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The Absolute Worst Movies Of 2018

In 2018, these are the films that got our
butts in the seats – and then sent us home with our wallets empty, and our hearts unfulfilled. These films were the worst of 2018. There may not be a major Hollywood film with
worse timing than Death Wish, a remake of the classic 1974 Charles Bronson film. The 2018 version features Bruce Willis as
an everyday Joe who takes up arms to clean up the streets of Chicago after his daughter
is assaulted and his wife is murdered by thugs. The notorious Eli Roth delivered a picture
that landed squarely in the middle of the real-life debate over guns in America – and
suffered immensely for it. Critics took note of the film’s poor timing,
having already been pushed back from a fall 2017 release after the Las Vegas mass shooting
that claimed 58 lives. But all that aside, the potentially nasty
fun of a revenge flick simply failed to materialize nearly as well as the Bronson original. “I never thought about it that way. It could be true.” Part of the most ridiculously popular multimedia
property to ever come from the world of Twilight fan fiction, the third installment in the
Fifty Shades series finalizes a franchise that never found critical acclaim, despite
posting insane box office numbers. Freed’s critics didn’t hold back even a little. The famously colorful Rex Reed said it was “[…] grotesquely mindless and inescapably
boring, [while it] continues to ignore motivation, character development, logic, and narrative
cohesion.” Reed gave the movie one star, but it was apparently
earned by the movie’s furniture. The few positive reviews tended to highlight
its merits as unintentional satire, rather than any redeeming qualities it might otherwise
have had. But there is one great thing about Fifty Shades
Freed: it marks the end of the series. “You know that, don’t you?” Expectations were sky high for director Ava
DuVernay’s adaptation of the classic 1962 young adult novel A Wrinkle in Time. With an amazing cast attached, the film looked
to be another winner for Disney – but unfortunately, it fell surprisingly flat with critics, and
posted flat box office receipts to match. Negative reviews focused on the disappointment
sure to be felt by fans of the novel, as the adaptation didn’t match the source material’s
tone. Splice Today’s Stephen Silver argued, “It’s based on one of those novels that’s
long been described as un-adaptable, only to result in a movie that proved such naysayers
right.” Cinefiloz called it, “[…] a film that does not stop feeling generic.” “You’re kidding.” “Do I look like I’m kidding?” “A little.” “I’m not.” “I’m not.” It seems that it wasn’t just one thing that
went wrong, but if DuVernay’s stellar past work is any indication, she should bounce
back quickly. It’s hard to deny that Amy Schumer has had
a hard time hitting her stride with her film projects, aside from her promising 2015 debut
in the Judd Apatow-directed Trainwreck. This year’s I Feel Pretty – in which Schumer
is an average-sized woman who awakens from an accident believing she’s a supermodel – seemed
to sport the perfect premise for Schumer’s brand of comedy. But it largely turned out to be a swing and
a miss. The New Yorker proclaimed that the film essentially
wasted its entire cast from Schumer to Naomi Campbell, Michelle Williams and veteran actress
Lauren Hutton, and went on to call it, “[…] a painful, unaware condescension masquerading
as encouragement.” “I wanna punch you right in your dumb face
right now.” Most other critics were no kinder, agreeing
that the movie felt pandering and insincere, and that the comedic moments were just plain
tone-deaf. Perhaps Apatow, the only director who’s proven
himself capable of successfully harnessing Schumer’s vibe on the big screen, should give
her a call, because the response to I Feel Pretty has been nothing short of ugly. Based on the dangerously irresponsible real-life
Action Park and featuring Johnny Knoxville and his usual roundup of friends, the movie
Action Point seemed like sure-fire comedy gold. Tailor-made for Jackass-like stunts, the movie
was the perfect framing device for humiliating pratfalls and bodily injury – but it arrived
in theaters only to fall right on its face. Many critics found Action Point to be way
too soft and safe, complaining that the whole thing was unworthy of its death-defying inspiration. Reno News and Review critic Bob Grimm, who
survived the actual Action Park as a child, called it “[…] basically an insult to the legend of
Action Park – or Death Park, as we liked to call it.” It’s a rare case of the Jackass crew not going
far enough. They’ve all been in the business of abusing
themselves for the better part of two decades, so here’s hoping they can give us at least
one more stellar outing without killing themselves. “Dammit! Ow!” Fans could be forgiven for approaching Slender
Man with a healthy amount of trepidation. Plot details had been kept tightly under wraps
