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The 25 Best Movies With Horrible Reviews

1-25

TV Shows & Movies - April 22nd 2026, 19:00 GMT+2
Jennifers Body 2009 1

25. Jennifer’s Body (2009)

The marketing sold one movie, and Karyn Kusama plus Diablo Cody delivered another. What looked like a cheap star vehicle was actually a nasty, funny, emotionally bruised horror-comedy about female friendship turning demonic in every sense of the word. Megan Fox understood the assignment, Amanda Seyfried anchors the emotional side, and the film now feels much closer to the sharp cult favorite people wish it had been allowed to become on day one. | © 20th Century Fox

The 5th Wave

24. The 5th Wave (2016)

Chloë Grace Moretz spends this movie fighting aliens, military secrets, and a screenplay built from familiar YA-dystopia parts, yet she gives it enough urgency to keep the whole thing upright. The pull here is not originality so much as pace, polish, and a cast that treats the material more seriously than the material probably deserves. Critics mostly saw a franchise starter assembled in a lab, but as a slick end-of-the-world popcorn watch, it works better than its reputation suggests. | © Columbia Pictures

Observe and Report

23. Observe and Report (2009)

Jody Hill took the mall-cop setup and dragged it somewhere far less cuddly than audiences expected. Seth Rogen plays Ronnie Barnhardt like a man one bad day away from becoming a local headline, which gives the comedy a sour, abrasive edge that still catches people off guard. That meanness is exactly why the movie never became broadly beloved, but it is also why it feels more distinct than a safer studio version ever would have. | © Warner Bros. Pictures

Person to Person

22. Person to Person (2017)

Dustin Guy Defa made a New York ensemble film so loose and low-key that a lot of critics read it as shapeless drift. I get the complaint, but that softness is also the movie’s entire personality: little encounters, small embarrassments, odd tenderness, and people trying to survive the city without turning into cartoons. It moves like an overheard afternoon rather than a machine-made plot, which means it either clicks with you immediately or not at all. | © Magnolia Pictures

Dog Eat Dog

21. Dog Eat Dog (2016)

Nothing about this one wants to be respectable, and that is a big part of the charm. Paul Schrader lets Nicolas Cage and Willem Dafoe roam through a filthy, twitchy crime story that behaves like it might explode or collapse at any second, sometimes within the same scene. Critics were split on the whole mess, but viewers with any affection for deranged late-career pulp can see the fun in a movie this committed to ugliness, desperation, and bad decisions. | © RLJ Entertainment

The Great Gatsby

20. The Great Gatsby (2013)

Baz Luhrmann did not sneak up on Fitzgerald with subtlety, restraint, or moderation, and thank God for that. The film turns excess into both style and argument, flooding the screen with wealth, noise, color, and collapse until the whole story feels like a party already rotting from the inside. Critics wanted more soul beneath the spectacle, which is understandable, but the spectacle is the soul here, and the movie is most alive when it is pushing that idea to a ridiculous extreme. | © Warner Bros. Pictures

The Postman

19. The Postman (1997)

Kevin Costner’s post-apocalyptic mail epic is absurdly sincere, comically oversized, and absolutely convinced that delivering letters can heal civilization. That kind of earnestness made it easy to mock, especially when the runtime keeps stretching like it has nowhere else to be. Still, beneath the bloat sits a strangely moving frontier fantasy about symbols, hope, and people needing to believe in something larger than the nearest warlord with a gun. | © Warner Bros

Venom

18. Venom (2018)

Critics wanted a cleaner superhero movie and got Tom Hardy performing like a man possessed by both an alien goo monster and three different acting choices at once. That chaos is why the film works. Instead of polished Marvel house style, it offers a goopy odd-couple comedy where Eddie Brock and Venom bicker, threaten, and practically flirt their way through scenes that would be dead on arrival in a more respectable comic-book movie. | © Columbia Pictures

Masterminds

17. Masterminds (2016)

The true-story crime angle matters less here than the pleasure of watching a bunch of very funny people behave like overconfident idiots. Jared Hess leans into regional weirdness, bad wigs, and the unmistakable energy of a robbery planned by people who should not be trusted with a grocery list. The reviews were rough, but the cast keeps landing little comic details that make the whole thing much more enjoyable than the generic “dumped by the studio” reputation it picked up. | © Relativity Studios

