The Best Movie For Each Letter of the Alphabet

Instead of the song’s claim, it’s actually more challenging than a simple 1-2-3, choosing a movie for each letter of the alphabet.

It’s fascinating to note that certain letters are more frequently used in popular movie titles than others. For instance, take the letter ‘G’. You have undeniably well-known films like “The Godfather” (and its sequel “The Godfather Part II”) and “Ghostbusters”, a timeless ’80s classic. More recently, “Get Out” is hard to beat. And let’s not forget the allegedly most powerful film in movie history, which begins with ‘G’: “Gymkata”. Choosing just one title that starts with ‘G’ is quite challenging. Conversely, movies starting with the letter ‘U’ are less common. Therefore, selecting a good movie beginning with ‘U’ can be quite tricky.

We didn’t let that hinder us from giving it a shot, certainly. Here are ScreenCrush’s top picks for movies starting with each letter of the alphabet, from A to Z. For our purposes here, titles like “The” and similar articles won’t be included in the alphabetical order. Who on earth sorts “The Boss Baby” under T? I, for one, wouldn’t dare! Let’s make sure we give The Boss Baby the recognition he truly deserves.

1. It’s not surprising that this is open to interpretation and has no concrete meaning, but it can still be an enjoyable challenge. Give it a try, but remember: Choosing just one G-titled movie is extremely challenging.

2. For instance, The Great Dictator! And there are many more fantastic films that start with the letter G. It’s intriguing, isn’t it?

I tried to maintain the original meaning and tone while making it easier for readers to understand.

The ABCs of Movies: The Best Movie For Each Letter of the Alphabet

A: American Movie (1999)

In a straightforward yet engaging manner, this documentary titled “American Movie” follows the humorous yet poignant journey of aspiring filmmaker Mark Borchardt as he strives to bring his long-nurtured passion project to life. Despite his persistent efforts and articulate expressions of his creative drive, Mark falls short of fully realizing his ambitions. The movie also beautifully captures the essence of friendship, as Mark leans on his companion Mike for support during the production of his low-budget films. This film is an entertaining choice when you’re in your twenties but can be heartrendingly profound when you reach your forties. It undoubtedly ranks among the most impactful American movies of our times.

B: Blow Out (1981)

In Brian De Palma’s remarkable work, the spotlight is cast on the cinematic realm itself. Drawing loosely from the plot of ‘Blowup’, where a photographer suspects he captured a murder, ‘Blow Out’ presents John Travolta as a B-movie sound technician. While recording ambient sounds for his current project, he accidentally captures the sound of a staged car crash reminiscent of the Chappaquiddick incident involving Senator Ted Kennedy at that time. With clever sound engineering, suspenseful scenes, and sharp commentary on screen violence and its correlation with reality, ‘Blow Out’ stands as one of the greatest films ever crafted about the filmmaking process.

C: Citizen Kane (1941)

Timeless masterpieces, such as those once deemed inviolable, can sometimes appear less relevant over time. However, this isn’t true for “Citizen Kane”. Eighty years after its debut, it continues to impress with its timely commentary on contemporary politics, outshining most fictional films produced in the last decade in this regard. Additionally, it was a trailblazer and perfectionist when it comes to cinematic techniques, featuring some of the most striking images ever captured by a film camera. Initially, it may seem like a tired retelling of conventional themes – a biopic about a wealthy man yearning for peace and haunted by the enigma “Rosebud”. Yet, the reality is far more profound, thought-provoking, and illuminating than one might anticipate.

D: Die Hard (1988)

In the disguise of a cop movie, “Die Hard” soars as the peak of ’80s action films, set atop a tower reminiscent of Nakatomi. John McClane (Bruce Willis), a New York City police officer, journeys to Los Angeles for a reunion with his estranged wife Holly (Bonnie Bedelia). However, when terrorists hijack the Christmas party of the Nakatomi Corporation, McClane finds himself as the lone hope in resolving the hostage crisis. Stranded without shoes and in an unfamiliar setting, McClane transforms into one of cinema’s most iconic heroes: An ordinary man stuck in a tricky situation who longs to return home, and may have to tap into his inner cowboy hero, Roy Rogers, to make it happen. Catchphrase alert: “Yippie-ki-yay.

E: Eternal Sunshine of the Spotless Mind (2004)

I can’t recall where or when I first watched “Eternal Sunshine” as my memory of that initial screening has faded over time. This film was released around two decades ago while I resided and studied in New York City. Regrettably, the specific location of my first viewing is now a blank space in my mind, as memories often tend to disappear naturally with the passage of time. However, this lack of recollection may have enhanced my appreciation for the movie even more today than I had back in 2004.

What makes “Eternal Sunshine of the Spotless Mind” so impactful is its use of a science fiction premise (a troubled couple uses a novel technology to erase their memories of each other, resulting in a mix of tragedy and comedy) as a means to explore the consequences of natural memory loss. The on-screen pairing of Jim Carrey and Kate Winslet is considered one of the most memorable in film history because their doomed relationship resonates deeply with viewers. Ultimately, every romantic relationship shares a similar fate; it’s as if a beach house gradually disintegrates into the ocean over time.

F: The Fugitive (1993)

This type of action-packed, entertaining movie that you can watch multiple times for pure enjoyment is often overlooked when making lists like this because it doesn’t have deep themes or complex symbolism. However, The Fugitive makes films like this appear effortless. In reality, it takes a great deal of skill to create material with such a gripping mystery, clear action sequences, and outstanding performances, particularly from Tommy Lee Jones as the determined U.S. Marshal Sam Gerard. What makes this movie so enjoyable to watch repeatedly is that it was made with a high level of expertise and artistry that is becoming increasingly rare, even more so than in 1993.

Action movies that are fun to watch multiple times are not usually considered when making lists because they lack deep themes or complex symbolism. However, The Fugitive makes such films seem easy to create. In reality, it requires a great deal of skill and craftsmanship to make a movie with a captivating mystery, clear action sequences, and exceptional performances, particularly from Tommy Lee Jones as the persistent U.S. Marshal Sam Gerard. What makes this movie so rewatchable is that it was made with a high level of expertise and artistry that is becoming increasingly rare, even more so than in 1993.

G: Goodfellas (1990)

If you could only ever watch one Martin Scorsese movie or crime/gangster film, I’d strongly recommend “Goodfellas.” This film is a captivating blend of humor, tragedy, brutality, and insight into the lives of New York mob associates during the latter half of the 20th century. From its stellar cast to its compelling music, expert editing, distinctive voiceover, and iconic drug smuggling scene where Henry Hill (Ray Liotta) is eventually caught – it’s all spot on. The reason “Goodfellas” has been repeatedly referenced and imitated for the past 30 years? No other gangster filmmaker has managed to surpass its brilliance since.

