From Ben Affleck to Adam Sandler.
With a rapidly changing library of titles, hosting your own movie marathon on Netflix is pretty easy. But instead of cherry-picking timeless classics or old favorites to enjoy, why not pay attention to those unfamiliar titles that you constantly find yourself weeding through and have yourself a bad movie marathon?
We sifted through the awful, absurd, and just plain WTF offerings of Netflix and managed to whittle an extensive list down to 25 semi-digestible entries. Representing all genres and countless questionable career moves, here are some truly abysmal titles whose creators will never have to worry about pesky things like counting money or Oscar statuette placement.
The worst movies on Netflix
1) Love Wedding Marriage
Directed by Dermot Mulroney, Love Wedding Marriage has the dubious distinction of scoring a rare 0 percent on Rotten Tomatoes, one of two Mandy Moore movies (along with Swinging With the Finkels) to earn the honor. In Love Wedding Marriage, Moore plays an alleged Berkeley graduate and relationship counselor with all the acting skill of an energetic high school cheerleader, and she gets no help from on-screen husband Kellan Lutz, who feels less like a romantic partner than her gay best friend. The film, co-starring Jane Seymour and James Brolin as Moore’s wackily estranged parents, wants to be a commentary on modern commitment, but as the New York Times memorably put it, it feels more like “punishment for a crime you can’t remember committing.” —Nico Lang
2) The Host
Hey, are you bummed that Twilight left Netflix? Looking for something that’s in the same vein, but even dumber and way less memorable? Well, you’re in luck. The Host (not the good Korean film of the same name) based on Twilight author Stephenie Meyer’s 2008 YA sci-fi book, is now streaming. Watch it if, I don’t know, you want to punish yourself or something. —C.O.
3) The Cobbler
Adam Sandler has made a lot of bad movies in his career (Jack and Jill, anyone?), but perhaps none is more bizarre than The Cobbler, which is a Netflix category unto itself. It’s the world’s first—and probably last—Jewish body-switching gentrification comedy. Sandler plays a schlubby cobbler gifted with the magical ability to transport into the body of anyone’s shoes he happens to try on, which leads to some unexpected transphobic and racist hijinks. The Cobbler isn’t just a bewildering, offensive disaster, it’s a downright depressing one. Directed by future Oscar-winner Tom McCarthy (Spotlight), this film was supposed to announce Sandler as a serious actor. Instead, its failure further doomed him to a lifetime of co-starring in David Spade movies. —N.L.
4) True Memoirs of an International Assassin
There are so many bad Adam Sandler movies on Netflix, it’s easy to forgive one for thinking that this action comedy starring frequent Sandler crony Kevin James was a part of their ever-growing list of Happy Madison-esque exclusives. Although the script by Jeff Morris appeared on the 2009 Black List—a yearly industry roster of the best unproduced screenplays—the final result failed to live up to the story’s buzzy inception. At the end of the day, True Memoirs of an International Assassin stands as nothing but yet another reminder of Hollywood’s tolerance for white male mediocrity that is embodied by Kevin James. —C.O.
Serena boasts an amazing IMDb page. Directed Susanne Bier—who helmed the 2011 foreign-language Oscar winner, In a Better World—Serena re-teamed America’s favorite pairing: Jennifer Lawrence and Bradley Cooper. Fresh off the success of American Hustle, it seemed as if the frequent co-stars could do no wrong. Not quite. The film was so bad that it didn’t even screen in theaters, ignominiously dumped onto streaming platforms. That’s for the best, because the fewer people that see this soapy noir bore, the better. The screenplay, in which Cooper plays a lumber baron and Lawrence his unhinged wife, seems to actively hate its actors and want to see them suffer. It’s a mess of bad accents, dialogue, and life choices—like a one-night stand you’d rather forget. I suggest you do. —N.L.
6) Saw: The Final Chapter
Like so many horror movies before it, Saw was a creepy little delight which eventually spawned a franchise of lackluster sequels. This one, which originally came out in 3D (so you know the series was desperate,) was billed as “The Final Chapter”… except a reboot called Jigsaw just came out this year. Please, Hollywood, just let Saw die already, it’s time. —C.O.