during the film’s production, and when the film hit theaters, it became clear why we
hadn’t heard much. What little plot there was in Slender Man,
just seemed way too thin. Critics flogged the picture for its non-existent
story and lack of any genuine scares. Cinema Crazed nailed down all the film’s problems
with one sentence: “Deep down beats the heart of a great horror
movie, but it’s lost in cheap jump scares, bad CGI, and heavy cribbing from Nightmare
on Elm Street and The Ring.” More than one reviewer noted the film’s proximity
to the real-life, recent Slender Man stabbing, with some even making the case that the film
exploits the tragedy – but at the end of the day, Slender Man’s worst crime was just being
boring. The Happytime Murders seemed like it had an
inspired comedic premise. As a sort of mashup between Sesame Street-gone-wrong
and Who Framed Roger Rabbit, the film stars Melissa McCarthy as a human police detective
in a world where people co-exist with living puppets. She and her puppet partner are tasked with
getting to the bottom of a series of murders. It’s a premise with the potential to be a
raunchy, edgy comedy. Unfortunately, the film failed to deliver
the laughs. The always-blunt Peter Travers of Rolling
Stone called it, “A toxic botch job [which] deserves an early
death by box office.” Sarah Marrs of Lainey Gossip called it, “Too boring and mediocre to be the worst movie
ever made.” “Well, f–k me!” “Maybe! Hahahaha!” Puppet-based raunchy humor isn’t impossible,
but this film just couldn’t crack the code – and also managed to deliver yet another
starring vehicle unworthy of McCarthy’s talents. The films of the Conjuring universe have never
done anything less than gangbusters at the box office, even when nabbing mixed critical
reviews. Since the first appearance of the demonic
nun Valak in The Conjuring 2, fans have been clamoring for a film centered on the terrifying
figure – but her starring turn has unfortunately put the filmmakers in need of paying penance. While critics generally considered the film
to be technically well-acted and well-made, nothing could save it from giant gaps in logic
and a meandering narrative structure. Many observers also took the film to task
for it heavy reliance on cliche. Said the Seattle Times’ Soren Andersen, “Entombed the audience is […] in horror-movie
cliches. […] The moments don’t build to any sort
of sustained narrative momentum. […] It’s so choppy and predictable that
it becomes laughable.” Despite all that, another hugely profitable
sequel is probably in the works right now, maybe with a scarier story to tell. Fans of sci-fi ’80s monster action were psyched
about the announcement of Shane Black’s suburbia-set The Predator. Black’s action bonafides have never been in
question, the trailers looked fresh and funny, and it seemed highly unlikely that anyone
would drop the ball. Sure, Black is incapable of making a bad looking
film, and he didn’t disappoint here. But even his gifts couldn’t overcome a surprisingly
bland script and undisciplined plotting. Brandon Katz of The Observer called it, “[…] a thorough grab bag of averageness,
made worse by its distinct lack of distinction.” “Come and get us, mother f—ker.” His peers, on the other hand, focused on the
film’s over-reliance on zippy one-liners and emulating ’80s B-movies in the worst possible
ways. It added up to a shocking miss from a filmmaker
who seemed to have it all together. Clint Eastwood has a pretty good track record
as a director, and an even better one as a director of historical dramas, so expectations
were high for The 15:17 to Paris: the true story of a trio of American soldiers who thwarted
a terrorist attack on a train while traveling in Europe. The actual soldiers involved in the incident
were even recruited to play themselves in the movie. Unfortunately, real-life heroes don’t necessarily
make good actors, according to critics. The New Republic wrote about all three stars: “[They’re] all handsome but just appalling
actors. This disjuncture is impossible to forget while
watching the film, and it’s very uncomfortable.” Padding out a relatively brief incident to
the length of a whole film resulted in two-thirds of the film’s run time devoted to tedious
exposition. While the centerpiece action sequence earned
praise, everything surrounding it disappointed. The 15:17 to Paris arrived at the station
greeted by wildly indifferent audiences. Forever My Girl is the story of a country
music star who returns home for a funeral, only to face the lost love he left behind. If that description strikes as you overly
familiar and formulaic, you’re not alone. Critics couldn’t help but note that Forever
failed even to clear the bar set by the wildly popular weepers based on Nicholas Sparks novels. “Not really my cup of tea. No offense.” “None taken.” The film seemed to bring out the snark in
practically every critic who viewed it. The San Francisco Chronicle got very specific: “It’s a poorly made film, with rough edits,
