The Top 20 Worst Movies Of 2024

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Ignacio Weil

Entertainment - January 12th 2025, 13:00 GMT+1

Cropped About — About this gallery:

For this list, we’re shining a not-so-flattering spotlight on the blockbusters that truly earned the title of “worst of the worst” in terms of script, visual effects, direction, acting, and overall quality. We’re talking about movies so bad, they make you question how they ever got greenlit. And let’s just say, 2024 was such a cinematic trainwreck that we didn’t even have room to include *Kraven the Hunter*.

Think we missed a movie so infamous that it deserves a spot on this year's wall of shame? Don’t be shy – drop your picks in the comments! After all, misery loves company.

| © Lionsgate

Cropped Mea Culpa — 20. Mea Culpa

In *Mea Culpa*, Tyler Perry attempts to craft a legal thriller with Kelly Rowland starring as a defense attorney representing an artist accused of murder. Despite the intriguing premise, the film falters with a predictable plot and lackluster character development, leaving audiences yearning for the courtroom dramas of yesteryear. Rowland's performance is earnest but ultimately unable to elevate the uninspired script. Perry's direction, while competent, doesn't bring the necessary tension or originality to the genre, resulting in a film that feels more like a rerun than a fresh case. | © Tyler Perry Studios

Cropped Night Swim — 19. Night Swim

*Night Swim* dives into the horror genre with a tale of a family haunted by a sinister backyard swimming pool. While the concept treads water between absurdity and potential, the execution leaves much to be desired. The film struggles to balance family drama with supernatural scares, leading to a narrative that feels shallow and unconvincing. Despite some atmospheric moments, the lack of genuine suspense and reliance on clichéd jump scares make this a forgettable dip into horror waters. | © Blumhouse Productions

Cropped Salems Lot 1 — 18. Salem's Lot

Gary Dauberman's adaptation of Stephen King's *Salem's Lot* aims to bring the classic vampire tale to a new generation but ends up feeling more like a relic of the past. Set in the 1970s, the film's attempt at nostalgia is overshadowed by a sluggish pace and uninspired scares. Lewis Pullman's portrayal of Ben Mears lacks the charisma needed to anchor the story, and the supporting cast fails to inject life into the lifeless script. Even the presence of vampires can't resuscitate this dull retelling. | © New Line Cinema

Cropped Tarot — 17. Tarot

*Tarot* ventures into the mystical with a plot centered around a deck of cards foretelling ominous events. Unfortunately, the film's narrative is as jumbled as a shuffled deck, with convoluted storytelling and underdeveloped characters. The attempts at suspense are undermined by predictable twists and a lack of coherent direction. Despite a promising premise, *Tarot* fails to deliver a compelling or engaging experience, leaving audiences wishing they'd drawn a different card. | © Dark Moon Pictures

Cropped Afraid — 16. Afraid

*Afraid* tries to tap into primal fears with a story about a couple terrorized in their secluded home. However, the film's reliance on tired horror tropes and a lack of character depth result in a suspense-free experience. The predictable plot and uninspired direction make it hard to invest in the protagonists' plight. Instead of delivering genuine scares, *Afraid* leaves viewers more bored than frightened, proving that sometimes the only thing to fear is a dull movie. | © Fear Factory Films

Cropped Winnie the Pooh Blood and Honey 2 — 15. Winnie-the-Pooh: Blood and Honey II

In *Winnie-the-Pooh: Blood and Honey II*, our beloved bear trades honey pots for hatchets, leading his pals on a rampage through Ashdown. While the premise promises a quirky horror twist, the execution leaves much to be desired. The film's attempt to blend childhood nostalgia with slasher tropes results in a muddled narrative that neither scares nor entertains effectively. Despite a larger budget than its predecessor, the sequel struggles with subpar special effects and a lack of coherent storytelling. The novelty of a murderous Pooh wears thin quickly, making this sequel feel more like a gimmick than a genuine horror experience. | © Jagged Edge Productions

Cropped Harold and the Purple Crayon — 14. Harold and the Purple Crayon

*Harold and the Purple Crayon* attempts to expand a charming children's tale into a feature-length film but ends up coloring outside the lines. The transition from a simple story to a convoluted plot involving an adult Harold searching for his creator feels forced and unnecessary. The shift from animation to live-action further detracts from the whimsical essence of the original. Despite the talents of Zachary Levi and Zooey Deschanel, the film fails to capture the magic and simplicity that made the source material beloved. Instead of a delightful journey of imagination, audiences are left with a disjointed narrative that overcomplicates a straightforward story. | © Sony Pictures Animation

