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These 15 Movies Were the Worst Films of Last Year

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Ignacio Weil

Entertainment - May 16th 2026, 18:00 GMT+2

Shadow force 2025 cropped processed by imagy — 15. Shadow Force

*Shadow Force* has the ingredients of a sleek adult action thriller: Kerry Washington, Omar Sy, Mark Strong, elite assassins, family drama, and Joe Carnahan behind the camera. The problem is that the movie keeps treating its own mythology like everyone already bought the deluxe collector’s edition. Instead of sharp tension, it leans into flat exposition, generic shootouts, and a surprisingly bland “parents on the run” hook. For a film about dangerous professionals breaking every rule, it feels oddly stuck following the most obvious ones. | © Lionsgate

Alarum cropped processed by imagy — 14. Alarum

*Alarum* sells itself as the kind of lean spy thriller where everyone has secrets, guns, and at least one mysterious hard drive ruining their weekend. Scott Eastwood and Willa Fitzgerald play married ex-operatives dragged back into danger, while Sylvester Stallone hovers around the edges like a brand name stamped on the box. The setup should be pulpy fun, but the movie moves with the urgency of someone filling out paperwork at an intelligence agency. Even the betrayals feel pre-approved, filed, and stamped before the action starts. | © Lionsgate

Juliet Romeo 2025 cropped processed by imagy — 13. Juliet & Romeo

Turning Shakespeare into a pop musical is not a crime, although *Juliet & Romeo* occasionally argues otherwise with alarming confidence. The film wants Verona to feel fresh, sexy, tragic, and radio-ready, but the mix lands closer to a theater-kid fever dream with a streaming playlist attached. Clara Rugaard and Jamie Ward give it sincerity, and the supporting cast is certainly trying, yet the movie keeps mistaking volume for passion. Instead of reinventing the balcony, it mostly decorates it with glitter and hopes nobody checks the foundation. | © Briarcliff Entertainment

Five nights at freddys 2 movie cropped processed by imagy — 12. Five Nights at Freddy’s 2

The first *Five Nights at Freddy’s* movie already walked a strange line between horror film and lore-delivery device, and the sequel pushes even harder into the fan-service control room. The animatronics still have creepy appeal, the production clearly understands the brand, and younger audiences got plenty of Fazbear mythology to chew on. As a movie, though, *Five Nights at Freddy’s 2* often feels trapped between jump scares, callbacks, and plot mechanics that matter more to the wiki than the room. It is louder, bigger, and somehow less scary. | © Universal Pictures

The Strangers Chapter 2 cropped processed by imagy — 11. The Strangers: Chapter 2

A masked-killer sequel should not feel this busy, especially when the original appeal of *The Strangers* was cruelly simple: people in masks show up, and logic leaves the house. *Chapter 2* follows Maya after the previous attack, but instead of sharpening the nightmare, it stretches the reboot trilogy plan until the seams show. Madelaine Petsch gives the survival panic more commitment than the material earns, while the film keeps explaining, teasing, and extending what used to work because it barely explained anything at all. Horror fans came for dread, not franchise homework. | © Lionsgate

Kinda Pregnant cropped processed by imagy — 10. Kinda Pregnant

Amy Schumer’s *Kinda Pregnant* starts with a premise that sounds like it could power a sharp, uncomfortable comedy: a woman lies about being pregnant after jealousy and insecurity get the better of her. The movie finds a few awkward laughs in that spiral, especially when Jillian Bell is around, but it rarely pushes the idea into anything truly biting. Too many scenes settle for broad embarrassment instead of character-driven chaos. Netflix comedies do not need to look expensive, but they do need more than one joke stretched into maternity wear. | © Netflix

Smurfs 2025 cropped processed by imagy — 9. Smurfs

The 2025 *Smurfs* reboot arrives with Rihanna as Smurfette, a crowded celebrity voice cast, musical numbers, and enough manic color to make a cereal aisle look restrained. That should have been harmless family chaos, but the movie keeps sprinting past charm in search of constant stimulation. The animation has polish, and the brand is obviously durable, yet the story feels assembled from modern franchise notes rather than comic-strip mischief. Children may accept the sugar rush; adults are left wondering how something so small became this exhausting. | © Paramount Pictures

Gunslingers cropped processed by imagy — 8. Gunslingers

A Western with Nicolas Cage, Stephen Dorff, and Heather Graham should at least deliver the pleasure of watching recognizable actors chew through dusty chaos. *Gunslingers* understands the surface of that promise — outlaws, revenge, bullets, old grudges — but never finds the rhythm that makes a scrappy genre movie click. Cage is not used as wildly as the casting suggests, and the film around him feels more like a prop-town shootout than a living frontier. It has hats, guns, and attitude; unfortunately, it forgets to bring much personality. | © Lionsgate