distracting staging and plot contrivances that can be predicted to the moment. […] There’s an almost startling lack of
chemistry between the leads [and it’s] as if every third scene was cut out randomly.” The picture only managed a $16 million haul
during its theatrical run. Winchester sounded like the kind of horror
slam-dunk that comes along rarely: a supernatural fright-fest based on the insanely spooky true
story of Sarah Winchester, who built the mother of all haunted houses. Starring Helen Mirren in the title role, the
stars were all aligned. So how did it go so terribly wrong? Critics agreed that it represented a forgettable
whale of a missed opportunity. Peter Travers of Rolling Stone heaped scorn
all over the film, saying, “It shouldn’t happen to anyone, much less
a Dame – not a movie of such barreling awfulness as Winchester, which strands the great Helen
Mirren in a gothic house of cards that collapses on actors and audiences alike.” The film’s writer/director duo, the Spierig
brothers, were taken to task for choosing jump scares over atmosphere, and one review
went so far as to call Mirren’s presence in the film “inexplicable.” With Winchester, the Spierigs delivered arguably
the most disappointing misfire of the year. If this is your first time hearing of action/comedy
Gringo, you’re not alone. The film flopped spectacularly, grossing only
about $11 million worldwide despite an insanely accomplished cast. The story of a mild-mannered American who
goes Breaking Bad on a trip south of the border – the sophomore feature from veteran stunt
coordinator Nash Edgerton – failed to score with critics while general audiences were
simply unaware of its existence. Not that this was necessarily a bad thing:
Rolling Stone’s David Fear said “It can’t decide whether it wants to be magnificently
toxic or merely mediocre. […] This is a ‘romp’ that’s keen on going
nowhere… and sloooowly.” “What a f—king crybaby!” Most of the critical venom was reserved for
its unfunny, contrived mess of a screenplay, on which the film’s amazing cast was apparently
completely wasted. Director Robert Zemeckis has given us such
beloved films as the Back to the Future series, Forrest Gump, and Cast Away… “hahahaha FIRE” …and his year-end release Welcome to Marwen
had “prestige picture” written all over it. It’s a fictionalized account of the life and
work of Mark Hogancamp, who builds a scale model of a World War II-era Belgian town in
his backyard. Featuring Steve Carell in the lead, Zemeckis’
film took a huge aesthetic gamble by being set partially inside the fictional town. Carell’s performance drew fire for its lack
of nuance, and Zemeckis took his share of hits for offering one-dimensional female characters
and failing to inject the story with genuine emotion. The CGI dolls left some viewers stranded in
the uncanny valley, and though most critics agreed the film was well-intentioned, it all
added up to a titanic misfire. The post-apocalyptic thriller Mortal Engines,
based on the first of a series of young adult novels, had been highly anticipated due to
the involvement of producer Peter Jackson and director Christian Rivers, a longtime
Jackson associate. In the movie’s world, gigantic cities on wheels
roam the landscape in search of resources. While some critics praised the film’s world-building,
even the positive notices lamented its stitched-together, derivative story and the critics that panned
the film panned it extra hard. The New York Post’s Sarah Stewart called it,
quote, “a wearying blast of CGI and genre-cribbing,” which “[pillages] better movies for spare
parts.” She also pointed out that even the soundtrack
by Junkie XL is highly reminiscent of the composer’s work on Mad Max: Fury Road. She wasn’t the only observer to point out
that Mortal Engines seemed to invite comparison to that unassailable classic, although some
were slightly more succinct. Said Splice Today’s Steven Silver: “It’s been a long time since Peter Jackson
last made a good movie, and the dry spell continues with Mortal Engines, which answers
a burning question: What if Mad Max: Fury Road had sucked?” John C. Reilly and Will Ferrell can be a formidable
comedic duo, as we’ve seen in multiple films. Unfortunately, Holmes and Watson brought that
streak to a screeching halt. One of the worst-reviewed films of the year,
Holmes and Watson literally saw audiences walking out of the theater. The vast majority of critics were none too
pleased that they were professionally obligated to sit through the whole thing. “What have you done with Sherlock?” “Why Watson. I never left.” “Ah! Amazing!” The problems permeated the production, from
its terribly unfunny screenplay to its direction and editing, which one reviewer called the
worst of any film released in 2018. The flick was lambasted for its lazy humor
and for wasting the talents of Reilly, Ferrell, and its entire supporting cast. Here’s hoping that Reilly and Ferrell can
bounce back with a movie that audiences actually want to spend their money on. Better luck next year, Hollywood.