Cropped Halle Berry Catwoman

16. Catwoman (2004)

This is not a faithful comic-book adaptation, not a coherent superhero story, and not even especially interested in being either of those things. What it is, however, is a gloriously bizarre studio artifact full of strange line readings, warped digital energy, and Halle Berry attacking the material with more commitment than the script can pay back. The critical drubbing was earned in plenty of ways, but boring was never the problem, and that counts for something when so many failed blockbusters leave no pulse at all. | © Warner Bros. Pictures

Cropped Star Wars Episode II Attack of the Clones

15. Star Wars: Attack of the Clones (2002)

Yes, the romance dialogue can clang like dropped metal, and no one needs to pretend otherwise. Even with that baggage, the movie has real strengths people tend to skip past: the noir-ish opening mystery, the Kamino world-building, Christopher Lee entering the saga like he owns the place, and a final stretch that finally gives the prequels the scale they were always promising. It is uneven, definitely, but also far more entertaining than the usual punchline version of its reputation allows. | © Lucasfilm Ltd

Cabin Boy

14. Cabin Boy (1994)

Chris Elliott spends this film wandering through a nightmare children’s story designed by people who had clearly stopped caring whether anyone would approve. That is the joke, and it is also the movie’s secret weapon. The humor is aggressively stupid, proudly artificial, and weirdly poetic in its own hostile way, which made it an easy critical target but also the reason it still has a pulse decades later. | © Touchstone Pictures

Season of the Witch

13. Season of the Witch (2011)

Put Nicolas Cage and Ron Perlman in plague-era armor, send them across a cursed landscape, and you are already halfway to a perfectly decent movie night. The result is scruffier and cheaper-looking than its premise deserves, but it also knows how to deliver mud, superstition, swordplay, and exactly the kind of gloomy nonsense Cage fans show up for. Critics mostly torched it, yet the film plays surprisingly well once you stop asking for prestige and accept the invitation to medieval B-movie territory. | © Relativity Media

Hudson Hawk

12. Hudson Hawk (1991)

Bruce Willis singing during a heist should have been a warning that normal rules were no longer in effect. This movie lunges from caper comedy to cartoon lunacy to action spoof without ever asking permission, and the refusal to settle down is exactly why a certain kind of viewer keeps defending it. The reviews treated it like a baffling misfire, which it absolutely is in places, but it is also one of the rare big studio flops with an actual personality disorder. | © TriStar Pictures

But Im a Cheerleader

11. But I’m a Cheerleader (1999)

Jamie Babbit made conversion therapy look like a toy store designed by a deeply repressed tyrant, and that visual joke alone still lands. The candy-colored production, Natasha Lyonne’s dry delivery, and the film’s refusal to flatten queer identity into tragedy give it an edge that has only become clearer with time. Early responses were mixed at best, but the satire is much sharper than many critics gave it credit for, and its stylization now feels like the point rather than the obstacle. | © Lions Gate Films

Cropped Just Go with It

10. Just Go With It (2011)

This movie has no interest in behaving like refined romantic comedy material, and that shamelessness is a big reason it remains so rewatchable. Adam Sandler and Jennifer Aniston understand that the whole engine runs on relaxed chemistry, escalating lies, and vacation-movie nonsense delivered with enough confidence that you stop resisting. Critics were brutal, but as glossy comfort food with a surprisingly game ensemble, it has aged into exactly the kind of cable favorite people pretend they only watched by accident. | © Columbia Pictures

Hardcore Henry

9. Hardcore Henry (2015)

The first-person gimmick scared off plenty of people, and fair enough, because the movie really does come at your eyeballs like an energy drink with a body count. Still, once you lock into its rhythm, the thing becomes a remarkably committed piece of action lunacy, with Sharlto Copley bouncing through multiple personas like he is trying to win a dare. Critics mostly focused on the thin story, but nobody can say the film lacked nerve, velocity, or its own unhinged reason for existing. | © STX Entertainment

Eyes Wide Shut

8. Eyes Wide Shut (1999)

For a final Stanley Kubrick film, the initial response was far more suspicious than reverent, which feels almost impossible now. What looked cold, remote, or maddeningly withheld to some viewers has since revealed itself as the whole design: a dreamlike study of jealousy, performance, intimacy, class, and the stories people tell themselves to survive marriage. It is not meant to soothe anyone, and that refusal is exactly what keeps it lingering in the mind long after cleaner, friendlier films have evaporated. | © Warner Bros

