Top 100 WORST Movies of All Time

If you’re looking for a fast-food restaurant ad disguised as a movie, then this is for you. If not, then we suggest you keep on looking. “Mac and Me” plays out as an extended commercial for McDonald’s and Coca-Cola, with scenes filled with references and products from these chains. The film is something of an “E.T.” ripoff, revolving around a child who befriends an alien and helps him reunite with his family. Along with its unoriginal premise, the titular alien’s appearance is terrifying enough to serve as nightmare fuel. Overly sentimental and too on-the-nose, “Mac and Me” tries (and fails) to masquerade as a film with serious themes. If nothing else, we at least got Paul Rudd’s long-running pranks on Conan O’Brien out of this.

When you’re out of ideas, it’s best to bow out gracefully. Unfortunately, nobody told the creators of “Superman IV.” Rather than the fourth installment of a major franchise, “Superman IV” is more like a children’s morning show with a small budget. Its failure was so great that it led to a near-two-decade hiatus for the Man of Steel from the big screen. While earlier films dealt with personal arcs for the protagonist, this one centers around his fight against a villain known as Nuclear Man. Bad special effects, lackluster action, and a cheesy presentation of the plot make “Superman IV” nearly unwatchable. It also doesn’t help that none of the actors look interested, delivering lazy and uninspired performances.

Has anyone wondered if trees have evil plans? “The Happening” spends 90 minutes figuring this out. It revolves around a natural disaster that causes people to claim their own lives. But M. Night Shyamalan’s horror flick backfires on its premise big time, leading to unintentionally hilarious situations. The trademark Shyamalan twist falls flat, too, when nothing actually happens in the end – the trees just stop killing people. It wouldn’t be too bad if “The Happening” was self-aware of its corny quality, but the movie keeps trying to land the scares. From mid-dialogue tonal changes to Mark Wahlberg talking to a tree, it never fails to get a laugh out of its audience.

Biopics are nothing new, and there were already multiple films about Marilyn Monroe’s life before “Blonde.” However, the film received heavy backlash, with many deeming it exploitative of the late actress’s struggles. It’s also a needlessly graphic experience that goes more for shock value than substance in storytelling. “Blonde” tends to paint Monroe exclusively as a tragic figure instead of humanizing her for audiences to understand and relate to. The film’s inability to portray Monroe as anything other than a plot device makes it a one-dimensional watch that not even committed acting performances can salvage. “Blonde” was also deemed disappointing for the large hype surrounding its release that the final product never lives up to.

We talked about trees killing people in “The Happening.” Well, two decades earlier, Stephen King made a film with the same premise, except it’s machines who do the killing. No, the villains aren’t cool Terminator-style robots. Instead, we’re supposed to be scared of everyday items like arcade games, vending machines, and radios. There’s no room for layered characterizations or hidden themes either, as the film is basically about a group of people escaping killer machines. There’s only so many times we can see people fighting lawnmowers and ice cream trucks before it becomes as corny as it sounds. The lack of a solid hook means that “Maximum Overdrive” has the exact same dull tone from start to finish.

It’s hard to think of a film as tone-deaf as this one, which is entirely about the ambiguity of the main character’s gender. Pat is continually followed by neighbor Kyle, who’s relentless in his pursuit to uncover the ambiguous situation. You might think there’s more, but that’s about it for “It’s Pat’s” story. Based on Julia Sweeney’s character from “Saturday Night Live,” the feature film doesn’t do anything to add complexity to Pat’s personality. Instead, the protagonist is made to look like the punchline of a joke the whole time. The cultural landscape has changed a lot since its release, so it’s easy to see why “It’s Pat” has aged horribly for today’s audiences.

The young-adult genre was past its heyday when “Chaos Walking” premiered. Because of this, viewers and critics weren’t so sympathetic to its flaws. Here, a young woman crash-lands into a planet comprised entirely of men. She befriends another youngster and the two look for a way to send her back. While the premise isn’t the worst, “Chaos Walking” lacks a sense of fun and direction. Since it suffered multiple delays, the end result is a choppy film that doesn’t naturally flow from one scene to another. Its sci-fi backdrop becomes nothing more than a gimmick, as “Chaos Walking” descends into a formulaic dystopian story. Compared to young-adult blockbusters like “Hunger Games” and “Maze Runner,” “Chaos Walking” looks like bottom-of-the-barrel entertainment.