H: Hoop Dream (1994)

In a nutshell, Hoop Dreams might just be the most exceptional sports documentary ever produced, but its impact transcends the realm of sports. Notably, this film doesn’t conclude with the subjects’ final high school basketball games, instead choosing to end at their high school graduations. As Spike Lee puts it when he visits an elite college prospect training camp, “This entire system revolves around money.”

In a poetic reflection, one might say that dreams are enchanting, but they can also shatter. The lingering sentiment after watching Hoop Dreams is that there are actually two games: the one played on the court and the power game played by coaches and scouts off it. And it certainly appears that this second game is fixed. But what other aspirations could these young men possibly harbor?

I: It’s a Wonderful Life (1946)

How many hearts have been warmed by Frank Capra’s heartwarming homage to selflessness and friendship, “It’s a Wonderful Life”? The tale suggests that it wasn’t until countless television broadcasts, which were unintentionally made possible due to the film entering public domain, that it achieved classic status. To me, however, this seems more like a stroke of Capra-esque divine intervention rather than a simple bookkeeping mistake. This movie and its enduring message seem destined to touch the lives of many worldwide.

J: Jaws (1975)

The blockbuster hit “Jaws” left an indelible mark on Hollywood, altering the norms of film production and distribution forever. Despite this, it’s not something to resent. It stands far above the countless imitators that came after, in terms of depth, terror, grit, and intelligence. In essence, it’s the tragic tale of a group of alcoholics who relentlessly hunt and kill a shark for simply being extremely hungry. Steven Spielberg, following this success, went on to create more elaborate films with substantial budgets, star-studded casts, and advanced special effects. However, nothing he’s made since has quite matched the perfection of “Jaws”. Every frame, every edit, every musical cue, every dialogue, every close-up of Roy Scheider’s frightened face, is spot on.

K: The King of Comedy (1982)

If you found yourself captivated by “Joker” and haven’t yet watched “The King of Comedy”, then it might be high time for you to correct that oversight. The comic-book blockbuster directed by Todd Phillips bears noticeable resemblance to Scorsese’s biting critique of celebrity culture, as Robert De Niro plays the deluded aspiring comedian Rupert Pupkin. His desperation to bask in the limelight is such that he no longer cares whether his fame will be earned or infamous. Essentially, “The King of Comedy”, produced in 1982, remains as pertinent today as it was then.

L: L.A. Confidential (1997)

How deeply have we dismantled the layers of nostalgia surrounding L.A. Confidential now? The film, set in the 1950s, echoes the mood of Chinatown from the 1970s and was produced in the late 1990s, a time when it was still feasible to create an expansive crime drama on a grand scale with few star actors (Kevin Spacey and Kim Basinger being the only well-known names among the main cast). Unlike the sunny image of Los Angeles in the 1950s that we’ve been led to believe, L.A. Confidential, like its source novel by James Ellroy, shatters this illusion, revealing a hidden truth that had largely remained concealed until Ellroy and director Curtis Hanson brought it to light.

M: Metropolis (1927)

It’s essential to include at least one silent movie on such a list, and among my favorites is Fritz Lang’s groundbreaking science-fiction film, Metropolis. This cinematic masterpiece, depicting the struggle between social classes in a futuristic city, has been remastered and reissued numerous times over the years. I’ve personally seen at least three distinct editions of it that immediately come to mind. Regardless of the version, Lang demonstrated the power of a camera and an abundant imagination – all without a single sound.

N: No Country For Old Men (2007)

In their illustrious filmmaking career, the Coen brothers have produced numerous masterpieces; however, “No Country for Old Men” could be their most exceptional work exploring a recurring theme: The vacuous and devastating chase for wealth at the expense of all else in life. When a man (Josh Brolin) discovers the remnants of a botched drug deal and takes possession of millions, he triggers a series of events leading to a sequence of preventable yet brutal deaths. Masterfully directed by the Coens and based on the novel by Cormac McCarthy, “No Country” portrays a world that is as unfeeling, arbitrary, and ruthless as the flip of a coin.

O: Once Upon a Time in Hollywood (2019)

Despite its notorious murders as a central theme, “Once Upon a Time in Hollywood” stands out as one of Quentin Tarantino’s sweetest films made in many years, or perhaps ever. Leonardo DiCaprio and Brad Pitt deliver outstanding performances as a duo of friends in 1960s Los Angeles. DiCaprio portrays a struggling TV star trying to resurrect his career, while Pitt plays his calm stuntman and chauffeur. The film explores the end of the 1960s era, the decline of cinema, and possibly even the twilight of Tarantino’s own career.

P: Playtime (1967)

Few cinematic encounters rival the delight of watching Jacques Tati’s masterpiece, “Playtime”, on a 70mm screen. The visual humor in this film does not translate equally well to home video; many jokes are so subtle that they can only be appreciated on a large theater screen. The movie has minimal narrative; instead, it offers a satirical commentary on the absurdities of contemporary life, highlighting its quirks and madness. As we move further into the 21st century, the world seems to have grown even more farcical, making “Playtime” one of the most visionary works of art from the last hundred years.

Q: The Quiet Man (1952)

If you’re only familiar with John Ford through his iconic Western films, the movie “The Quiet Man” might take you by surprise. It veers more towards romantic comedy territory, boasting some of the most breathtaking Technicolor cinematography you’ve ever witnessed. (The cinematographer Winton Hoch rightfully earned an Oscar for his work on this film.) John Wayne stars as an Irish-American boxer who comes back to Ireland and finds himself smitten with red-haired Mary Kate, played by Maureen O’Hara. A feud over her dowry (which turns into a comical and ongoing physical altercation) unfolds between Wayne and O’Hara’s brother, Victor McLaglen. While its portrayal of Ireland may not be historically accurate, you won’t find a more visually stunning film than this one.

R: Ran (1985)

Among the great works of director Akira Kurosawa, “Ran” stands out as my preferred choice, despite being produced late in his career and unlike many others, a color film. What makes it special to me is its exceptional use of color, particularly in the vibrant costumes of the characters, which serve as the perfect finishing touch on each cinematic statement – a technique unparalleled by most other films, possibly only rivaled by “The Quiet Man”.