7) Judge Dredd
Before 2012’s much better Dredd, there was this 1995 Sylvester Stallone vehicle. Stallone, who won the Razzie for “Worst Actor of the Century,” gives one of his most mumbly performances ever in this comic book adaptation about “judges” who serve as an all-powerful police force in a dystopian future. Judge Dredd definitely isn’t good, but for those nostalgic for ridiculous ‘90s action movies or hardcore Sylvester Stallone fans (the Italian stallion tends to be a commanding presence, even in his worst performances), it’s one of the best among Netflix’s worst. —C.O.
8) Daddy Day Care
Eddie Murphy and Jeff Garlin play stay-at-home dads who open their own daycare after getting laid off in this family flick which EW’s Lisa Schwarzbaum describes as, “A parent-and-kid-oriented comedy about the adventures of men doing the hard work of mommies, which couldn’t be more timely — or less delightful.” It’s true, the high-concept premise probably felt almost progressive when the movie came out in 2003. And the film’s supporting cast, which includes the likes of the great Regina King and Oscar-winner Anjelica Huston, is top notch. Too bad the end result was “aggressively simple-minded” (Roger Ebert) and a “nearly unwatchable… endurance contest” (James Berardinelli). Could be worse, though; it could be Daddy Day Camp. —C.O.
9) United Passions
United Passions not only has the honor of receiving a whopping score of “1” on Metacritic, it also holds the title of the lowest-grossing film in U.S. history. To make matters worse, just as the movie, which explores the origins of the Fédération Internationale de Football Association, was opening, FIFA itself was accused of mass corruption and President Sepp Blatter was suspended from all football-related activities. Given that the film lost almost all of the $27 million budget that FIFA sank into it, perhaps the powerful football organization will think twice before it takes on such blatant vanity projects in the future. —C.O.
Netflix has plenty of options for all the Nicolas Cage connoisseurs out there. Whether you’re a casual fan or a diehard Cage-head, you will find no shortage of options when it comes to the inscrutable actor on streaming. Most of them are bad, a few, memorably so. Outcast has the distinction of featuring not just Nic Cage, but Hayden Christensen (Mr. Skywalker himself!) in preposterous Chinese period garb. The plot has something to do with a mysterious warrior who teams up with the children of a Chinese Emperor to avenge his death. None of that really matters, though. What matters is Nicolas Cage in a ponytail, screaming like a maniac. —C.O.
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11) Sin City: A Dame to Kill For
Sin City: A Dame to Kill For is as bad as the original Sin City is good. In a 0-star review, Nathan Rabin wrote that it was so terrible, “it makes its predecessor seem much worse by association.” Stupid, misogynistic, and pointless, it may be the epitome in a recent trend of unnecessary sequels. Even a stellar cast featuring Joseph Gordon-Levitt and Josh Brolin along with returning players Jessica Alba, Bruce Willis, Rosario Dawson, and Mickey Rourke can’t save this worthless excuse for a movie. Worst of all, it totally wastes the masterful Eva Green (who also starred in 300: Rise of an Empire the same year, speaking of unnecessary Frank Miller sequels) in what should have been the perfect role for her. —C.O.
12) The Other Sister
Everything in The Other Sister is terrible. The film was directed by career hack Garry Marshall with the same nuance he brought to New Year’s Eve and The Princess Diaries 2: Royal Engagement. But The Other Sister isn’t just maudlin sap, it’s so poorly made that it seems to be making fun of the very people it wants to celebrate. In the film’s most infamous scene, Carla (played by Juliette Lewis) gets lost in her own house. —N.L.