There aren’t many movies that can make viewers ask the question “Why?” but “Leonard Part 6” does that and more. There’s no reason for it to exist because it isn’t funny, entertaining, or relevant. Bill Cosby plays a spy agent forced out of retirement for another job. Who’s the villain, you ask? That would be an evil vegetarian. Unfortunately, it only gets more bizarre, as Cosby has to fight brainwashed animals like rabbits and lobsters to save the day. And just because “Leonard Part 6” doesn’t take itself seriously, doesn’t mean it has any self-referential wit that can redeem its lazy humor. The slapstick comedy here is so juvenile that even the youngest of viewers aren’t likely to be amused.

Jared Leto should probably just stay away from comic book movies. While “Suicide Squad” was simply panned, “Morbius” reached such levels of awful that it broke the internet. It’s more popular for the many memes it’s spawned than for what’s actually in the movie. There are no nuances to be found in Morbius’ story of dealing with his blood disease. The actors look like they’re competing on who can deliver the hammiest performance onscreen. “Morbius” was also criticized for attempting to tie Sony’s Spider-Man Universe with the MCU. It does that after raising a world of plotholes that aren’t resolved. In the end, the only legacy it’s inspired is the “It’s Morbin’ Time” memes that might just live on forever.

Back in his prime, it seemed we could never get enough of Eddie Murphy. Turns out we could, and “Norbit” proved that in cringe-worthy detail. Not only does Murphy appear in multiple roles, he also plays his own spouse. Crude jokes based on weight and appearance are the tip of the iceberg, as the film shamelessly goes deeper into offensive humor. Rarely does “Norbit” not come across as gross and over-the-top, so sitting through the 100-minute runtime is a challenge. It’s no surprise that “Norbit” was nominated for just about every Razzie Award there is. A movie like this deserves it for reaching a whole new level of dreadful.

When it comes to the “Godzilla” franchise, the best entries make the monster out to be as scary as possible. For some reason, Roland Emmerich’s directorial effort goes for a lighter, cheesier variant that seeps away Godzilla’s fear factor. All the standard ingredients for a monster fest are buried deep under forced humor and bad CGI. Prerelease hype got fans excited for Hollywood’s take on the titular creature. But it turned out Godzilla was better off back in Tokyo than on the streets of New York. It wouldn’t be the worst if it were a different monster. However, riding on the “Godzilla” brand without delivering the essence of the character makes this a huge disappointment.

The “Fifty Shades of Grey” series kickstarted the modern trend of erotic dramas. Too bad similar works don’t attempt at a plot to balance all the adult action that takes place. “This Day” is a sequel to the original “365 Days,” although viewers probably won’t notice due to the same nonsensical story, bad acting, and constant sex scenes. Of course, there’s not much room for creativity when the central conflict stems from the presence of a handsome gardener. The feeble attempt at storytelling is laughable at best, as the main characters eventually get into a drawn-out misunderstanding involving an evil twin. “This Day” doesn’t have any reason to exist apart from the obvious adult-themed hook, although even that runs thin soon enough.

Not everyone is aware of the corruption cases that FIFA has dealt with. After watching “United Passions,” you still won’t know anything. This film takes extreme license with its seemingly biographical content. “United Passions” paints its protagonists as incorruptible figures, who were ironically accused of corruption around the time of its release. The unreliable nature of the film is so great that it was deemed propaganda by many outlets. Disregarding the controversy behind it doesn’t make it a great watch either. The majority of “United Passions” is about men sitting around talking, with few scenes actually dedicated to football. The negative reception extends to its own cast and crew, as the majority involved have since disowned the film. We can’t say we blame them, either.

Struggle films can be hit-and-miss, requiring sensitive depictions of heavy topics – “Music” wildly misses its target in this regard. Protagonist Zu has to care for her autistic younger sister Music, while dealing with her own substance issues. The characters are trapped in their designated roles, portraying these in a stereotypical way that makes light of the subject matter. Plot development is overly cliche and predictable, with the depiction of Music’s struggles particularly uncomfortable to watch. While its status as a musical sounds interesting, the soundtrack and presentation fail to inspire a sense of wonder. “Music” ultimately reaches melodramatic levels for what seems like an Oscar-bait movie that fails at delivering its message.