S: Singin’ in the Rain (1952)

In this instance, let’s rephrase the given text with a more conversational tone:

T: 2001: A Space Odyssey (1968)

I watched “2001: A Space Odyssey” towards the end of the last century, when it seemed that humanity wouldn’t be venturing into space anytime soon. Initially, I found it overly long, dull, and pretentious. In hindsight, I was quite ignorant, inexperienced, and narrow-minded. Today, I’ve watched this film at least ten times, and each viewing leaves me more awestruck by its visionary scope. Much like “Playtime,” it is even more captivating after having seen it on a large screen; in 2018, it was re-released in an “unrestored” print overseen by Christopher Nolan. Whether or not this version stayed true to Stanley Kubrick’s original intent, watching “2001” in 70mm format was nothing short of mind-boggling. (The zero gravity toilet gag is funnier in the larger format, too.) This film can only be fully appreciated in a theater, where it truly lives up to its tagline as “the ultimate trip.

U: The Umbrellas of Cherbourg (1964)

Undeniably, there aren’t many films, whether excellent or mediocre, that commence with the letter U. However, Jacques Demy’s “The Umbrellas of Cherbourg” is deserving of inclusion in a list of all-time masterpieces, regardless of its title. It stands out as one of the most beautiful musicals ever created — and one of the saddest. Catherine Deneuve and Nino Castelnuovo portray star-crossed lovers separated by war, destiny, and life’s unyielding dilemmas. If you haven’t watched it yet, I strongly suggest you do so tonight. (Remember to have plenty of tissues at hand.)

V: Videodrome (1983)

In the movie “Videodrome”, a dubious television station manager (James Woods) stumbles upon an underhanded broadcast named “Videodrome” filled with extreme sexuality and violence. Enthralled, he promptly airs it on his own channel. As he endeavors to trace the origins of this mysterious program, he becomes increasingly entangled in a realm where television serves not only as entertainment but also as a form of religion and potentially life itself. David Cronenberg’s “Videodrome” remains a compelling reflection of our modern society’s TV-dominated culture that has the power to shape minds.

W: Willy Wonka and the Chocolate Factory (1971)

Not many films delve into the essence of childhood dreams as deeply as “Willy Wonka and the Chocolate Factory.” With endless sweets, rivers flowing with chocolate, and elevators that fly, it’s a dream world for kids. Despite being an hour and forty minutes long, the movie moves at a breakneck pace. As soon as the Golden Ticket winners enter Willy Wonka’s enchanted factory, there’s no stopping the action until Willy Wonka and Charlie soar through the roof of the chocolate factory, living happily ever after (though some of the other children may not have had such a fortunate ending, adding to the film’s darkly amusing allure).

X: X2 (2003)

In a somewhat surprising yet impactful way, “X2” might be considered the least impressive film on this list, but it could very well be the most influential superhero movie of the 21st century. The first “X-Men” and “Spider-Man” demonstrated that films could capture the essence of comics. However, “X2” raised the bar, with spectacular scenes such as Nightcrawler’s White House infiltration, which not only mirrored the character’s teleporting ability but presented it in a smoother and more thrilling motion than it ever could on a comic book page. The dam bursting at the end of the film is symbolic, marking the beginning of the Hollywood Superhero Boom, after which nothing was the same in the superhero movie landscape.

Y: Yojimbo (1961)

Akira Kurosawa’s “Yojimbo” serves as the foundation for numerous movies, with its story about a roaming swordsman caught in the middle of two warring factions being reinterpreted frequently across various genres such as Westerns and gangster films. Time and again, this narrative proves effective. Moreover, the protagonist, portrayed by Toshiro Mifune, has become an emblematic figure of the genre and a blueprint for countless other gritty cinematic warriors. If you come across an action hero cooler than Sanjuro, chances are that character was inspired by him directly.

Z: Zodiac (2007)

Using the film “Zodiac,” directed by David Fincher, he masterfully unraveled the mystery of extensive true-crime sagas. An exceptional ensemble, featuring Jake Gyllenhaal, Mark Ruffalo, and Robert Downey Jr., navigated through years of futile attempts to identify the perpetrator behind a chilling series of murders in San Francisco during the late 1960s. While “Zodiac” is an excellent portrayal of police investigations, it transcends into a timeless classic that delves into the complexities of obsession. Each lead character was driven by, and in some cases, ultimately affected by their relentless pursuit to solve a puzzle with no end in sight.

The Worst Movie Every Year Since 1970

1970: The Party at Kitty and Stud’s

Before achieving success with the initial “Rocky” movie, Sylvester Stallone faced severe financial struggles and even temporary homelessness. To make ends meet, he accepted virtually any acting job offered to him, such as the poor-quality softcore film titled “The Party at Kitty and Stud’s“. In this production, Stallone played the role of “Stud”, a film about a New York City couple’s intimate life. The end result was so dismal and unsexy that it went largely unnoticed by audiences – until Stallone rose to fame, at which point the film’s owners changed its title to “Italian Stallion” and re-released it, hoping to capitalize on Sly’s popularity by promising a glimpse into Rocky’s, well, masculinity. Stallone himself has referred to the movie as “awful”, and his description is actually quite generous.

1971: Octaman

As a film aficionado, let me tell you about my encounter with Octaman. Despite the nostalgic allure that B-grade monster flicks sometimes hold, this one, unfortunately, falls flat. It revolves around a peculiar character – a man merged with an octopus, if you can imagine that! This hybrid creature, known as an ‘octo-man’, takes on a group of scientists who aren’t octopi themselves. The movie is so infamously low-budget that it was even featured in a RiffTrax live event. If you’re familiar with Octaman, you know it provided them with ample material for their comedic critique.

1972: Santa and the Ice Cream Bunny

In this low-budget movie, a man dressed as Santa Claus with an unconvincing wig, beard, and padded suit spends the entire film lounging on a Florida beach. The children from the area are summoned by Santa telepathically to help him free his stuck sleigh. The kids are made to search for animals like a horse, cow, and someone in a gorilla costume to assist. While the children work tirelessly, Santa takes a nap and later tries to impart life lessons through the story of Jack and the Beanstalk. This Santa may possess mental abilities, but his lackadaisical attitude makes him more of a burden than a helpful figure. This movie is quite a struggle to watch before Christmas.

1973: 3 Dev Adam

For Marvel enthusiasts: If you believed that “Eternals” was underwhelming, wait until you lay your eyes on “3 Dev Adam”. This unauthorized Turkish knockoff superhero movie features characters resembling “Captain America”, “Spider-Man” (though it’s hard to say for sure), and the renowned Mexican wrestler turned actor El Santo. In this film, Spider-Man is not your friendly neighborhood hero; instead, he’s a criminal mastermind aiming to control the Turkish underworld. It’s up to Captain America and Santo to thwart his plans.

