

On paper, Rollerball<\/i> sounds like a slam dunk. The 1975 original has a lot going for it, including a fantastic lead performance by James Caan and able direction from Norman Jewison, but it could use updated effects. Enter John McTiernan, an action movie great who made Die Hard<\/i>, Predator<\/i>, and The Hunt for Red October<\/i>. Who else could update a futuristic sports movie\/resistance parable?<\/p>\n

Apparently, no one can because Rollerball<\/i> 2002 stinks. McTiernan chooses a poor lead in Chris Klein, who lacks Caan\u2019s gruff charisma and plays the hero as an oblivious airhead. Worse, McTiernan seems to have forgotten how to shoot action, choosing too many close-ups and failing to explain the function of the titular sport. Maybe a new remake will update Rollerball<\/i> for real.<\/p>\n

<\/p>\n

Winnie the Pooh: Blood and Honey (2023)<\/span><\/h2>\n

\"\"<\/h2>\n

In most cases, a low-budget independent picture such as Winnie-the-Pooh: Blood and Honey<\/i> would not make this list. After all, it\u2019s not fun to pick on films that can\u2019t overcome their minimal cash flow when so many pictures with massive studio backing turn out worse.<\/p>\n

However, Blood and Honey<\/i> earned its place with its audacious and base premise. Once Winnie-the-Pooh and Piglet entered the public domain, writer and director Rhys Frake-Waterfield jumped to the most obvious take, changing the beloved characters created by A. A. Milne and E. H. Shepard into savage murderers. Everything else in the film feels just as lazy, from its dull fright sequences to its tissue-thin plot. In the end, Blood and Honey<\/i> wasn\u2019t worth the bother.<\/p>\n

<\/p>\n

<\/a> 7. Manos: The Hands of Fate (1966)<\/span><\/h2>\n

\"\"<\/p>\n

Manos: The Hands of Fate<\/i><\/span><\/a> began as a bet, as writer and director Harold P. Warren boasted that anyone could make a horror film. A screenwriter friend took Warren up on the challenge, and Warren got to work on his film. Warren came up with the idea of a nondescript American family on vacation, who gets kidnapped by the minion Torgo (John Reynolds) who seeks wives for \u201cthe Master\u201d (Tom Neyman).<\/p>\n

The glacial pace and obvious plot beats strip Manos<\/i> of any potential terror. While the team from Mystery Science Theater 3000<\/i><\/span><\/a> has made Manos<\/i> at least watchable with their jokes, the one person who liked the movie was Warren\u2019s friend, who won the bet with ease.<\/p>\n

<\/p>\n

<\/a> 8. Exorcist II: The Heretic (1977)<\/span><\/h2>\n

\"\"<\/p>\n

Despite its demonic subject matter, The Exorcist<\/i> is a miracle of a movie thanks to the explosive combination of writer William Peter Blatty, the devout Catholic who wrote the book and the screenplay, and director William Friedkin, an avowed atheist. When the duo showed no interest in making a sequel, Warner Brothers picked another outsized personality to helm Exorcist II: The Heretic<\/i>, John Boorman. Boorman made big, bold movies such as Excalibur and Deliverance, and came to the project with big ideas.<\/p>\n

Big and lousy ideas, it turns out. Boorman and screenwriter William Goodhart wanted a more hopeful film about good overcoming evil, resulting in a messy plot. Richard Burton\u2019s wayward priest covers ground already tread in the previous movie and additions such as James Earl Jones as an African chief\/insect researcher and Regan MacNeil (Linda Blair) becoming a dance star.<\/p>\n

<\/p>\n

<\/a> 9. Catwoman (2004)<\/span><\/h2>\n

\"\"<\/p>\n

Halle Berry won over a lot of skeptics in 2004 when she appeared in person to receive her Golden Raspberry Award for Worst Actress for the movie Catwoman<\/i>. The fact that she arrived holding a Best Actress Oscar from two years earlier helped, as did the fact that neither she nor any of her co-stars were the problem with Catwoman<\/i>.<\/p>\n

Instead, the blame goes to director Pitof, who shoots this superhero spin-off with the pretensions of an art film and the depth of a perfume commercial. Pitof transforms a fine but forgettable story about a woman with cat powers fighting an invincible make-up magnate (Sharon Stone) into a nauseating experience, with too many camera movements and excessive cuts.<\/p>\n

<\/p>\n

<\/a> 10. Space Jam (1996)<\/span><\/h2>\n

\"\"<\/p>\n

To this day, people of a certain age defend Space Jam<\/i> as a good film. Those people should realize that they have long passed the age when they can make such a claim, which is dubious even coming from a child.<\/p>\n

In theory, Space Jam<\/i> teams the Looney Tunes<\/i> with NBA star Michael Jordan in an intergalactic basketball match. In practice, Space Jam<\/i> saps the humor and energy from Bugs Bunny and crew to shove them into a Nike commercial. Even young children can recognize that the film has no jokes or imagination, just an executive’s sense of cool.<\/p>\n

<\/p>\n

<\/a> 11. The Avengers (1998)<\/span><\/h2>\n

\"\"<\/p>\n

The Avengers<\/i> mistakes the viewing public\u2019s interest in the main characters, creating a film with too many unconvincing effects, an incomprehensible plot, and a great actor putting in a misguided performance as the villain.<\/p>\n

No, this isn\u2019t about 2012\u2019s The Avengers<\/i>, the delightful Marvel movie about Captain America and Iron Man. This is about 1998\u2019s The Avengers<\/i>, an adaptation of the campy British espionage show from the 1960s.<\/p>\n

Director Jeremiah S. Chechik and writer Don Macpherson lean into camp and get a solid cast with Ralph Fiennes as the dapper Mr. Steed, Uma Thurman as the sleek Mrs. Peel, and Sean Connery as a mad scientist. But all these qualities work toward a loud, self-satisfied film that never delivers on the good time it promises.<\/p>\n","protected":false},"excerpt":{"rendered":"

1. Jaws: The Revenge (1987) When asked about his performance in Jaws: The Revenge, star Michael Caine gave the best possible answer. \u201cI have never seen the film, but by all accounts it was terrible,\u201d he responded. \u201cHowever, I have seen the house that it built, and it is terrific.\u201d Thus, Michael Caine is the […]<\/p>\n","protected":false},"author":1,"featured_media":1505,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[],"_links":{"self":[{"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/posts\/1496"}],"collection":[{"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/comments?post=1496"}],"version-history":[{"count":2,"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/posts\/1496\/revisions"}],"predecessor-version":[{"id":1600,"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/posts\/1496\/revisions\/1600"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/media\/1505"}],"wp:attachment":[{"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/media?parent=1496"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/categories?post=1496"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/trustedresponse.net\/index.php\/wp-json\/wp\/v2\/tags?post=1496"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}