13) Grace of Monaco
The past few years have not been kind to royal biopics. In 2014, Naomi Watts earned her first Razzie nomination for the exploitative, navel-gazing Diana, a look at the former Princess of Wales’s doomed love affairs. Then there was the even more ill-fated Grace of Monaco, which was dumped on Lifetime after being all but laughed out of Cannes. It’s a trainwreck. The project probably seemed like sure thing for Nicole Kidman: Director Olivier Dahan’s previous picture was La Vie en Rose, the Edith Piaf biopic that won Marion Cotillard an Oscar. His follow-up was about another Oscar winner, Grace Kelly. But Dahan shoots his actors in the face: The performances are absurdly, unbelievably over the top. It all seems intentional, as if Grace of Monaco is trying to do something, but God only knows what. —N.L.
14) Little Boy
As Alison Willmore’s BuzzFeed review put it, “Little Boy looks like a heartwarming drama but feels like a horror movie.” It’s a tonal misfire of epic proportions, where the only thing more confusing than the premise is the cast (Kevin James? Michael Rapaport? Tom Wilkinson? And is that Emily Watson? What are any of you doing in a movie together, much less this one?) For anyone really looking to punish themselves, there’s apparently an Indian remake of the film out there as well. Oh, and just to make the lunacy complete, the remake stars a 51-year-old man in the central role. —C.O.
15) Wild Wild West
A steampunk remake of a 1960s TV show featuring Will Smith and Kevin Kline facing off against Kenneth Branagh in a giant robotic spider: what could go wrong? Turns out a lot, unsurprisingly. Released in 1999 to a critical drubbing, Wild Wild West quickly earned a reputation as one of Hollywood’s biggest miscalculations ever. Full of ludicrous effects and clunky set pieces, it remains as wildly bad now as it was the day Warner Brothers released it. The one upside of watching it is being able to enjoy Kevin Smith’s giant spider story on another level. —C.O.
16) Burying the Ex
Once upon a time, Joe Dante did good things. Marvelous things. You know him as the man behind Gremlins, Innerspace, and The Howling. However, judging from this retrograde, stunningly misogynistic dud, his politics are stuck in the ’80s. Burying the Ex is just as bad as its plot description sounds. Max (Anton Yelchin) wants to break up with his needy, annoying girlfriend, Evelyn (Ashley Greene), but he gets lucky: She dies! That frees up Max to move onto another hottie who is way too good for him (Alexandra Daddario), despite the fact that losing your girlfriend, even if the relationship isn’t great, would likely be a traumatic experience for anyone. He’s fine, though, and not a sociopath at all. Max’s plans for sweet your-girlfriend-is-worm-food nookie are foiled when Evelyn rises from the dead to nag him. What a drag. —N.L.
17) To the Wonder
Terrence Malick very rarely makes movies. Before the current decade, he had only directed five in his entire career: Badlands, Days of Heaven, The Thin Red Line, and The New World. But shortly after the success of 2011’s The Tree of Life, which many (myself included) consider to be a masterpiece, he announced a slew of new projects. That ignited rumors that the reclusive 72-year-old was dying and was attempting to get out as many movies as possible in the time he had left. This equation might seem ageist if To the Wonder weren’t a truly, madly, deeply awful film—by far the worst thing its director has ever done. The film, starring Rachel McAdams and Ben Affleck, takes many of the stylistic techniques that made his previous film such a marvel and makes them into spiritual kitsch. If you love ponderous voiceover, no character development, and shots of Olga Kurylenko twirling, this is the pseudo-philosophical mumbo-jumbo for you. —N.L.
18) Charlie St. Cloud
Charlie St. Cloud shall forever be known as “the movie where Zac Efron plays catch with his dead brother” (not a spoiler). It’s just as bad as it sounds, imitating the Nicholas Sparks school of romantic saccharine to the letter. This movie came out in the days when no one knew how funny Efron is, so he was usually forced to rely on his hunky good looks, and even those can’t save this movie. —C.O.
19) The Sharknado Franchise
Is there anything else you really need to know about the Sharknado films at this point? Sharks. Storms. Ian Ziering. Tara Reid. With the exception a mockumentary spinoff and the fifth installment, due out later this year, the whole SyFy series is currently available on Netflix in all its glorious badness. As the tagline for the original reads, “Enough said.” —C.O.