To clarify, Marvel Studios had no involvement in the production of this movie (neither did the actual Santo, who often battled zombies, vampires, and other supernatural beings in Mexican films). However, the film managed to become quite popular in Turkey. When “3 Dev Adam” Spider-Man appears in the “Spider-Verse”, that’s when we’ll know the franchise has reached a new level of absurdity.

1974: The Nine Lives of Fritz the Cat

The initial “Fritz the Cat” film wasn’t particularly fantastic and was only saved by Ralph Bakshi’s animation and a dark sense of humor. However, Bakshi had no involvement in the sequel, nor did R. Crumb, who created the Fritz the Cat comic series. This is evident in this disorganized, unfunny movie. It’s notable as the first animated film to receive an R rating, but being remarkable doesn’t make it good.

1975: Mitchell

Mitchell!

1976: Snuff

The film titled “Snuff” wasn’t a genuine snuff movie, but it was advertised as such to generate publicity at a minimal cost. Remarkably, this tactic worked; the film became popular in cinemas across the nation. It drew enough interest in certain areas to spark protests, and even a few criminal probes due to the fact that creating an authentic snuff movie is illegal. However, it’s important to note that “Snuff” was merely a piece of gritty fiction. Nevertheless, consider this: Someone intentionally chose to market their film as an accurate portrayal of a murder. Imagine the uproar such a move would provoke today!

1977: The Van

1978: The Star Wars Holiday Special

Fans who aren’t deeply invested in “Star Wars” often criticize “The Rise of Skywalker,” but that film seems like a masterpiece compared to the infamous “Star Wars Holiday Special.” This notorious CBS TV movie was produced to capitalize on the initial success of “Star Wars” during the gap between its release and the start of production for “The Empire Strikes Back.”

This excruciating 100-minute production is filled with cheesy singing, cringe-worthy humor, bizarre guest appearances (Art Carney? Bea Arthur?!?), and one somewhat decent animated segment that introduced Boba Fett. Despite its poor reputation, it might be even worse. Although it has never been officially released on home video, the lore surrounding it has grown over time to such an extent that it’s become a shared piece of pop culture shorthand. If something is referred to as being “as bad as the Star Wars Holiday Special,” it means it’s not just bad – it’s a mortifying embarrassment.

1979: Captain America

Discussing cringe-worthy moments: Check out Captain America’s costume in his 1970s film. This movie deviated from the traditional backstory of Captain America, where his father served in World War II under the nickname “Captain America”. Instead, Steve Rogers is almost killed and becomes a subject for a serum that gives him superhuman strength. He also receives a motorcycle with a detachable windshield resembling a clear version of his iconic shield. The entire concept was incredibly silly, yet it managed to be successful enough to warrant another just as lackluster sequel (with an admittedly cool subtitle): Captain America II: Death Too Soon.

1980: The Jazz Singer

In a recent production, I found myself stepping into the shoes of Neil Diamond, a man undeniably gifted musically, yet his acting abilities have been questioned by some. This remake of an iconic early cinema landmark features me as a 40-year-old individual still yearning for my father’s approval. Interestingly, Laurence Olivier takes on the role of an elderly Jewish cantor in this film.

Despite being about 15 years older than my character should be, I plunged headfirst into the part. Some might argue that casting issues like misfitting the lead roles could hinder the movie’s success. However, they seem to forget the captivating tunes “Love on the Rocks” and “America” that this production offers.

1981: Neighbors

In an unexpected turn, John Belushi and Dan Aykroyd, who were popular together on Saturday Night Live and The Blues Brothers, faltered with this 1981 film disaster. The unusual casting – where Belushi portrayed the orderly character and Aykroyd became the unruly party animal – was a puzzling start to a storyline populated by an array of eccentric characters who never once seemed human. Adding to the hundred other questionable creative decisions, the score (composed by Bill Conti, known for creating beautiful music for other films) is arguably the most atrocious I’ve ever heard in my life. It’s filled with slide whistles and theremins that underscore every joke. It’s hard to fathom, almost like watching a movie while a terrible marching band freestyles to what’s unfolding onscreen.

1982: Slapstick of Another Kind

Instead of continuing your current tasks, take a moment to explore this movie’s Wikipedia page. You might find it hard to believe, but the plot synopsis appears to have been deliberately distorted with absurdity. In reality, if anything, the Wiki summary underplays the level of absurdity and depravity. The film indeed features aliens, with one voiced by Orson Welles. It also includes a miniature Chinese ambassador, portrayed by Pat Morita with a humorous, altered voice. Jerry Lewis and Madeline Kahn play a married couple and their own twins – these children wear prosthetic noses, ears, and foreheads while speaking in peculiar, unintelligible language. Remarkably, the twins possess telepathic abilities that require them to touch each other to function. This aspect of the film is developed into an incestuous subplot. Truly, cinema at its most eccentric!

1983: Smokey and the Bandit III

In simpler terms, the movie “Smokey Part 3” seems to have missed the mark in continuing the Smokey and the Bandit series. If the goal was to ruin the franchise, it appears they succeeded, Bialystock and Bloom style. The original Bandit, portrayed by Burt Reynolds, is barely present beyond a brief appearance. Instead of keeping Sheriff Buford T. Justice as the antagonist, they transformed him into the protagonist. Strangely, Jerry Reed’s character, Snowman, takes on the role of the Bandit, adopting Reynolds’ mannerisms and wardrobe. This seems unnecessary because the plot involves Big and Little Enos hiring the Snowmandit to help them win a bet against Justice. It’s unclear why Reed needs to impersonate Reynolds for this task. A more straightforward approach would have been to keep Reed as the Snowman, causing trouble for Justice in his usual way. Perhaps they thought the Bandit was such a nuisance to Justice that seeing him would throw him off balance? But it would make more sense if Jerry Reed played the Snowman and just continued being the thorn in Justice’s side instead of rebranding the series as Smokey and the Snowman.

1984: Bolero

As a passionate cinephile, I’d say I recently encountered a film titled “Bolero” that follows a tale spun from the looms of stereotypes. This young woman, blessed with beauty reminiscent of Bo Derek and fortified by immense wealth, embarks on a global quest to find her first lover. Her journey presents her with a series of romantic archetypes: an oil tycoon, a matador, and so forth, each promising to quench her thirst for love and intimacy.

Unfortunately, this film strays far from the realm of engaging cinema. Instead of delivering the passion and intrigue one would expect from such a plot, it falls flat, failing even in its ambition to be good pornography. With some revisions, it could potentially work as a satirical comedy, perhaps starring the versatile Kristen Wiig.