The early-2000s were a haven for the romantic comedy genre, with plenty of titles released in quick succession. This also paved the way for several duds, including this one. Its leads can’t act and almost every scene tries to remind viewers that these are the finalists from “American Idol.” With no real story tying things up, the main characters engage in a comedy of errors from one misunderstanding to another. Its rom-com theme flops as well since the performers look like they’d rather be anywhere else than in this movie. Lead star Kelly Clarkson admitted she was contractually obliged to appear in “From Justin to Kelly,” and her complete lack of interest is easy to see.

2005’s “Fantastic Four” was considered a disappointment for its campy nature and uninspiring visuals. After the disastrous 2015 reboot, though, that picture looks like a timeless classic. Going completely in the opposite direction, this entry is a dull, boring, and joyless experience. The gloomy outlook of the team’s origins sucks the life out of the story, with the characters devoid of personality. “Fantastic Four” takes forever to get past filler content before the team receives their powers and motivations to fight Doctor Doom. Most of the movie’s stretched out for no reason, and when it gets to the point, we get a generic battle that fails to create any excitement. This intended franchise-starter ended up as an example of how not to make a superhero movie.

Swashbuckling films needed a major overhaul when “Cutthroat Island” premiered, and its failure nearly killed the genre. Featuring a miscast Geena Davis in the lead role, her character jumps from one scene to the next looking clueless and interacting with pirates that fulfill every stereotype. Without any creative take on a long-established genre, it’s easy to predict how things will turn out right from the opening minutes. Because of this, characters engage in standard pirate banter, where the weak script comes under focus. The action might be passable, but it doesn’t justify the hefty $90 million budget involved. It wasn’t until “Pirates of the Caribbean” almost a decade later that the swashbuckling genre was rescued from the damage “Cutthroat Island” had inflicted.

In simple terms, this movie is about Mike Myers doing Mike Myers things while dressed like an Indian guru. His character is forced to make a vow of chastity, spending the whole film trying not to be attracted to Jessica Alba. It’s as silly as it sounds, with “The Love Guru’s” gags reduced to embarrassing moments for the main character. There are also several wordplays on character names, most of which are obvious references to the guru’s sexual frustration. Things get more slapstick the longer the film goes, losing what little comedy it had. Gross-out humor isn’t for everybody's liking, but “The Love Guru” seems like it wasn’t made for anybody’s liking.

2023’s “Super Mario Bros. Movie” became a major commercial success. But for 30 years, this live-action disaster represented the “Mario” brand on the big screen. The film takes the protagonist and his brother on an interdimensional adventure, carrying only the slightest resemblance to the “Mario” universe. It’s pretty much a standalone story apart from a few references to the games. As a result, the main duo comes across as people putting on color-coded outfits and convincing themselves they’re Mario and Luigi. The action is too fast-paced for its own good, as little room is left for us to understand the characters or appreciate their mission. “Super Mario Bros’” disconnect from the source material makes the whole thing worse than it already is.

Sure, the ‘60s “Batman” TV series had a campy tone, but director Joel Schumacher turned the Dark Knight into a parody of himself on the big screen. From the pun-based dialogue, body-hugging suits, and an actual Bat Credit Card, everything in “Batman & Robin” is played for laughs. It embraces its flashiness to such a degree that viewers might end up forgetting what the story is. After all, who wouldn’t be distracted by Batman and Robin putting on their own rendition of the Ice Capades? If that wasn’t enough, we’ve got several dozen ice-related puns from Mr. Freeze to keep us company. At least, both Schumacher and George Clooney went on record to apologize for putting fans through this nasty viewing experience.

Knowing “Soul Man’s” story is enough to understand why it’s so problematic. A white man takes on the appearance of a Black student to gain a college scholarship, thinking he can keep this charade up. “Soul Man” tries to be earnest, as the protagonist learns of Black people’s struggles while posing as one. But that also comes with various scenes poking fun at the same people, sullying the film’s message with it. The comedy itself is unimaginative, relying on gags you’d find in more sitcoms than a feature-length film. The dramatic turn late in the story isn’t convincing either, meaning “Soul Man” is saddled with its uncomfortable premise. At least the protagonist wasn’t a white man impersonating a Black woman. Remember Loqueesha, anyone?

