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The 25 Worst Movie Remakes of All Time

1-25

TV Shows & Movies - August 26th 2026, 23:55 GMT+2
The Eye

25. The Eye (2008)

The original The Eye turned restored sight into a cruel bargain: its heroine could see again, but the dead came into focus with everything else. The Jessica Alba remake preserves that premise and several major set pieces, yet translates the Pang brothers’ hushed supernatural dread into polished studio jolts. Alba is perfectly credible as concert violinist Sydney Wells, but the film keeps explaining what should feel uncanny. Even the ghosts seem overlit, as if they arrived early for a medical-drama audition. | © Lionsgate

Fathers Day

24. Fathers’ Day (1997)

Putting Robin Williams and Billy Crystal in the same comedy sounds like a license to print laughs. Fathers’ Day, an American remake of France’s Les Compères, somehow turns that dream pairing into 98 minutes of strained bickering. Both men are told they may have fathered the same runaway teenager, a premise built for escalating farce, but the script prefers road-movie detours and startlingly sour jokes. Williams improvises sparks; Crystal supplies exasperation. The movie keeps them busy instead of giving them chemistry. | © Warner Bros.

Red Dawn

23. Red Dawn (2012)

Red Dawn was filmed with Chinese invaders, shelved during MGM’s financial collapse, then digitally altered so North Korea became the occupying force. That post-production identity crisis is visible everywhere. Chris Hemsworth has credible battlefield authority, but the remake replaces the original’s Cold War paranoia with anonymous video-game action and a geopolitical setup it cannot make remotely convincing. The Wolverines still shout, shoot and suffer; what disappears is the unnerving idea that their suburban home has truly become enemy territory. | © FilmDistrict

Flubber

22. Flubber (1997)

Flubber gives Robin Williams a flying rubber invention, a lovesick robot assistant and enough cartoon physics to flatten an entire gymnasium. What it cannot give him is a character worth playing. The remake of Disney’s The Absent-Minded Professor trades the original’s clean, silly charm for frantic effects, bodily-impact gags and a professor so neglectful that forgetting his own wedding becomes less adorable every time it happens. Williams attacks the material with heroic energy, but even he cannot out-bounce the machinery around him. | © Walt Disney Pictures

The Fog 2005

21. The Fog (2005)

John Carpenter’s The Fog turned a coastal radio broadcast and a glowing bank of mist into a slow-moving death sentence. The remake keeps the murdered sailors and the town’s buried crime, then smothers the dread beneath glossy romance and computer-generated ghosts that insist on being seen. Selma Blair’s late-night DJ briefly finds the right lonely frequency, but Tom Welling and Maggie Grace are stranded in a story more interested in explaining its mythology than haunting anyone. Even the fog seems eager to leave. | © Columbia Pictures

Jungle 2 Jungle

20. Jungle 2 Jungle (1997)

Wall Street broker Michael Cromwell travels to Venezuela, discovers he has a teenage son raised in the Amazon and brings him home to New York. Rather than question any part of this arrangement, Jungle 2 Jungle mines it for fish-out-of-water jokes about loincloths, blowpipes and apartment plumbing. Tim Allen and young Sam Huntington are likable enough, but this remake of the French comedy Un Indien dans la ville treats an entire culture as a prop box. Martin Short arrives periodically to shout, panic and collect his check. | © Walt Disney Pictures

Cabin Fever 2016

19. Cabin Fever (2016)

Reusing much of Eli Roth’s original screenplay sounds less like adaptation than an office printer accidentally receiving financing. Cabin Fever sends another group of interchangeable friends to the same remote cabin, infects them with the same flesh-eating disease and repeats familiar scenes with cleaner lighting but none of the grubby personality. The gore is plentiful, yet the hostile, pitch-black humor that made the first film memorable has been disinfected. What remains is a faithful cover version performed by a band nobody remembers booking. | © IFC Midnight

A nightmare on elm street 2010 msn

18. A Nightmare on Elm Street (2010)

Jackie Earle Haley had the acting chops to reinvent Freddy Krueger, and the idea of microsleeps briefly opens a nasty new door between waking life and dreams. A Nightmare on Elm Street wastes both advantages. It photocopies famous images from Wes Craven’s original, replaces tactile effects with rubbery CGI and drains Freddy of the theatrical malice Robert Englund made inseparable from the role. Rooney Mara’s withdrawn performance makes Nancy seem less sleep-deprived than spiritually clocked out, which accidentally matches the movie around her. | © New Line Cinema

Get Carter

17. Get Carter (2000)

Michael Caine made Jack Carter frightening in the original Get Carter, moving through Newcastle like a gangster who had already discarded his soul. Sylvester Stallone’s version relocates the story to Seattle, adds glossy editing and tries to recover a sensitive family man beneath the enforcer. That instinct defeats the material. Carter can be brutal or redeemable, but the remake wants both without earning either. Caine turns up in a supporting role, an awkward reminder that the colder, leaner and vastly better film is still sitting right there. | © Warner Bros.