However, the original production stars Bo Derek herself, who seems devoid of humor or self-awareness. The movie portrays her character’s quest to lose her virginity as an epic journey, rather than the comedic endeavor it could have been. The climax involves a bizarre twist: the man she eventually chooses has his penis injured by a bull, leaving our heroine to find a solution to this predicament. This is not a jest; it’s the actual plotline of this peculiar cinematic experience.

1985: Red Sonja

Interested in learning why Arnold Schwarzenegger hasn’t starred in a swords-and-sandals movie for 40 years? Watch “Red Sonja” and you’ll quickly understand. Essentially, it’s a female version of the classic “Conan,” with Brigitte Nielsen as the title character, a warrior on a mission in an ancient fantasy world. Arnold Schwarzenegger plays her Conan-like companion. In fact, Arnold himself has referred to “Red Sonja” as “the worst movie I have ever made.” And he’s also known for his role in “Hercules in New York.

1986: Shanghai Surprise

Movies with a questionable reputation often don’t truly deserve it. Take for instance, “John Carter”, which despite its disappointing box office and negative reviews, is far more captivating than one might assume. Conversely, “Shanghai Surprise” lives up to its infamous status. Starring Sean Penn and Madonna, this film features a tie salesman who glows in the dark and a missionary, who embark on an opium heist. While it may offer a glimpse into Penn and Madonna’s brief marriage, there’s little else noteworthy about it. The movie endured longer than their relationship, but it could not escape its deserved title as one of the most uneventful productions of that decade.

1987: Leonard Part 6

In his prime as a Hollywood star, Bill Cosby featured in this utterly unamusing spy parody titled “Leonard Part 6.” The title is a humorous attempt to suggest it’s the sixth installment of a popular series, but like many jokes in this film, it falls flat. Despite Cosby being the producer and originator of the idea, he criticized the movie before its release in media outlets. Given his assessment, it’s not surprising; the finished product struggles to find a consistent tone between Bond-style action and childish humor, and features some of the most blatant product placement ever seen in modern cinema. To call it merely the worst film of 1987 is an understatement; it ranks among the worst movies produced in many other years as well.

1988: Mac and Me

The popularity of “E.T.: The Extra-Terrestrial” during the 1980s sparked a demand for tales about friendly aliens visiting Earth, and even McDonald’s got in on the act by creating an E.T.-inspired movie featuring another adorable creature and its human companion. This film was somewhat similar to E.T., as indicated by its title, which hinted at the Golden Arches. One infamous scene involved a lengthy dance routine set in a McDonald’s, but on a positive note, this movie gave Paul Rudd the opportunity to play pranks on Conan O’Brien for many years.

1989: She’s Out of Control

In the inappropriate film titled “this comedy,” a father character played by Tony Danza experiences distress as his eldest daughter reaches 15 and shows interest in dating boys. However, it’s not like she takes up dangerous habits such as drug use or adult entertainment; instead, she receives contact lenses and a new hairstyle and goes on a few dates. The father, portrayed by Tony Danza, subsequently consults a therapist (Wallace Shawn) who has penned a book advocating that fathers should act as “enforcers” of their daughters’ virginity. The movie seemingly condones Danza’s irrational behavior when the daughter’s prom date (Matthew Perry) attempts to harm her. It is strongly advised that neither parents nor anyone else watch this film.

1990: The Bonfire of the Vanities

Despite the intricate cinematography in Brian De Palma’s film “The Bonfire of the Vanities”, it unfortunately suffers from some of the most questionable casting choices in ’90s cinema. Each of the main actors seem ill-suited for their roles: Tom Hanks struggles to convincingly portray a blue blood, Melanie Griffith fails to add depth as his mistress, and Bruce Willis’ overconfident demeanor hinders him from effectively capturing the desperation of his alcoholic journalist character. When all three lead performances are miscast, it results in a cinematic calamity that even a single weak performance might not have caused.

1991: Nothing But Trouble

As a film critic, I can confidently say that the uncanny resemblance of this movie to Dan Aykroyd’s nightmares isn’t the least bit surprising. Few films can capture the unsettling, dreamlike quality like this one does, from its gruesome violence and actors adorned with eerie prosthetic makeup to the unexpected Digital Underground musical sequence and the baffling technology powering the ancient judge’s intricate home.

I don’t remember if I watched the whole movie as a kid, but the fleeting glimpses of Chevy Chase tumbling into piles of human bones and Aykroyd transformed into a giant diapered baby were enough to give me nightmares. It stands as one of the most unsettling Hollywood productions I’ve ever encountered.

1992: Frozen Assets

Despite the mediocrity of other comedies on the list, “Frozen Assets” stands out as if it was intentionally crafted to be the least humorous film ever made. Corbin Bernsen stars as a bank executive tasked with reviving an underperforming branch in Oregon, but this isn’t your typical bank – it’s a sperm bank! Yes, you read that right. The humor here is as elusive as a rare species of panda.

Bernsen’s character is only interested in boosting the sperm bank’s profits, which creates friction with the bank’s chief scientist, portrayed by Shelley Long. His treatment of her is downright cruel, but predictably, she develops feelings for him. To add to the absurdity, Larry Miller plays an escaped mental patient who finds employment at the sperm bank.

To put it mildly, “Frozen Assets” is a cinematic disaster that I would gladly pay to avoid re-watching. I implore you, steer clear of this movie at all costs. Trust me; I’d rather endure a second viewing of an unpleasant dentist appointment than sit through this film again.

1993: Jason Goes to Hell: The Final Friday

Instead of focusing on Jason Voorhees, the solitary psychopath in a hockey mask who enjoys slaughtering amorous campers, the movie “Jason Goes to Hell: The Final Friday” offers a fresh take on Jason as a parasitic worm that takes control of individuals, transforming them into ruthless killers. While the “Friday the 13th” series was never overly clear in its lore, this film introduces a wealth of new background and rules surrounding mystical daggers and previously undiscussed Jason kin. (It’s interesting to note that no one could previously kill Jason due to the need for a mystical dagger that hadn’t been conceived by the screenwriters yet!) Furthermore, it’s worth mentioning that a movie called “Jason Goes to Hell” should ideally involve Jason visiting hell. However, the film mainly features Jason going to a house, a diner, a jail, and a coroner’s office. The title only makes sense as a critical summary of the movie.