Popeyes Revenge cropped processed by imagy — 7. Popeye’s Revenge

The public-domain horror rush has produced some truly weird cinema, and *Popeye’s Revenge* may be one of the strangest attempts to turn childhood recognition into bargain-bin bloodshed. The film takes the sailor-man icon, strips away the cartoon absurdity, and replaces it with murky slasher violence that feels more opportunistic than inspired. A twisted Popeye could have been disgusting, funny, or genuinely unhinged; this version mostly looks like it was designed to win a race to market. The spinach deserved better, and frankly, so did the cheap gore. | © ITN Studios

Bride Hard 2025 cropped processed by imagy — 6. Bride Hard

*Bride Hard* sounds like a fake movie someone would pitch in a sitcom: Rebel Wilson as a secret agent bridesmaid who must save a wedding from armed mercenaries. To be fair, that is not a bad pitch; it is exactly the kind of silly action-comedy premise that can work with the right timing. The problem is that the film keeps leaning on the title’s joke long after the joke has left the reception. Simon West knows action, Wilson knows chaos, but the movie never turns either skill into a party worth attending. | © Magenta Light Studios

Cropped Snow White — 5. Snow White

Disney’s live-action *Snow White* arrived carrying decades of nostalgia, months of online controversy, and the kind of budget that makes every creative choice look even louder. Rachel Zegler has the voice and screen presence to carry a better fairy tale, but the movie keeps getting trapped between reverence, correction, and corporate self-protection. The new material never fully justifies itself, the visual world often feels oddly artificial, and Gal Gadot’s Evil Queen turns camp into a guessing game. Instead of feeling enchanted, the remake often feels focus-grouped within an inch of its life. | © Walt Disney Pictures

Cropped the electric state — 4. The Electric State

*The Electric State* should have been one of Netflix’s safest bets: the Russo brothers, Millie Bobby Brown, Chris Pratt, a beloved illustrated novel, retro-futurist robots, and a reported blockbuster-scale budget. Somehow, all that machinery produces a movie that looks expensive without feeling especially alive. Simon Stålenhag’s haunting melancholy gets softened into glossy adventure mush, while the emotional beats arrive with the subtlety of a robot waving a cue card. For something built from such striking source material, the film often feels like it wandered into a toy commercial and forgot the exit. | © Netflix

Playdate cropped processed by imagy — 3. Playdate

Kevin James and Alan Ritchson make a bizarre enough pairing to raise curiosity, and *Playdate* at least understands that contrast on paper. One dad wants a normal afternoon, the other drags him into a mercenary-filled disaster, and the whole thing has the shape of a broad buddy-action comedy. In practice, the film never becomes as fun as its cast combination suggests. James gets stuck in familiar panic mode, Ritchson plays the overqualified wild card, and the script keeps treating noise as momentum. The result is less comic mayhem than algorithm-approved dad chaos. | © Amazon MGM Studios

Cropped hurry up tomorrow — 2. Hurry Up Tomorrow

Trey Edward Shults directing The Weeknd, Jenna Ortega, and Barry Keoghan should have produced something dangerous, hypnotic, or at least memorably messy. *Hurry Up Tomorrow* is certainly personal, built around Abel Tesfaye’s album-era mythology and a fictionalized pop-star collapse, but the film keeps confusing interior torment with cinematic depth. Ortega and Keoghan bring flashes of intrigue whenever the movie lets them breathe, which only makes the surrounding self-mythologizing feel heavier. Pop stardom can be a fascinating nightmare on screen; here, it often plays like an expensive therapy session with lighting cues. | © Lionsgate

1. War of the Worlds

The 2025 *War of the Worlds* had one of the year’s most cursed combinations: a classic H.G. Wells premise, Ice Cube watching an alien invasion through screens, and product placement so aggressive it practically deserved billing. The screenlife format could have made the invasion feel immediate and paranoid, especially with surveillance and privacy baked into the story. Instead, the movie turns global catastrophe into a clunky desktop experience full of awkward performances, baffling choices, and accidental comedy. It is rare to see a sci-fi disaster movie become a disaster movie in every possible sense. | © Universal Pictures

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Last year gave moviegoers plenty to complain about, and not every disappointing release had the decency to be forgettable. Some arrived with huge budgets, familiar franchises, or awards-season confidence, only to collapse under bad scripts, confused direction, or painfully empty spectacle. The worst movies of 2025 were not all disasters in the same way, which almost makes the lineup more fascinating. From boring blockbusters to misguided prestige swings, these are the films that made audiences ask the most dangerous question in cinema: who thought this was ready?

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Last year gave moviegoers plenty to complain about, and not every disappointing release had the decency to be forgettable. Some arrived with huge budgets, familiar franchises, or awards-season confidence, only to collapse under bad scripts, confused direction, or painfully empty spectacle. The worst movies of 2025 were not all disasters in the same way, which almost makes the lineup more fascinating. From boring blockbusters to misguided prestige swings, these are the films that made audiences ask the most dangerous question in cinema: who thought this was ready?