Oldboy 2013

16. Oldboy (2013)

Josh Brolin commits his entire body to Oldboy, gaining weight, carving it away and attacking a corridor full of men with a hammer. Commitment cannot solve imitation, though. Spike Lee’s remake follows Park Chan-wook’s revenge nightmare so closely that every famous turn arrives carrying the memory of a stronger version, while the reworked hallway fight resembles an expensive demonstration reel. The final revelation remains grotesque, but the operatic tragedy surrounding it has evaporated. The shock survives; the reason to endure it does not. | © FilmDistrict

Jacobs Ladder 2019

15. Jacob’s Ladder (2019)

The original Jacob’s Ladder moved like a fever nobody could wake from, making war trauma, guilt and spiritual limbo indistinguishable. This remake gives Jacob a supposedly dead brother, a pharmaceutical trail and enough explanations to turn nightmare logic into routine conspiracy hunting. Michael Ealy lends the unraveling real emotional weight, but the borrowed twitching faces and distorted bodies feel like decorations rather than visions dragged from a damaged mind. Once every hallucination becomes a clue, the ladder starts resembling a badly labeled flowchart. | © Vertical Entertainment

The Haunting

14. The Haunting (1999)

Robert Wise’s The Haunting made a door, a shadow and a few unexplained noises feel more dangerous than most monsters. Jan de Bont’s remake responds by showing absolutely everything. Hill House sprouts digital skeletons, carved cherubs come alive and Hugh Crain is upgraded from a malignant presence to a CGI tyrant who tortured and killed child laborers. Lili Taylor works hard to preserve Eleanor’s fragility, while Liam Neeson and Catherine Zeta-Jones wander through sets too lavish to feel haunted. Subtlety was apparently locked outside. | © DreamWorks Pictures

The Bachelor

13. The Bachelor (1999)

Buster Keaton’s Seven Chances built an entire silent-comedy machine around a bachelor who must marry before a deadline to inherit a fortune. The Bachelor keeps the clock and discards the precision. Chris O’Donnell spends most of the film treating marriage like a contagious disease, then expects Renée Zellweger—and the audience—to accept his transformation after a parade of rejected exes. The climactic stampede of bridal-gowned hopefuls imitates Keaton’s famous chase, only louder, longer and with considerably less risk to anyone’s dignity. | © New Line Cinema

Knock Knock

12. Knock Knock (2015)

Keanu Reeves opens his door to two stranded strangers, makes several catastrophic decisions and eventually delivers a furious speech about free pizza that escaped the movie to enjoy a healthier life as a meme. Knock Knock is Eli Roth’s remake of the grimy exploitation thriller Death Game, but it cannot decide whether Evan is a victim, a hypocrite or the punchline to a feature-length morality joke. Ana de Armas and Lorenza Izzo bring gleeful menace; the script keeps mistaking volume for psychological warfare. | © Lionsgate Premiere

Martyrs 2015

11. Martyrs (2015)

Making Martyrs easier to watch is like remaking a razor blade with rounded edges: technically safer, philosophically useless. Troian Bellisario and Bailey Noble throw themselves into Lucie and Anna’s ordeal, but the American version chops suffering into brisk horror beats and replaces Pascal Laugier’s dreadful ambiguity with a tidier celebration of friendship. The secret society still tortures women in pursuit of knowledge about the afterlife; the film simply refuses to sit with what that obsession means. Its cruelty remains, while its soul escapes through the edits. | © Anchor Bay Entertainment

Pulse

10. Pulse (2006)

Kiyoshi Kurosawa’s Kairo used the internet as a doorway into loneliness, letting empty rooms and human-shaped stains suggest a world quietly surrendering to despair. Pulse converts that dread into a literal computer virus, adds red tape that repels ghosts and explains the apocalypse until nothing mysterious survives. Kristen Bell gives the panic a human center, yet the film treats technology like a haunted toaster with broadband. The original asked why connection leaves people isolated; the remake mostly advises viewers to unplug the router. | © Dimension Films

Downhill

9. Downhill (2020)

The decisive moment in Downhill lasts seconds: an avalanche appears to be racing toward a restaurant, and Pete grabs his phone and abandons his wife and children. Will Ferrell and Julia Louis-Dreyfus then spend the vacation excavating the marriage underneath that reflex. Both actors find sharp, uncomfortable beats, especially Louis-Dreyfus, but the remake repeatedly softens the moral frostbite of Force Majeure with broader jokes and reassuring explanations. A story designed to leave bruises exits with a staged rescue and one last tidy visual joke. | © Searchlight Pictures