1994: It’s Pat

In the 90s, movies inspired by Saturday Night Live didn’t exactly shine, but none were as disappointing as the film “It’s Pat,” focusing on Julia Sweeney’s character, an awkward and androgynous figure. Just like in her TV sketches, viewers are left guessing whether Pat is male or female. In the movie, this mystery is particularly intriguing to Pat’s neighbor Kyle (Charles Rocket). The film portrays Kyle’s obsession with Pat’s identity as uncomfortable and distasteful, and rightly so. However, it seems odd that the entire humor of the film revolves around this aspect. Regardless of gender, Pat is an unsuitable protagonist for a movie due to reasons unrelated to their gender. Pat is self-absorbed, irritating, unfunny, and shockingly cruel. A major plot point involves Pat taking over a friend’s radio show hosting job, boasting about it, then belittling all the callers as dull. From start to finish, it’s an unpleasant journey.

1995: The Jerky Boys Movie

As a child, I listened to quite a few Jerky Boys tapes and laughed at them on numerous occasions (though I was only 13 back then). However, even as a fan of The Jerky Boys, I couldn’t stand “The Jerky Boys: The Movie.” In this film, Johnny Brennan and Kamal Ahmed portray themselves and trick a mobster, leading to a crime story. The problem with the movie is that it fundamentally misses the point of The Jerky Boys – their calls are unscripted. Why would anyone want to see them interacting with characters in a fictional story when the responses of those characters have been predetermined? It’s like making a feature-length film based on “Whose Line Is It Anyway?” where the jokes and scenarios are all planned out beforehand.

1996: Mad Dog Time

In simpler terms, the movie “Mad Dog Time” is not just bad, but quite possibly the strangest bad film you’ll ever see. Despite boasting an impressive cast including Jeff Goldblum, Gabriel Byrne, and many others, it’s a gangster movie that takes place in another universe, somewhere beyond our cosmos in deep space. This peculiar world, named Vic’s World, is filled with stereotypical characters from gangster films who fight each other in a dim basement. Despite the context, this concept doesn’t make much sense at all. It’s so unusual that it feels like it could have been made in another universe where people enjoy watching incredibly poor quality movies.

1997: Chairman of the Board

A film titled “Chairman of the Board” featuring comedian Carrot Top might not promise much laughter, and unfortunately, it delivers even less. The plot revolves around a bumbling inventor who befriends a wealthy businessman (Jack Warden), who later passes away and leaves him his company. Despite the potential for humor, the film falls flat. However, it did provide one of the most memorable moments in late-night television, when Norm Macdonald interrupted an interview with “Chairman of the Board” co-star Courtney Thorne-Smith on Conan O’Brien’s show to express his doubts about a Carrot Top movie. (“If it features Carrot Top, you might as well call it Box Office Poison!”)

1998: The Avengers

Initially, let me clarify that the film under discussion is not the recent Marvel superhero movie but the 1998 adaptation titled “The Avengers”, which is based on an earlier British spy series. In this movie, Ralph Fiennes and Uma Thurman, playing the characters known as ‘Avengers’, don’t engage in avenging actions, which might appear confusing given the title. However, considering the overall illogical flow of events in this film, the title could be deemed fitting somehow.

The runtime of this “Avengers” is a mere 90 minutes, and it seems as if significant portions are missing. The abrupt transitions between scenes, without any explanation of how Fiennes and Thurman moved from one location to another, add to the disjointed feel. Although all the action sequences with special effects are present, the elements that would have tied everything together—such as character development, motivation, and a hint of humanity amidst the visual chaos—are conspicuously absent. Essentially, “The Avengers” feels like a condensed version of itself.

1999: Inspector Gadget

In the 1980s, one of the most enchanting animated TV series emerged, only to become one of the most frustrating blockbusters in the 1990s. The primary issue lies with the casting: Matthew Broderick, a humorous and likable individual, doesn’t fit the bill for the boisterous, bumbling Inspector Gadget. Rupert Everett, too, seems misplaced as the villainous Dr. Claw. The effects are overly cartoonish compared to the original Inspector Gadget cartoon, and the movie, pieced together by anxious studio executives, feels disjointed and only lasts about 70 minutes before credits. Amazingly, it’s still too lengthy.

The popular 80’s animated TV show turned into a disappointing 90’s blockbuster due to poor casting (Matthew Broderick is not suitable for the role of Inspector Gadget) and a disjointed, rushed production that feels too long.

2000: Battlefield Earth

Occasionally, a film arrives with such intense negative pre-release publicity that it fails to receive a fair evaluation from both the public and critics. The movie “Battlefield Earth” is one such example where the unfavorable reviews it garnered before its premiere were completely justified. It was a chaotic blend of awful makeup, subpar acting, and cringe-worthy dialogue. Attempting to read any quote from this movie with a straight face seems impossible! The IMDb Quotes page for this film is worth checking out if you’re interested in a good chuckle. One of the screenwriters for “Battlefield Earth” even apologized for it, stating that comparing it to a train wreck isn’t really fair to train wrecks because people actually enjoy watching those.

2001: Planet of the Apes

In this film, Mark Wahlberg plays a disheartened astronaut who is drawn into a violet cosmic nebula and ends up on a world inhabited by apes! After spending roughly six to seven hours trekking through the desert and engaging in less-than-satisfactory fight sequences, Wahlberg finds himself back on Earth – alas, it has been transformed into an ape-populated planet! Known for his exceptional work in Hollywood during the 1980s and ’90s, Tim Burton made a significant misstep with this production.

2002: The Master of Disguise

The concept behind “The Master of Disguise” is logical as it revolves around a character who can imitate others and take on numerous personas, fitting for Dana Carvey, a skilled mimic from “Saturday Night Live.” However, Carvey is a master of impressions, not disguise, and these are two different skills. A true master of disguise would blend seamlessly into their roles and become undetectable, which isn’t the case with Carvey in this film.

It wouldn’t take a genius to recognize Carvey’s character, Pistachio Disguisey, when he appears at a party dressed as Al Pacino from “Scarface” or Robert Shaw from “Jaws.” Some scenes in the movie are more horrifying than funny, like the one where Carvey disguises himself as some sort of turtle man. Despite being less than 70 minutes long, “The Master of Disguise” still manages to be a painful watch due to its short length and bizarre, uncomfortable, and unfunny content.

2003: Bulletproof Monk

Storytime: Approximately two decades ago, I watched a film alone in the entire theater, as everyone else seemed to have wisely chosen other entertainment. By the end, I was so bored that I wandered around the auditorium, testing various seats to find the optimal view of the screen. Regardless of where I sat, the movie remained unimpressive. Today, it’s possible that “Bulletproof Monk” holds this century’s least impressive Hollywood martial arts scenes. It might not all be the filmmaker’s fault; it appears that Seann William Scott performed more stunts than Chow Yun-fat. In a strange twist, when Stifler outperforms the action in your movie, you have a significant issue to address.