20) Jenny’s Wedding
LGBT-centered movies about marriage and family are a good idea. Treacly movies starring Katherine Heigl and Alexis Bledel as unconvincing lesbians are not. Heigl stars here as the titular Jenny, who finally decides to come out to her family after getting engaged to her partner, Kitty (Bledel), whom they thought was just her roommate. Writer/director Mary Agnes Donoghue, who previously penned the screenplay for Beaches, clearly has an ear for melodrama. But when the subject of your film is same-sex marriage, it’s best the end result doesn’t feel like a “Hallmark card.” —C.O.
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21) Safe Haven
Man, no one writes bad movie fodder like Nicholas Sparks, huh? The adaptations of his work tend to range from the sappy but entertaining (A Walk to Remember, The Notebook) to the downright unwatchable (The Choice, The Best of Me.) Safe Haven falls closer to the latter category. The film’s Lifetime-lite plot finds Julianne Hough’ Katie running away from her abusive husband (David Lyons) and into the arms of Josh Duhamel’s Alex. It all culminates in an extraordinarily absurd twist involving (spoiler alert) How I Met Your Mother’s Cobie Smulders. Watch this movie with a bottle of wine or don’t watch it at all. —C.O.
22) The Canyons
Lindsay Lohan is not a bad actress. But if her last movie ever was The Canyons, people would probably remember her as one. Some material cannot be elevated. And if fact, after watching The Canyons, one has to wonder whether the intention was to let the film wallow in its own filth all along. It would make sense, coming from director Paul Schrader (Taxi Driver, American Gigolo) and especially from writer Bret Easton Ellis (American Psycho), whose combined fascination with the campy, the depraved, and the seedy reaches epic proportions in this on-the-nose satire. Their casting of Lohan as a Hollywood party girl only goes to accentuate this. But don’t get taken in; this supposedly edgy movie is about as interesting as a bag of rocks, not to mention twice as ugly. —C.O.
23) The Ridiculous Six
Adam Sandler’s first feature as part of his four-picture Netflix deal is a train robbery disguised as a movie. The comedian has admitted that he views his movies as paid vacations, and with The Ridiculous 6, Sandler has gotten Netflix to bankroll the world’s most expensive party in which all of his friends are invited. The Frank Coraci-directed film is a loose spoof of The Magnificent Seven with the barest pretense to plot, logic, and common sense, and it’s incredible to consider that it took two people (Sandler and Tim Herlihy) to write a screenplay that appears to be so utterly nonexistent. If you like incessant fart jokes, Native American stereotypes, and the sight of Taylor Lautner wearing buckteeth, go for it. Otherwise, run for the hills. —N.L.
24) White Chicks
What is it about bad comedies that makes them so much worse than other kinds of bad movies? Perhaps it’s a matter of distance. When you’re watching an ill-conceived drama, the fact that it’s intended to be taken seriously allows for ironic mockery. It’s much harder to make fun of a poorly made comedy—because it’s supposed to be in on the joke. A good example of this is White Chicks, the 2004 Wayans Brothers comedy that features the most disturbing prosthetics in film history. To go undercover as two sorority girls, a pair of FBI agents don what are basically Michael Myers masks. White Chicks would play much better as a horror film. The result is so godawful and unbelievable that it almost passes for brilliant, and the film has attracted a number of apologists over the years. But don’t be fooled: If Freddy Got Fingered can weasel its way into a cult following, anything can. —N.L.
25) Son of God
Most faith-based movies are bad to begin with, as they usually let their preachiness interfere with the story. But what makes Son of God even worse is that it’s not really a movie at all. More accurately, Son of God is an elaborate montage, cobbled together from the miniseries The Bible (also available on Netflix) in an attempt to create something resembling a narrative. Did it make money? Sure. Was it good? No. A little sermonizing could be forgiven here (we are talking about the story of Jesus, after all), but what’s less acceptable is the sheer laziness on display in this ham-fisted, PG-13 version of The Passion of the Christ. —C.O.
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Editor’s note: This article is regularly updated for relevance.
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