  • Death wish just wasn’t a good movie regardless of when it came out Bruce Willis totally phoned in his performance also all Amy Schumer movies suck she is not even a little bit funny

  • these are far from being the worst movies …
    they are disappointing, mediocre or bad
    but worst?!
    Death Wish, Mortal Engines, Winchester are mediocre movies but far from the worst (predator and nun are fun too, not good but pretty watchable)

    specially when there are movies like : Babadook, Hurricane Heist, Taxi 5, Fantastic Beasts 2, Second Act…

  • Way way too much Melissa McCarthy she makes tired trash movies and Will Ferrell and that Riley guy just really suck wind as actors never watch any movie with any of these three it's a sure fire bomb💀💀💀💀💀

  • “Gave the movie one star….apparently earned by the movie’s furniture” 😃😃🤣🤣🤣🤣🤣🤣🤣

  • "What if mad max fury road sucked".. imo, it did. Best thing about that movie was the dude with the guitar. Other than that, super boring.

  • The Wrinkle in Time criticisms are entirely unfair. Im a huge fan of the books and I thought they nailed it with the confines they are presented when making a movie about such an abstract book. I was just disappointed about the watering down of IT, because those are some my favorite parts of the book, but besides that, it was great. Critics are just wrong in man
    y cases imo

  • WOW! I never thought the day would come that people are upset at actors doing stunts like in Action Point, that didn't result in the actors hurting themselves even more. This world is trippin.

  • I Feel Pretty was good, and oddly inspiring. Also The Nun was the best film in the Conjuring universe since the original Conjuring.

  • Lambasted is pronounced like you baste a turkey.
    And Mad Max Fury Road DID suck. I can't get my head around why anyone liked it. That movie felt like I was trying to play Borderlands but my TV kept switching to that old MTV Beavis and Butthead-type-show The Story of the Brothers Grunt where there's a bunch of gross albino guys chasing this other guy and I don't care. I lot most respect for the Oscars for even including it.

  • Schumer is an "average" sized women…. come on looper… just because shes not 400 LBS doesnt means shes not over weight.

  • All of Amy's stuff is flops. The only reason Netflix keeps pushing her is b/c she's the face of progressive feminism and women in comedy. If they drop her they'll get labeled as misogynistic immediately. Her movies shouldn't be on this list b/c they're by definition not funny.

    The nun was kind of cliche, but wasn't too bad IMO. Mortal Engines I liked, though.

  • I love just about anything Riley and Farrell do, so Holmes and Watson was a huge disappointment. Trust me, I was trying to enjoy it.

  • All I can say about the Wrinkle In Time movie is that I want my $5 and 2 hrs back. If you love the books, stay away from this catastrophe.

  • Why is The Nun on here? It made several times its budget, implying that audiences liked it. Only critics lambasted The Nun.

  • I couldn't disagree more about the Happy time murders that movie was an excellent. That was one of the funniest movie she's ever done I've watched it a half dozen times already and would watch it every night of the week for the next year and the same with mortal engines and predator those are great movies. And mad Max fury road did suck another remake reboot whatever you want to call it that sucked shit the only reboot that's been good was judge dredd and predator every other reboot remake whatever you want to call it has been complete shit

  • When are people gonna realize that Melissa Mcarthy just isn’t funny? The only funny thing she’s done was a supporting role in a movie 8 years ago..