Cropped Unfrosted — 13. Unfrosted

Jerry Seinfeld's *Unfrosted* aims to satirize the origin of Pop-Tarts but ends up feeling half-baked. The film's humor, reliant on dated references and predictable punchlines, falls flat, leaving viewers craving the sharp wit Seinfeld is known for. The narrative stretches a thin premise beyond its breaking point, resulting in a story that feels as empty as an unfrosted pastry. Even with a cast of comedic talents, the film lacks the flavor and creativity needed to sustain interest. Ultimately, *Unfrosted* serves as a reminder that not all nostalgic treats warrant a cinematic origin story. | © Netflix

Cropped Argylle — 12. Argylle

*Argylle* attempts to weave a complex spy thriller but ends up tangled in its own convoluted plot threads. Despite an ensemble cast featuring Henry Cavill and Dua Lipa, the film's lackluster script and predictable twists undermine any potential suspense. Director Matthew Vaughn's signature style is present but feels more like a rehash of his previous works than a fresh take on the genre. The film's overreliance on clichés and lack of character development leave audiences disengaged. In the crowded field of espionage thrillers, *Argylle* fails to make a memorable impression, coming off more like a bargain-bin novel than a bestseller. | © Marv Studios

Cropped The Crow — 11. The Crow

The reboot of *The Crow* attempts to resurrect the gothic antihero for a new generation but falls victim to a lack of originality and depth. Bill Skarsgård's portrayal of Eric Draven is earnest but overshadowed by a script that fails to capture the brooding intensity of the original. The film's visual style, while aiming for dark and moody, comes across as drab and uninspired. Attempts to modernize the story result in a loss of the atmospheric charm that made the 1994 film a cult classic. Ultimately, this reboot feels like a pale imitation, lacking the soul and grit that fans cherished in the original. | © Davis Films

Cropped Rebel Moon Part Two The Scargiver — 10. Rebel Moon – Part Two: The Scargiver

In *Rebel Moon – Part Two: The Scargiver*, director Zack Snyder continues his space opera saga with a visual spectacle that, unfortunately, doesn't quite reach the stars. While the film boasts impressive special effects and ambitious world-building, it struggles with a convoluted plot and underdeveloped characters. Sofia Boutella returns as Kora, leading a rebellion against the oppressive Motherworld, but even her compelling performance can't fully salvage the narrative. Critics have noted that the film's style often overshadows its substance, leaving audiences yearning for a more coherent storyline. Despite its shortcomings, the film has garnered attention for its expansive universe and Snyder's signature directorial flair. | © The Stone Quarry, Grand Electric

Cropped Megalopolis — 9. Megalopolis

Francis Ford Coppola's *Megalopolis* aims to be an epic tale of utopian ambition set in a futuristic New York City, but it falters under the weight of its own grandiosity. The film's sprawling narrative and philosophical musings become muddled, leading to a viewing experience that feels more exhausting than enlightening. Despite a star-studded cast, including Adam Driver and Nathalie Emmanuel, the characters lack depth, making it difficult for audiences to invest in their journeys. Coppola's ambitious vision is evident, but the execution leaves much to be desired, resulting in a film that's more of a monumental misfire than a masterpiece. | © American Zoetrope

Cropped Poolman — 8. Poolman

*Poolman*, directed by and starring Chris Pine, attempts to deliver a quirky neo-noir comedy but ends up floundering in shallow waters. Pine plays Darren Barrenman, a pool cleaner who becomes entangled in a convoluted conspiracy involving water theft in Los Angeles. The film's offbeat humor and eccentric characters aim for charm but often miss the mark, leading to a disjointed narrative that struggles to find its footing. Despite Pine's charismatic presence, *Poolman* fails to make a splash, leaving audiences high and dry. | © Barry Linen Motion Pictures, Wonder Street

Cropped Uglies — 7. Uglies

Based on Scott Westerfeld's popular dystopian novel, *Uglies* envisions a future where society mandates cosmetic surgery to enforce conformity. However, the film's execution lacks the depth and nuance needed to explore its thought-provoking themes effectively. The narrative feels rushed, glossing over character development and world-building in favor of superficial action sequences. Lead actress Joey King's performance is earnest, but she's given little to work with in a script that prioritizes style over substance. Ultimately, *Uglies* fails to capture the complexity of its source material, resulting in a film that's more bland than bold. | © Netflix

Cropped Megamind vs The Doom Syndicate — 6. Megamind vs. the Doom Syndicate

In *Megamind vs. the Doom Syndicate*, the once-brilliant antihero returns to battle a new nemesis, but this sequel feels more like a villainous plot against its own legacy. The humor, once sharp and clever, now relies on tired gags and predictable punchlines that lack the original's charm. While Will Ferrell and Tina Fey reprise their roles with enthusiasm, even their comedic timing can't save the uninspired story. The animation, a notable highlight of the first film, has unfortunately taken a noticeable dip in quality, with less polished visuals and a lack of the creativity that made the original so dynamic. Nostalgic fans may find brief moments of joy, but overall, *Megamind vs. the Doom Syndicate* struggles to recapture the magic of its predecessor, landing it squarely in the dreaded sequel slump. | © DreamWorks Animation