Watching Roberto Benigni’s “Pinocchio” is like being stuck in a fever dream we can’t wake up from. The film contains an obnoxious and creepy version of the character, stripping away all of his likable traits. Starring as Pinocchio, Benigni looks like an adult man who’s randomly decided to act like a wooden puppet. We’re given no reason to root for Pinocchio, which is made worse by his clownish and malevolent antics. It’s hard to gauge what Benigni was going for when making this outlandish feature and how he expected audiences to react. But we know that it’s most definitely not family-friendly. Weirdly enough, the awful animated “Pinocchio: A True Story” has the titular character act in similarly unsettling fashion 20 years later.

Young drifter Nomi decides to make it as an exotic dancer, learning that the business is a lot more cutthroat than she thought. This outline might sound simple, but “Showgirls” doesn’t bother to get to the point. Instead, the majority of the movie finds ways to showcase the characters in various states of undress, even if there’s no need for it. Nomi’s goal of making it as a dancer has no motivation behind it either, yet we’re made to think as if it’s the ultimate dream to shoot for. “Showgirls’” attempts at emulating the mysteriousness of an erotic thriller like “Basic Instinct” result in some hilarious unintentional comedy. It tries to be edgy and outrageous but only achieves at being tacky and crude.

Arguably the first “so-bad-it’s-good” movie to take off in popularity, “Plan 9” is a favorite for those who love to hate-watch. As its title goes, aliens devise a plan to go after Earth’s inhabitants. Their master plan? That would be resurrecting the dead. The aliens want to prevent humanity's self-destructive tendencies, yet their plan involves killing them anyway. And who can forget the special effects that were ridiculous even back then? Its production values don’t qualify it as a B movie either. While some viewers are delighted by how bad it is, “Plan 9” is a masterclass on how a film shouldn’t be made.

No matter how entertaining humanoid cats might be on stage, they don’t translate well on the big screen. “Cats” has certainly made that abundantly clear with its drab visuals and horrifying CGI models. Apart from the striking issue of the uncanny valley, “Cats” is too satirical with its storytelling. This isn’t a deliberate take from the director since the movie tries to reach for dramatic beats – none of these work out, though. It’s a shame to see a cast of established performers and singers making a mockery of their own talents. It’s also difficult to believe a $100 million budget was pumped into producing this movie, only to provide more than a few nightmares to viewers.

Animated films like “Wreck-It Ralph” and “The Lego Movie” have taken us into the adventures of toys and the digital environment. But a world about the lives of emojis is really pushing it, as seen by the disastrous reception of “The Emoji Movie.” The setup for an emoji with an existential crisis is pretty much an excuse for product placement and cheap jokes. Most scenes have a certain emoji showing up, uttering a reference to the emotion they represent, and dipping out with no bearing on the story. It’s a lazily put-together feature that banks on the average person’s recognizability of emojis. We’d rate it a poop emoji for quality, but the movie’s got that covered – in Patrick Stewart’s voice, no less.

If you’re a fan of Batman’s anti-hero Catwoman, steer clear of this. Catwoman in name only, Halle Berry’s character doesn’t have any of the mannerisms, backstory, or even the costume from the source material. Muddled with smash cuts and cheesy one-liners, “Catwoman” has so much flash that it can get nauseating. Although Berry does put up a dedicated performance, the lead character is so lost and confused that she’s not worth following. Sharon Stone similarly tries her best, only to be stuck playing a villain who’s evil for the sake of being evil. The film doesn’t know if it wants to be funny, serious, or thought-provoking, and settles for being terrible instead. We just hope we never see the actress play basketball on screen ever again.

For the most part, it seems as if “Alone in the Dark” is an elaborate prank being played on the audience. That’s because it has little to no horror, and the scary aspect comes from how bad it is. Based on the video game of the same name, this paranormal thriller looks so out-of-date, it barely qualifies as an adaptation. The needlessly convoluted plot has a number of twists that go nowhere, while the violence is without reason as well. At no point are Christian Slater and Tara Reid convincing as an investigator and an archaeologist, and mediocre acting bring the film down further. The most frightening thing about this horror movie is if we have to watch it against our will.

If you’ve seen any gangster movie, then you’ve already seen “Gotti.” This biopic cashes in every cliche from the genre to make Gotti seem like a Vito Corleone wannabe. It tries its hardest to paint him out to be a misunderstood figure. But the absence of charm and charisma from anyone in the cast uncovers its glaring flaws. Going for a sprawling, epic narrative through time doesn’t help since John Travolta wears the same scrunched-up expression during the whole film. “Gotti” was designed to be an epic tale, yet spirals into a B-grade feature that ultimately retreads crime movies we’ve seen time and again.