2004: Catwoman

In this reinterpretation, Halle Berry uncovers that her beauty brand’s novel creation is hazardous, leading to her untimely demise orchestrated by her superiors as a component of the concealment. A band of felines miraculously revive her, designating her as the most recent addition to an age-old lineage of Catwomen who have prowled the world. Now known as Patience Phillips, Berry’s character uses her feline skills to combat crime (occasionally inciting it) by employing cats’ renowned abilities: she’s exceptionally agile, consistently lands on her feet, is an exceptional basketball player, enjoys burglarizing valuables, employs a variety of whips, makes amusing basketball-themed jokes, and adores leather. Just like a genuine cat.

The director of Catwoman, Pitof, hails from a visual effects field, so it’s not surprising that there are less visually appealing films from the 2000s. However, it’s challenging to find one with editing as poor as this. (The cast is seen wearing identical outfits on consecutive days because someone apparently decided to reedit the movie and merge two days’ events without reshooting anything.)

2005: Alone in the Dark

Uwe Boll gained notoriety as a director during the 2000s, producing a series of movies based on video games with the help of a German tax loophole that ensured financial success. If you imagine the characters from Mel Brooks’ “The Producers” as gamers, you might get an idea of Boll’s work. In one of his many failed projects, Tara Reid plays a brilliant archaeologist and Christian Slater portrays a detective who investigates supernatural events. Unfortunately, due to its incoherence, I can’t reveal much more about the movie as even the opening title sequence, which lasts for 90 seconds, is so convoluted that it makes “Alone in the Dark” harder to understand than it would have been without it.

2006: Basic Instinct 2

Sharon Stone’s uncanny knack for turning ordinary dialogue into something tantalizing approaches the extraordinary. However, despite her exceptional skills, the film “Basic Instinct 2” fails to impress throughout, with Stone seemingly outshining David Morrissey’s character in every scene. The male lead appears to be no match for her, lacking the charisma needed to make their relationship believable. It remains unclear why she is attracted to him, unless it is because she perceives him as an easy prey and decides to toy with him for amusement, much like a praying mantis would with its food. Stone’s character Catherine appears to be enjoying herself playing with her ‘food’, but Morrissey’s psychiatrist is so weak that there’s little enjoyment in watching her torment him because the outcome is predictable and lacks tension. It’s as if we are witnessing the 1992 Dream Team outplay a group of amateur players from a local recreation center.

2007: Norbit

Viewers often find themselves captivated when Eddie Murphy portrays multiple characters in a movie using intricate prosthetic makeup. Here, Murphy’s talent for physical metamorphosis, combined with Rick Baker’s exceptional makeup effects, are utilized to tell a bitter tale about a timid man who marries a domineering woman, both roles played by Murphy. Murphy delivers a technically impressive performance as the vengeful, violent character Rasputia, a cruel caricature filled with jokes about her weight. To add to this, Murphy also plays Mr. Wong, a gruff Chinese man who runs an orphanage and speaks in a thick stereotypical accent. Overall, the movie is quite disheartening.

2008: Disaster Movie

The title “Disaster Movie” is misleading, as the “disaster” films referred to in this context are not traditional disaster movies. These films, directed by Jason Friedberg and Aaron Seltzer, include “10,000 B.C., Hancock, Jumper, Enchanted, Alvin and the Chipmunks, Beowulf“, and “The Love Guru“. The term “movie” is used here very loosely, as there are barely two actual characters and a minimal plot. Instead, it relies heavily on poor celebrity impressions, with characters often having to announce who they’re imitating loudly. (“Amy Winehouse?!)”. This production is truly one of the most disappointing examples of cinema I have ever encountered.

2009: X-Men Origins: Wolverine

Title aside, this film appears to be a jumble of X-Men and Wolverine tales. If director Gavin Hood had concentrated on one aspect, perhaps he could have crafted a decent movie. However, the decision to meld numerous X-Men and Wolverine narratives has seemingly doomed it from the start. Hugh Jackman’s Logan growls in dismay at Liev Schreiber’s Victor, a line that also serves as a critique of the film itself in X-Men Origins. Other lines echo this sentiment, such as “We’ve done enough!”, “You look like you’re about to do something terrible,” and my personal favorite, “Wake me when it’s over.

2010: Jonah Hex

The character Jonah Hex from DC Comics is essentially a rugged, scar-faced outlaw in the Old West. One might think a movie based on this would be an easy win – place Josh Brolin in a setting reminiscent of “A Fistful of Dollars” and let him embody a gunslinging hero. However, oddly enough, the film bestowed upon him supernatural abilities (he can communicate with the deceased) and extravagant, exaggerated weapons to fit its excessively whimsical script. The movie “Jonah Hex” is such an unusual and catastrophic failure that it makes “Wild Wild West” seem like “The Searchers”.

2011: Atlas Shrugged: Part I

Regardless of individual opinions towards Ayn Rand’s novel “Atlas Shrugged”, its title aptly sums up the disappointment felt upon watching its cinematic adaptation. In his 2011 review, Roger Ebert referred to it as “the most unsatisfying non-event since Geraldo Rivera opened Al Capone’s vault.” The movie primarily adheres to the initial part of Rand’s novel and is filled with scenes involving industrialists engaging in lengthy business discussions. Catch the ‘business talk’ fever, if you will!

2012: The Oogieloves in the Big Balloon Adventure

From my perspective, it’s challenging to envision a less aesthetically pleasing character than an Oogielove. With their oversized heads, rounded bodies, and peculiar arms resembling Popeye’s, they look more like a disguise a mischievous individual might use to lure a child into an unidentified vehicle. These creatures grace the screen as the main characters in this dismal children’s movie, arguably the worst ever produced. (Rest assured, I have two kids myself and have endured my fair share of terrible kid’s movies. Even the most mediocre of those pale in comparison to The Oogieloves.)

2013: Movie 43

2014: A Haunted House 2

In this rephrased version, the text could read:

This parody actually manages to make the poorly-received movie it’s mocking (The Devil Inside) seem somewhat better by comparison. While there were perhaps some redeeming qualities in the numerous Paranormal Activity imitations that emerged throughout the 2010s, they at least didn’t involve Marlon Wayans simulating sexual acts with spooky dolls or accidentally squashing adorable puppies under massive safes. If a third installment of A Haunted House ever gets produced, I might just pack up and open a bakery instead.