  • You're so wrong about Death Wish. It was nothing great, but FAR from being terrible. Let alone worst of 2018.

  • Critics may not have liked A Wrinkle in Time but audiences did. According to Box Office Mojo it made 132,197,864 worldwide. I think you can call that a success.

  • Anyone else thought that the Mortal instruments' moving cities looked awfully a lot like the turtle cities from Avatar the Last airbender?…

  • Amy Schumer is the best comedian of our generation and those that say other wise are just sexist bigots trolling 4chan. I happen to like her in I feel pretty. I've never laughed so hard in my life.

  • Get out should have been on here, but then again it was mostly a comedy. So, maybe do a list about movies which that were suppose to be one thing and turned out to be another.

  • Slender Man shouldn't be on this list because it was LEGALLY edited to the point that made it a horrible movie. The timing of Slender Man was in poor taste, as the real-life killers behind this story were sentenced just weeks before this movie was set to release. The parents of the girl who was stabbed took legal action saying that making a movie of their child's expense was distasteful. The original movie, before they cut it was rumored to be a completely different structure.

  • Amy Schumer is so unfunny, she makes mass genocide hilarious by comparison. Amy Schumer is the worst comedian EVER and her movies aren’t funny at all. Most of the time when someone makes a statement like this, it’s an exaggeration but she is literally not funny in the slightest, and has no comedic chops. Has nothing to do with her gender or figure, she just lacks every good quality necessary to be a comedian or just even a little funny in general. I don’t believe I’ve ever laughed at anything she’s ever been in or said. People say that she’s funny in Trainwreck and I still wouldn’t waste the time watching it because I cannot stand her. It’s like we’re being force fed something against our own free will. She is the human Ms Piggy (not a fat joke either), they have similar features and their voices are hard to bear.

  • Happy Time Murders, I knew right from when I saw the trailer was going to suck. You’ve seen one of her movies you’ve seen them all

  • The Nun and Winchester were such a let down for me, since I'm really excited for these kind of horror flicks!
    I couldn't believe how extremely bad they were and it proved once again that Hollywood has completely stopped caring about quality and what horror actually is and so the quantity of cheap jump scares and lazy writing continues! It's so disappointing since the premise for Winchester was awesome!
    Fifty shades shouldn't even be on this list, it should be forgotten all together!! Twilight and Fifty shades are without a doubt the worst movies ever made, and I say this knowing full well of the existence of The room and other such atrocities!! Maybe they should be called the worst movies ever made that still made millions..

  • First off anything with Amy Schumer sucks, she isn't funny and she steals material.

    Also i like Mortal Engines i thought it was a fun flick

  • Welcome to Marwen was such a good movie with such a great story and Steve carrel had never played s character with that kind of heart.

  • Death wish was a damn good movie.
    Amy Schumer just isn't funny.
    Action Point was fucking awesome haha
    Happy time murders just looks stupid.
    Haven't watched the Nun yet. Probably will watch it in the next day or two.
    The Predator really wasn't good.
    15:17 to Paris was actually good I thought.
    Haven't seen Winchester yet.
    Gringo was just boring
    Never even heard of Marwen
    Mortal Engines just wasn't that good
    Holmes and Watson was dry and felt like blander

  • hollywood produce so much shits theses days all movies suck too cheap deja vu remakes its sad but usa will never be great again

  • See, I love Mortal Engines. I think it's well made and even though are some areas that could be improved, I still believe the movie to br great success.

    Another reason for it's downfall could be that it was released the same year as Avengers: Infinity War which, in turn, pushed a lot of films under the rug with its supremacy.

  • Carry on my wayward son, There'll be peace when you are done. Lay your weary head to rest, Don't you cry no more-eeee!
    Oh, not those Winchesters? But it's some supernatural stuff? Okay, fuck off then, Helen Mirren (I still love you though you old goat)

  • Tell me how a wrinkle in time is “unadaptable” like what? They took a weird ass Pandora-esque twist on it that NO ONE wanted. It was done horrifically and fucking Oprah was in it like why…

  • I was super unimpressed with Winchester. I visited the actual house and that movie couldn’t possibly embody the creepiness and story of that house…

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