“The Master of Disguise” repeats the same joke over and over expecting different results. It’s like a “Saturday Night Live” sketch that doesn’t know when to end. Dana Carvey plays a, well, master of disguise, who puts on disguises. This might sound silly, but that’s the gist of what happens in the movie. Carvey’s character uses various forms to rescue his parents, but there’s hardly any disguise that can fool viewers. Remarkably, the short runtime somehow seems to go on forever, as we watch Carvey ham his way through. His performance might warrant a chuckle or two at first, but the repetition inevitably gets irritating.

Who would’ve thought sharks could not only hold grudges, but go on a quest for payback? The first “Jaws” kickstarted the grisly franchise, while the fourth entry promptly killed it. Here, the family of Martin Brody is targeted by a shark looking for vengeance. By this point, the series has no surprises or creativity left in the tank. So, it resorts to cheap-looking effects in the hopes that someone might find it scary. It might have been a little effective had the shark actually behaved like one, but the creature seems like a cross between a lion and an inflatable fish. From its nonsensical outline to ineffective jump scares, this is a revenge story that’s dead on arrival.

Looking at the title, it’s easy to guess that the screenplay won’t exactly be Shakespeare quality. As expected, it’s another film that mistakes revulsion for humor, containing several gags that will make the average person grimace in discomfort. Seriously, we’re talking jokes out of mistreating kids and the main character falsely accusing his dad of abuse. None of the subject matter is actually funny, but the movie certainly thinks it’s delivering a barrel of laughs. Why else would there be a scene dedicated to playing the piano with sausages tied to the fingers? Simply being wild and outrageous can only go so far, and “Freddy Got Fingered” doesn’t take go two scenes before embarrassing itself.

Back in the day, tabloids were filled with reports about the “Bennifer” super couple. Because of this, studios probably assumed their combined star power could equal big bucks. That might have been possible had it been anything other than “Gigli.” A rom-com involving kidnapping doesn’t exactly spell romantic or comedic, yet that’s the story we’re looking into. Even with their real-life relationship beginning to take shape behind the scenes, Lopez and Affleck fail to spice up the screen. Just like their characters, they seem lumped together with little chemistry between them. The developers probably thought to compensate with juvenile jokes like Lopez seducing Affleck with turkey noises. But that’s still a hard sell.

Jim Carrey’s “The Mask” remains an entertaining watch, although the comedian himself is responsible for its success. With no Carrey in “Son of the Mask,” the sequel can only be called a travesty of epic proportions. Instead of the infectious energy that Carrey brought, we’re treated to relentless and exhausting buffoonery in each scene. In its attempts to throw joke after joke at the audience, “Son of the Mask” forgot that these actually needed to be funny. The backstory of the mask isn’t interesting in the slightest, and the mythical take on things falls flat. And nothing can convince us that watching the CGI baby is anything other than a nightmare-inducing sight. It’s a wild and awful ride that marred the legacy of the original.

Speaking of ruining legacies, here’s a film that was a giant slap to a devoted fanbase. The “Avatar” animated series gained a massive following thanks to its interesting characters, subtle comedy, and Aang’s heroic journey. Meanwhile, “The Last Airbender” is a boring and one-dimensional affair. While the basic plot is the same, nothing else feels authentic to the source material. The mechanical bending scenes fail to capture the characters’ control over the elements, missing that breathtaking wonder the animated series inspires. Whether it’s the inaccurate casting, the dry behavior of the protagonists, or excessive CGI, it’s an unsettling film to watch. Director M. Night Shyamalan makes a mess of things by turning the “Avatar” world into a lifeless shell of what it’s supposed to be.

The idea of actors like Kate Winslet, Hugh Jackman, Emma Stone, Chris Pratt, and more, in the same movie sounds like a dream come true. But the actual film is anything but worth watching. “Movie 43” is an anthology comedy with several directors, yet none of the stories have any sense of direction. With stories centering around things like romance based on bowel movements and Jackman sporting a part of his anatomy on his neck, it’s a pretty gross affair all around. Exactly why “Movie 43” is so out there in its content, with no purpose or quality accompanying it, is a mystery that can’t be solved. What we do know is that this film will make you wretch in disgust more than a few times.

