The Razzies love a punchline. Sometimes they even land one. But now and then, they swing wildly and hit the wrong target.
Hayden Christensen was handed stiff dialogue and very specific direction, and he played it exactly as asked. Rewatching Star Wars: Episode III – Revenge of the Sith now, his physicality and emotional beats land far better than people gave him credit for at the time. The Razzie aimed at Hayden Christensen feels less like criticism and more like an easy case of scapegoating. | © 20th Century Studios
Shelley Duvall’s performance in The Shining is raw, exhausting, and painfully real, largely because Stanley Kubrick pushed her to emotional extremes. That terror on screen isn’t weakness, it’s the entire point, and it’s why Wendy Torrance still feels so disturbingly human decades later. Handing a Razzie to Shelley Duvall for one of horror’s most unforgettable performances feels like history getting it spectacularly wrong. | © Warner Bros. Pictures
Pamela Anderson understood exactly what kind of movie Barb Wire was aiming to be and leaned into its campy chaos without hesitation. While the film fixates on style and absurdity, her confident screen presence is the one thing that actually holds it together and makes the whole ride watchable. Treating Pamela Anderson as the problem ignores the fact that she was fully in on the joke. | © Universal Studios
Adam Sandler turned a ridiculous premise into pure comedy fuel, using physical chaos and perfectly timed outbursts to make Happy instantly lovable. The quotes stuck, the character stuck, and the movie still gets referenced decades later for a reason. Calling Adam Sandler Razzie-worthy for Happy Gilmore ignores how effortlessly he made a cult classic happen. | © Universal Pictures
John Travolta went all in on the madness, matching the film’s strange tone and committing hard to an alien villain in Battlefield Earth. The real sabotage came from baffling direction, tilted camera work, and a script that never found solid ground. Dumping the blame on John Travolta feels less like criticism and more like piling on a movie that was already doomed. | © Warner Bros. Pictures
Jennifer Lopez isn’t the reason Gigli collapsed under its own weird choices and incoherent writing. Her performance is perfectly serviceable, and the much-mocked chemistry wasn’t the real issue when the script itself had no idea what kind of movie it wanted to be. Turning Jennifer Lopez into a punchline ignores a career that’s proven, again and again, that one train wreck doesn’t define real talent. | © Sony Pictures Releasing
Eddie Murphy juggles multiple characters here with sharp physical control, distinct voices, and full commitment, even when the jokes go broad. The movie has plenty of problems, but his technical skill and willingness to disappear into each role show real craft, not laziness. Slapping a Razzie on Eddie Murphy for Norbit feels like confusing a messy film with a bad performance. | © DreamWorks Pictures
Bruce Willis leaned into the oddball tone here, showing off comic timing and a lighter touch far removed from his tough-guy image. Hudson Hawk didn’t land at the time, but its musical bits and off-kilter energy have since earned cult appreciation. Docking Bruce Willis for trying something weird and playful feels more like punishing curiosity than judging a performance. | © TriStar Pictures
George Clooney stepped into a movie already drowning in camp, neon, and baffling design choices that no performance could overcome. He still brought his trademark charm and played it straight, even while surrounded by ice puns and those infamous suits. Blaming George Clooney for the mess that is Batman & Robin ignores where the real damage was done. | © Warner Bros. Pictures
Al Pacino knew exactly what movie he was in and leaned all the way into the joke, playing a heightened version of himself with zero ego attached. The cameo works because he’s clearly in on the absurdity, mocking his own legacy rather than hiding behind it. Punishing Al Pacino for having fun and showing self-awareness feels like missing the joke entirely. | © Sony Pictures Releasing
Ben Affleck clearly had fun with Count Pierre d’Alençon, leaning into the excess while still giving the character real texture. The blond hair grabbed attention, sure, but underneath it was a surprisingly sharp and self-aware performance. Slapping a Razzie on Ben Affleck for taking a creative swing feels less like criticism and more like missing the point. | © 20th Century Studios
Halle Berry went all in on a role that never had a fighting chance thanks to a messy script and some truly baffling creative choices. No performance can fix a movie that broken from the inside, and blaming her ignores where the real problems lived. The film earned its reputation, but Berry didn’t earn that Razzie. | © Warner Bros. Pictures
Sandra Bullock’s career offers one of the funnier footnotes in awards history. In 2010, she managed to win an Oscar for The Blind Side and a Razzie for All About Steve within the same weekend – a neat little paradox that says far more about the mood swings of awards culture than about her talent. If anything, the pairing reads less like a verdict and more like a punchline. | © Warner Bros. Pictures
Tom Cruise plays this as a panicked, overwhelmed father first and an action hero second, which is exactly why it works. The fear feels raw, the decisions feel messy, and his desperation grounds the alien chaos in something human. Calling this Razzie-worthy ignores how much emotional weight he carries through the entire disaster. | © Paramount Pictures
Megan Fox fully understood the assignment here, leaning hard into the film’s dark humor without undercutting its horror. Her demon-cheerleader performance walks a tricky line between menace and satire, and that balance is exactly why the character became endlessly quotable and weirdly iconic. The Razzie nod didn’t just miss the point, it aged badly once audiences caught up with what the movie was actually doing. | © 20th Century Studios
The Razzies love a punchline. Sometimes they even land one. But now and then, they swing wildly and hit the wrong target.
The Razzies love a punchline. Sometimes they even land one. But now and then, they swing wildly and hit the wrong target.