2015: Strange Magic

A more recent screenplay by George Lucas that he’s credited for is this 2015 animated musical titled “War in the Dark Forest vs. Fairy Kingdom.” It’s about a senseless conflict between these two realms, where characters from both sides unexpectedly burst into popular songs from the ’60s and ’70s. The music might be enjoyable, but the character design leaves much to be desired and can be quite unappealing. If you’re looking for a George Lucas musical, I recommend watching “American Graffiti” instead.

2016: Dirty Grandpa

The film “Dirty Grandpa” adheres to a familiar strategy in many subpar Hollywood comedies: When someone perceived as pure or innocent (like grandfathers, children, or puppets) utters crude language, it’s supposed to be humorous. If hearing Robert De Niro utter terms like “smegma” brings laughter to you, then this movie might be your cup of tea. However, if you appreciate comedy that includes genuine humor (or lacks constant homophobia), you will likely be disappointed. At least the title is fittingly descriptive.

2017: The Emoji Movie

One could imagine a compelling film exploring smartphone culture and emojis, but it would necessitate a script brimming with biting satire and sharp wit rather than the light-hearted approach found in the movie The Emoji Movie. Granted, the film does convey a somewhat optimistic message about celebrating diversity, yet it falls short of expectations considering its origins. This production, unfortunately, embodies precisely what one might anticipate from a studio tied to a tech giant whose fiscal health hinges on selling millions of smartphones annually: A subtly marketed advertisement that implies owning a cell phone can boost your popularity and make you irresistible to women.

2018: The Happytime Murders

In Brian Henson’s adult-oriented puppet comedy, “The Happytime Murders,” there’s an abundance of crude humor that was primarily intended to amuse immature audiences. The creators didn’t seem to think much beyond the idea of having puppets in a risqué comedy filled with sex jokes. As such, the movie doesn’t offer anything more profound. If you ever find yourself in a trivia contest and are asked about the film where Melissa McCarthy bites a puppet on its private parts or the one featuring Joel McHale mimicking a scene from “Basic Instinct” with a puppet’s genitalia, the correct answer is “The Happytime Murders.” The only individual who manages to shine in this film is Maya Rudolph. She delivers a joke about rice pilaf that is nothing short of heroic. Rice pilaf, indeed! That woman deserves our admiration.

2019: Serenity

In the movie “Serenity,” Matthew McConaughey portrays “Baker Dill,” a fisherman who receives an unusual request from his ex-wife, Anne Hathaway. She wants him to eliminate her new husband, Jason Clarke, who is abusive. However, I won’t reveal the surprising turn of events in the plot. Even if you are aware of the film’s infamous twist, the way it unfolds is still far more mind-boggling than you might anticipate. It’s astonishing to consider that anyone believed this concept could work, let alone the team of people who brought this bewildering tale to life on screen.

2020: Dolittle

In the style of Tim Burton’s Batman, where a back-alley doctor botches Jack Napier’s face reconstruction and creates the Joker instead, Dolittle feels like a disjointed, incomprehensible mess. Originally intended to be more serious, it morphed during reshoots into a chaotic cinematic creation reminiscent of Frankenstein’s monster, filled with potty humor, absurd animal conversations, subpar CGI, and Robert Downey Jr.’s over-the-top performance that makes Captain Jack Sparrow seem shy in comparison.

2021: Space Jam: A New Legacy

As a passionate movie enthusiast, I must admit that “Space Jam: A New Legacy” fell far short of my expectations. The portrayal of Warner Bros. as a heartless conglomerate governed by an antagonistic algorithm was a clever self-deprecating move, but the overall film felt lackluster and unfunny. In comparison, the original “Space Jam” seemed more like Stanley Kubrick’s masterpiece, “2001: A Space Odyssey.” LeBron James is not a terrible actor, and he holds his own in the lead role, but the film itself was a disappointing embarrassment from start to finish. It seems to have missed the mark when it comes to capturing the charm of the Looney Tunes characters, particularly Bugs Bunny, who is portrayed as a whiny and melancholic version of his former self in this movie. Instead, I’d recommend revisiting some classic “Looney Tunes Cartoons” on Max. Even a random short will provide more laughter than the entire two-hour feature of “A New Legacy.” Additionally, the animation quality in the cartoons surpasses that of the film.

2022: Marmaduke

In simpler terms, the movie “Marmaduke” is arguably the least visually appealing and ugliest animated film I’ve ever come across. I hope I never stumble upon anything worse. It seems as if it was hastily produced, perhaps even as part of a shady financial scheme or an unusual agreement where the creators had to produce something – anything – by a specific deadline.

Surprisingly, despite the atrocious animation quality, “Marmaduke” boasts some big-name comedians such as J.K. Simmons, David Koechner, and Pete Davidson. One can’t help but wonder if they hadn’t read the script, didn’t see the hideous characters they were to voice, or perhaps received a private island vacation in exchange for their services. How on earth did this collaboration occur?

2023: Winnie-the-Pooh: Blood and Honey

This controversial movie, inspired by A.A. Milne’s classic book and now in the public domain, leads to the creation of such movies. Unfortunately, it fails as both a slasher film and a satire of children’s literature. However, it does serve one purpose effectively – it strongly argues against the idea of a public domain. It’s essentially an unbearable mess.

2024: Megamind vs. the Doom Syndicate

As a die-hard fan of the original “Megamind”, I must admit that I was left feeling rather disappointed by the visuals of this follow-up film. It’s almost as if The Asylum, known for their low-budget mockbusters, had taken on the task instead. The cityscape of “Metro City” is a far cry from what I imagined, appearing flat, drab, and eerily deserted. There are no signs of life or activity in the streets, save for one dance party scene. It seems like Megamind and the Doom Syndicate are battling it out in a ghost town. The whole movie feels like a less foggy version of the “Superman” Nintendo 64 game. I can’t help but wonder if it took them 14 years to produce a “Megamind” sequel, and this is the result?

Read More

• OM PREDICTION. OM cryptocurrency

• Jellyrolls Exits Disney’s Boardwalk: Another Icon Bites the Dust?

• Carmen Baldwin: My Parents? Just Folks in Z and Y

• Despite Strong Criticism, Days Gone PS5 Is Climbing Up the PS Store Pre-Order Charts

• Solo Leveling Season 3: What You NEED to Know!

• Jelly Roll’s 120-Lb. Weight Loss Leads to Unexpected Body Changes

• Netflix’s Dungeons & Dragons Series: A Journey into the Forgotten Realms!

• Lisa Rinna’s RHOBH Return: What She Really Said About Coming Back

• Beyond Paradise Season 3 Release Date Revealed – Fans Can’t Wait!

• Disney’s ‘Snow White’ Bombs at Box Office, Worse Than Expected

2025-04-11 00:02