The Shaggy Dog

8. The Shaggy Dog (2006)

The transformation in Disney’s original The Shaggy Dog came from a magic ring; here, Tim Allen is bitten by a 300-year-old sacred dog whose DNA is being exploited by an evil pharmaceutical company. That sentence contains more plot than the comedy can comfortably carry. Allen sniffs, scratches and chases sticks with professional commitment, while Robert Downey Jr. plays the villain as if testing how much mischief survives beneath laboratory goggles. The family-reconciliation message is harmless. Getting there feels like being trapped in an obedience class. | © Walt Disney Pictures

Psycho 1998

7. Psycho (1998)

Gus Van Sant copied Psycho almost shot for shot, retained Joseph Stefano’s screenplay and restaged the Bates Motel in color, creating an expensive demonstration that technique cannot be traced like a stencil. Anne Heche and Vince Vaughn are not merely compared with Janet Leigh and Anthony Perkins; they are trapped inside their timing. Added blood, surreal inserts and Norman’s explicit peephole masturbation only make the imitation feel more self-conscious. The shower scene arrives exactly on schedule, but the fear never checks into the motel. | © Universal Pictures

The Wicker Man

6. The Wicker Man (2006)

Neil LaBute relocates The Wicker Man from a damp Scottish island to a matriarchal beekeeping commune in Washington, then hands Nicolas Cage a badge, a bear suit and permission to detonate. The original’s folk rituals tightened gradually around one doomed man; the remake announces its hostility in capital letters and replaces religious unease with gender panic. Cage punching a woman while dressed as a bear is unforgettable, and the infamous bee torture in the unrated cut is even more so. Horror was the assignment; accidental comedy earned the legacy. | © Warner Bros. Pictures

Taxi

5. Taxi (2004)

Queen Latifah’s Belle can thread a supercharged cab through New York traffic; Jimmy Fallon’s Detective Washburn can barely operate a car without declaring war on nearby property. Pairing them should create a clean comic engine. Instead, Taxi stalls between limp banter, weightless chases and a gang of Brazilian bank robbers presented largely as supermodels with firearms. Latifah’s confidence keeps the meter running, but Fallon turns incompetence into such an aggressive performance style that walking starts to seem like the wiser transportation option. | © 20th Century Fox

Rollerball

4. Rollerball (2002)

Norman Jewison’s Rollerball imagined a corporate future in which a violent sport pacified the public and erased individual power. Its remake keeps the skates, motorcycles and concussions, then tosses the satire into the penalty box. Chris Klein becomes an extreme-sports celebrity amid incoherent edits, nu-metal spectacle and a notorious night-vision chase that looks borrowed from somebody’s broken camcorder. Extensive reshoots and a PG-13 recut left the action both frantic and oddly toothless. Even Jean Reno’s villain seems unsure what game everyone is playing. | © Metro-Goldwyn-Mayer

Lol 2012

3. LOL (2012)

Remaking her own French hit should have given director Lisa Azuelos a useful map. Instead, LOL feels like the map was translated through a malfunctioning group chat. Miley Cyrus navigates romance, parental conflict and a social life conducted through texts, while Demi Moore plays the mother slowly realizing her daughter has secrets. The emotions are recognizable, but the slang and digital gimmicks already felt expired when the film received a barely promoted U.S. release. Its title promised laughter and accidentally supplied the review. | © Lionsgate

Black Christmas

2. Black Christmas (2019)

Sophia Takal’s Black Christmas has worthwhile anger about campus misogyny, institutional protection and the exhaustion of women who are not believed. Its mistake is turning every idea into dialogue, then into a supernatural fraternity conspiracy powered by black goo. The original made an unseen killer terrifying because neither his identity nor his madness could be contained; this second remake explains its evil down to the plumbing. A committed cast and brisk pace cannot stop the final act from resembling a protest slogan fighting a low-budget boss battle. | © Universal Pictures

Swept Away

1. Swept Away (2002)

Guy Ritchie remade Lina Wertmüller’s abrasive class satire with his then-wife Madonna, stripped away much of its politics and somehow left the ugliest relationship dynamics intact. Swept Away strands spoiled socialite Amber with deckhand Giuseppe, whose survival skills reverse their power imbalance and push the story toward a romance neither actor can sell. Adriano Giannini is the son of the original film’s leading man, a genealogical flourish that only sharpens the comparison. The movie earned roughly $1 million worldwide and skipped British theaters; the tide showed mercy. | © Screen Gems

1-25

Remakes are usually sold as a chance to introduce a classic to a new generation; in practice, some feel more like expensive acts of vandalism. Beloved characters are miscast, sharp ideas are scrubbed smooth, and familiar scenes return with twice the budget and half the pulse. From horror retreads that forgot how to scare anyone to blockbuster updates that misunderstood their own source material, these are the 25 worst movie remakes of all time.

Remakes are usually sold as a chance to introduce a classic to a new generation; in practice, some feel more like expensive acts of vandalism. Beloved characters are miscast, sharp ideas are scrubbed smooth, and familiar scenes return with twice the budget and half the pulse. From horror retreads that forgot how to scare anyone to blockbuster updates that misunderstood their own source material, these are the 25 worst movie remakes of all time.

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