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The 15 Worst Movies of 2025

1-15

Ignacio Weil

Entertainment - August 16th 2026, 21:00 GMT+2

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

Joe Carnahan can usually make gunfire feel caffeinated, which makes the lethargy of *Shadow Force* especially puzzling. Kerry Washington and Omar Sy play former assassins protecting their son from the covert unit they once led, a setup with enough fuel for a brisk romantic action movie. Instead, syrupy family banter keeps colliding with anonymous shootouts, while Mark Strong receives yet another villain assembled from expensive suits and exposition. The stars retain their charisma; the film repeatedly forgets to give them anything dangerous or funny to do. | © Lionsgate

Juliet Romeo 2025 cropped processed by imagy — 14. Juliet & Romeo

Flipping the lovers’ names in the title turns out to be *Juliet & Romeo*’s most memorable act of rebellion. Timothy Scott Bogart recasts Shakespeare’s tragedy as a glossy pop musical, surrounding Clara Rugaard and Jamie Ward with lavish Verona scenery, an overqualified supporting cast, and songs that evaporate before the chorus ends. The production is far too polished to qualify as camp and far too dramatically inert to work as romance. Two hours later, the famous balcony feels less like a destination than an emergency exit. | © Briarcliff Entertainment

Alarum cropped processed by imagy — 13. Alarum

Scott Eastwood and Willa Fitzgerald play rival spies turned married fugitives; their quiet honeymoon explodes after a plane crashes nearby with a valuable drive aboard. *Alarum* then buries that clean premise under acronyms, double-crosses, and gunfights cut with all the spatial logic of dropped cutlery. Sylvester Stallone wanders through as a veteran operative, lending his name more weight than his screen time can carry. Even Fitzgerald’s commitment cannot persuade us that an Ohio state park is the center of global espionage. | © Lionsgate

The Strangers Chapter 2 cropped processed by imagy — 12. The Strangers: Chapter 2

Bryan Bertino’s 2008 original needed a front porch, three masks, and one brutal answer to explain everything. *The Strangers: Chapter 2* responds by adding a hospital chase, suspicious townspeople, killer backstory, and—because restraint has left the building—a wild-boar attack. Madelaine Petsch remains physically committed as survivor Maya, but the middle installment of Renny Harlin’s trilogy mistakes more incident for more suspense. Every attempt to enlarge or explain the masked attackers makes them smaller, until senseless terror has become franchise paperwork. | © Lionsgate

Five nights at freddys 2 movie cropped processed by imagy — 11. Five Nights at Freddy’s 2

*Five Nights at Freddy’s 2* does not tell a story so much as unlock a folder marked LORE and dump its contents across the floor. The sequel brings in more animatronics, flashbacks, conspiracies, and game references, yet somehow misplaces the basic thrill of being trapped with homicidal mascots. Jim Henson’s Creature Shop gives the machines tangible personality, and devotees may enjoy spotting every clue. Everyone else gets clotted exposition, strangely tame horror, and characters explaining mythology while the movie’s best monsters wait for permission to attack. | © Universal Pictures

Smurfs 2025 cropped processed by imagy — 10. Smurfs

Paramount apparently looked at the tiny blue villagers and diagnosed a shortage of multiverses, celebrity cameos, and cosmic lore. In *Smurfs*, Rihanna’s Smurfette leads a rescue mission after Papa Smurf is kidnapped by Gargamel and his brother Razamel, sending the gang through clashing animation styles and increasingly frantic plot machinery. The occasional visual experiment has spark, but the film treats attention spans as enemies to be subdued. Peyo’s gentle comic creation emerges wearing the exhausted grin of an intellectual property that has attended too many strategy meetings. | © Paramount Pictures

Kinda Pregnant cropped processed by imagy — 9. Kinda Pregnant

A fake pregnancy ought to tighten into a comic noose. In *Kinda Pregnant*, it mostly gives Amy Schumer a silicone belly to hide, damage, and weaponize after her teacher character, Lainy, lies out of jealousy over a friend’s baby news. The premise brushes against loneliness, fertility anxiety, and the bizarre public ownership of pregnant bodies, then retreats to slapstick whenever honesty threatens. Will Forte supplies welcome gentleness, but even he cannot make a romance built on this much deception feel merely quirky. | © Netflix

Star Trek Section 31 — 8. Star Trek: Section 31

*Star Trek: Section 31* takes Michelle Yeoh’s ruthless Emperor Georgiou, hands her a squad of disposable wisecrackers, and somehow makes intergalactic espionage feel like a rejected streaming pilot. The covert team chases a doomsday weapon tied to Georgiou’s past, but the mission disappears beneath neon lighting, frantic editing, and dialogue desperate to sound irreverent. Yeoh can sell imperial menace in her sleep; the movie keeps waking her for exposition. Instead of exploring Section 31’s murky ethics, it repaints *Guardians of the Galaxy* and hopes nobody notices the Federation badge. | © Paramount+