Cropped The American Society of Magical Negroes — 5. The American Society of Magical Negroes

*The American Society of Magical Negroes* sets out with a bold concept, aiming to satirize the well-worn trope of the "Magical Negro" in cinema. Following Aren (Justice Smith) as he stumbles into a secret society tasked with assisting white protagonists, the film had potential to deliver biting social commentary. Unfortunately, it gets lost in its own ambitions. The humor often misses the mark, and the narrative struggles to balance its satirical edge with a coherent story. While the idea is thought-provoking, the uneven execution leaves it feeling more like a missed opportunity than a meaningful critique. | © Focus Features

Cropped Red One — 4. Red One

*Red One* attempts to bring action and comedy to the Christmas genre, pairing Dwayne Johnson and Chris Evans in a high-octane holiday romp. But despite its flashy concept and star power, the film ends up more “Bah, Humbug!” than “Ho, Ho, Ho.” The overuse of CGI and a formulaic plot drag the story down, and even the charm of its leading men can’t rescue it from mediocrity. It’s like unwrapping a beautifully wrapped gift only to find socks inside – not terrible, but definitely disappointing. | © Amazon Studios

Cropped Joker Folie à Deux — 3. Joker: Folie à Deux

*Joker: Folie à Deux* dares to take the grim, psychological depths of its predecessor and give them a musical twist – a risk that doesn’t quite pay off. Joaquin Phoenix and Lady Gaga both deliver committed performances, but the film’s attempt to blend psychological drama with Broadway-style musical numbers feels wildly inconsistent. The tonal shifts are jarring, pulling audiences out of the experience rather than drawing them in.

While the first *Joker* thrived on its unrelenting focus and raw tension, this sequel seems too distracted by its own stylistic experiments. The story itself feels thin, relying too heavily on its spectacle rather than character development. By the end, the film’s chaotic energy leaves viewers scratching their heads, wondering if they were supposed to laugh, cry, or applaud. *Folie à Deux* ultimately overreaches, proving that not every sequel needs to reinvent the wheel – or add a song-and-dance number. | © Warner Bros. Pictures

Cropped Madame Web — 2. Madame Web

*Madame Web* swings for the fences as Sony tries to expand its Spider-Man universe, but it lands flat on its face instead. Dakota Johnson stars as the psychic Madame Web, but her performance is lost in a convoluted plot that tries to juggle too many characters and ideas at once. The origin story, meant to intrigue and excite, feels like an endless exposition dump that saps the life out of the narrative.

Action sequences, while abundant, lack any real creativity or stakes, leaving audiences disengaged. Even the visual effects, a key strength for superhero films, feel unpolished and uninspired. Fans of the Spider-Man franchise might struggle to care about the film’s tenuous connections to the broader universe. In the end, *Madame Web* feels like it’s trying too hard to be relevant, resulting in a film that’s neither entertaining nor necessary. | © Sony Pictures

Cropped Borderlands — 1. Borderlands

*Borderlands* sets out to adapt the chaotic, comedic mayhem of the beloved video game series but misses the mark by a wide margin. Directed by Eli Roth, the film’s attempt to replicate the quirky charm of the games results in a disjointed mess that fails to capture the essence of its source material. The cast, including Cate Blanchett as Lilith and Kevin Hart as Roland, feel miscast, their performances awkward and out of sync with the tone. The humor, a defining feature of the games, comes across as forced and cringeworthy, with jokes that rarely land.

The action sequences lack the frenetic energy fans expect, instead coming off as bland and repetitive. The film’s pacing is all over the place, dragging in some parts and rushing through others, leaving little room for character or world-building. Fans of the franchise will likely leave disappointed, wondering how a story so full of potential could feel so lifeless on screen. *Borderlands* is a harsh reminder that not all games are meant for the silver screen. | © Lionsgate

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Ah, 2024—a year that brought us unforgettable blockbusters, boundary-pushing indies, and...well, these. For every masterpiece that graced the silver screen, there were films that missed the mark so spectacularly that they earned their place in the cinematic hall of dishonor. This is not just a list; it's a cautionary tale for filmmakers and audiences alike, a reminder that even with big budgets, star-studded casts, and ambitious ideas, things can still go terribly, hilariously wrong.

From disastrous sequels nobody asked for to reboots that should’ve stayed in development purgatory, these are the movies that had critics groaning, fans facepalming, and popcorn buckets doubling as tear catchers. So grab your sense of humor (and maybe a stiff drink), and join us as we count down the top 20 worst movies of 2024. Who knows—you might even find a guilty pleasure or two in the mix!