Inspired by Hitchcock’s “The Birds,” released almost half a century before, “Birdemic” looks like it was made at the dawn of cinema. The special effects are straight-up bad – it’s as if the birds were quickly drawn on a napkin and pasted into the film. There are no acting skills on display either, with the characters behaving as if killer birds are a minor inconvenience. Just as bizarre is that the birds don’t appear until nearly an hour into the runtime, so there’s no shock or terror to look forward to. If the intention behind this horror movie was to get a reaction, then it passed that with flying colors. Instead of screaming in fright, though, viewers will be inclined to scream with laughter.

Chances are you’ve seen the infamous “Oh my god!” scene even if you haven’t heard of the film. This terribly-acted moment encapsulates everything “Troll 2” is about, namely its horrible production value. Admittedly, a story about vegetarian trolls -er, goblins - turning people into plants doesn’t set a high bar for success. With no storytelling skills in front or behind the camera, it resorts to dialogue that outright tells viewers what’s happening. “Troll 2’s” lackadaisical style makes sense considering barely anyone in the cast had acting experience and a language barrier prevented them from communicating with the crew. At least all the low-quality work ensured “Troll 2’s” legacy, as its reputation as a hilariously bad film lives on.

Anyone who thought it wasn’t possible to top the dud that was “Baby Geniuses” was proven wrong with the sequel. Going further than the first part, this one features little ones with special abilities. So, rather than being a stinker starring babies, it’s a stinker starring babies with powers. While shows like “Rugrats” have featured kids in fantastical roles, “Baby Geniuses 2” doesn’t even try to have a smart framing device for its premise. Just like no one in this movie’s universe knows about the babies’ secret, the studio didn’t know that nobody wanted to see this movie in real life.

This film proves why editing is such an important part of filmmaking. With barely any coherence between the plot and the characters, everyone seems to be doing their own thing in “Manos: The Hands of Fate.” It’s a supernatural folk horror that shamelessly forgets its plot, with the characters struggling to maintain continuity. It’s as if the director loved every scene so much that he decided viewers would watch it all, no questions asked. But there are questions and a whole lot of them. Like why do we keep seeing a couple kissing in a car with no relevance to the film's events? Why do the bad guys start fighting amongst themselves? And why did anyone think making this movie was a good idea?

It’s incredible how a movie a decade in the making can be horrendous on so many levels. “Foodfight!” suffered a lot of delays in production, but it might have been better if it had never been released. Ugly animation, lifeless environments, and monotone voice acting all kill this movie like the plague. If sentient store product mascots weren’t zany enough, we have to put up with product placements that pop up all the time. “Foodfight!” assumes young audiences will watch anything as long it’s animated. But adult references and awkwardly sensual scenes make it ambiguous if children should watch it at all.

Adam Sandler isn’t exactly a critical darling, but he’s commanded a loyal fanbase. However, the most diehard fans of The Sandman have difficulties defending “Jack and Jill.” This has more Sandler than we bargained for, as the comedian dresses in drag to play his own twin sister. Her appearance and mannerisms are the only jokes the film can think of. It’s almost as if Sandler wanted to see how far he can go annoying audiences before they walk out of the theater. There’s also Al Pacino crushing over female Sandler in what is one of the most mind-boggling guest appearances you’ll see. None of it goes anywhere either, as the film is pretty much Sandler taking his over-the-top schtick beyond its limit.

Science fiction is more than just people putting on costumes and pretending to be aliens. Where “Battlefield Earth” is concerned, though, that’s basically what it is. John Travolta, in all his campy glory, heads the cast as one of the Psychlo race’s leaders. Try as the film might, Travolta and the others never seem intimidating or threatening. Those who do try to get into the story have a difficult job, as “Battlefield Earth” doesn’t explain any of its plotholes. The set design and overall aesthetic overflow with tinted colors that can cause a major headache. The film swept the Razzie Awards for being the worst in every department. With Travolta chewing the scenery at every turn, was that any surprise?

Ludicrous, strange, unintentionally hilarious, and of course, bad on all fronts, “The Room” is in a league of its own. Wiseau planned on creating the next big romantic tragedy, but came up with a film that headlines the Hall of Fame for the worst movies ever made. If only it was just the dialogue that was bad, but that’s far from it. The fake-looking set, wooden acting performances, and everything about Tommy Wiseau lathers the film with as much cheese as it can. Whether it’s the inexplicable mood shifts of the characters or the introduction and simultaneous stomping out of plot points, “The Room” is remarkable at being an atrocious piece of cinematic history. Seriously, you are tearing us apart, Tommy Wiseau!