Gunslingers cropped processed by imagy — 7. Gunslingers

Brian Skiba wrote, directed, produced, and edited *Gunslingers*, which may explain why nobody was available to tell him when the shootout had gone on long enough. Stephen Dorff plays a wanted outlaw hiding in a town where residents are forbidden to carry guns, an agreeably odd premise flattened by canned dialogue, digital blood, and action with no rhythm. Nicolas Cage materializes as a Bible-reading photographer in cross-shaped sunglasses, delivering the only behavior too strange to predict. Strip away his eccentric detour, and the Western is a bargain-bin DVD cover stretched to feature length. | © Lionsgate

Cropped Snow White — 6. Snow White

Rachel Zegler sings beautifully in *Snow White*, which only makes the synthetic kingdom surrounding her look more peculiar. Disney’s remake wants the iconography of its 1937 classic without defending its romance, its heroine without her defining innocence, and photorealistic dwarfs without the inconvenience of human faces. New songs and a rebellion subplot keep insisting that this version is bolder, while the staging remains timid and oddly airless. Zegler supplies genuine warmth; the movie answers with visual effects that make enchanted woodland creatures resemble witnesses in a court case. | © Walt Disney Pictures

Bride Hard 2025 cropped processed by imagy — 5. Bride Hard

The pun in *Bride Hard* arrives fully dressed and ready; the movie spends 105 minutes trying to catch up. Rebel Wilson plays a secret agent whose best friend’s wedding is invaded by mercenaries, combining *Bridesmaids* and *Die Hard* with the precision of two DVDs glued together. Director Simon West once made the glorious nonsense of *Con Air*, yet these fights look cramped, choppy, and strangely apologetic. Anna Camp, Anna Chlumsky, and Da’Vine Joy Randolph are present, but the screenplay treats that cast like unused wedding favors. | © Magenta Light Studios

Playdate cropped processed by imagy — 4. Playdate

*Playdate* pairs Kevin James’s anxious new stay-at-home dad with Alan Ritchson’s suspiciously combat-ready counterpart, then fires mercenaries at their sons before anyone has finished the arcade pizza. That contrast could sustain a tidy 90-minute buddy comedy. Instead, the film accelerates into military conspiracies, product placement, and a late science-fiction revelation so deranged it briefly wakes the audience. Ritchson understands the assignment and plays human concrete with cheerful sincerity; the editing sabotages his timing, while every emotional lesson arrives already laminated. | © Amazon MGM Studios

Cropped the electric state — 3. The Electric State

The reported $320 million behind *The Electric State* is visible everywhere except in its imagination. The Russo brothers turn Simon Stålenhag’s melancholy illustrated world—an alternate 1990s scarred by a robot war—into a noisy road trip for Millie Bobby Brown and Chris Pratt, complete with quips, mascot sidekicks, and an enormous final battle. Robot designs occasionally preserve the source material’s haunted beauty, only for the screenplay to make them explain themselves. Money can render every dent in a machine; it apparently cannot purchase silence, mystery, or chemistry. | © Netflix

Cropped hurry up tomorrow — 2. Hurry Up Tomorrow

*Hurry Up Tomorrow* begins with Abel Tesfaye playing a depressed, insomniac superstar named Abel Tesfaye, so accusations of vanity are hardly arriving uninvited. After he loses his voice onstage, Jenna Ortega’s mysterious fan pulls him into a nocturnal psychological spiral while Barry Keoghan hovers as his manager. Trey Edward Shults and cinematographer Chayse Irvin give the film bruised, expensive-looking images, but no visual can puncture its suffocating self-importance. The Weeknd made a companion to his album; audiences received the world’s longest dramatic voicemail. | © Lionsgate

1. War of the Worlds

Humanity survives *War of the Worlds* through video calls, pop-up windows, and the unmatched logistical power of Amazon Prime. Ice Cube plays a Homeland Security surveillance analyst watching an alien invasion unfold across his monitor, a screenlife conceit that turns H.G. Wells’s apocalypse into a malfunctioning corporate webinar. The effects are shabby, the family drama is performed in little rectangles, and suspense keeps pausing for interface business. When a Prime Air drone delivers the crucial flash drive, the adaptation finally reveals its true invaders: product placement with tripods. | © Universal Pictures

1-15

A terrible film often reveals itself through the face of its highest-paid actor: eyes glazed, dialogue delivered, agent presumably texted between takes. That expression appeared with alarming frequency in 2025, as sequels, adaptations, and would-be blockbusters chewed through money and talent without producing much entertainment. Narrowing the wreckage to 15 required mercy that several of these releases never showed their audiences. Tickets were sold, hours were lost, and now the receipts are due.

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A terrible film often reveals itself through the face of its highest-paid actor: eyes glazed, dialogue delivered, agent presumably texted between takes. That expression appeared with alarming frequency in 2025, as sequels, adaptations, and would-be blockbusters chewed through money and talent without producing much entertainment. Narrowing the wreckage to 15 required mercy that several of these releases never showed their audiences. Tickets were sold, hours were lost, and now the receipts are due.