Sucker Punch

7. Sucker Punch (2011)

Zack Snyder built a movie that looks like a teenage sketchbook left open during a boss battle, then dared everybody to call it empty. Many did, loudly. Yet under all the slow motion, dragons, trenches, and chrome fantasy wreckage sits a movie trying to say something ugly about control, exploitation, and the way pop culture packages female pain as spectacle. It does not always get there cleanly, but it is far more interesting to argue with than the usual “style over substance” dismissal makes it sound. | © Warner Bros. Pictures

Cropped Death Becomes Her

6. Death Becomes Her (1992)

Robert Zemeckis made vanity, rivalry, and cosmetic panic look like a camp horror carousel, then handed the controls to Meryl Streep, Goldie Hawn, and Bruce Willis. The reviews were mixed at the time, but the movie’s blend of acid comedy and pioneering visual effects has only become more delicious with age. Every choice is pitched just a little past tasteful, which turns out to be exactly the right setting for a story where eternal youth is basically a curse with better lighting. | © Universal Pictures

Waterworld

5. Waterworld (1995)

The budget jokes arrived before the audience did, which locked this movie into punchline status almost instantly. Strip away the industrial-scale gossip, though, and what remains is a genuinely ambitious piece of blockbuster world-building with practical sets, grimy texture, and a strange, salty sense of adventure that modern digital spectacles rarely manage. It is messy, definitely, but the scale is real, the stunt work is real, and the whole thing feels like an expensive dare somebody actually followed through on. | © Universal Pictures

Cropped Vanilla Sky

4. Vanilla Sky (2001)

Cameron Crowe took a slippery Spanish psychological thriller, rebuilt it as a glossy star vehicle, and somehow made the result even stranger. Tom Cruise spends the film inside a luxury nightmare where romantic fantasy, ego collapse, and science-fiction dread keep bleeding into each other, and that instability is the whole appeal. Critics were divided on whether it was profound or hopelessly muddled, but the movie’s willingness to be earnest, confusing, and emotionally excessive all at once makes it much harder to forget than safer prestige dramas from the same era. | © Paramount Pictures

Scooby Doo

3. Scooby-Doo (2002)

The live-action version got mocked for being loud, dumb, and full of broad jokes, which is funny because that is more or less the correct setting for Scooby-Doo in the first place. Matthew Lillard understood the material on a molecular level, the cast commits hard to the cartoon energy, and James Gunn’s script keeps slipping in a slightly snarkier edge than the film was ever likely to get credit for. It is pure studio goofiness, but it knows it, and that self-awareness carries it a long way. | © Warner Bros. Pictures

Cropped The Thing

2. The Thing (1982)

John Carpenter released a horror movie so bleak, paranoid, and physically disgusting that a lot of critics recoiled from it on impact. Time has made that reaction look almost quaint. The practical effects still feel hostile in the best possible way, the Antarctic isolation still bites, and the film’s refusal to offer comfort is exactly what turned it from a critical punching bag into one of the most admired genre movies ever made. | © Universal Pictures

Xanadu

1. Xanadu (1980)

A roller-disco fantasy about a muse opening a nightclub was never going to charm the solemn crowd, and this one barely tries. The plot is flimsy, the tone drifts around like it is wearing skates on fresh wax, and yet the film survives on pure neon sincerity, Gene Kelly’s warmth, Olivia Newton-John’s glow, and a soundtrack that did a lot of heavy lifting for good reason. Dismiss it as nonsense if you want; the music and the mood have been outlasting that verdict for decades. | © Universal Pictures

1-25

A rotten review can stick to a movie for decades, even when the movie itself never really goes away. A lot of the films here were called noisy, stupid, overblown, or just plain bad when they first landed, then quietly built the kind of following critics cannot manufacture or erase. Hollywood loves pretending the first verdict is the correct one, but time keeps exposing how flimsy that idea can be. These are the movies that got dragged on arrival and still refused to stay buried.

A rotten review can stick to a movie for decades, even when the movie itself never really goes away. A lot of the films here were called noisy, stupid, overblown, or just plain bad when they first landed, then quietly built the kind of following critics cannot manufacture or erase. Hollywood loves pretending the first verdict is the correct one, but time keeps exposing how flimsy that idea can be. These are the movies that got dragged on arrival and still refused to stay buried.

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