Top 20 WORST Movie Sequels

“The Expendables” series doesn’t shoot for deep themes or great nuances for its characters. However, the fourth entry throws away every semblance of a plot in favor of excessive violence that isn’t nearly as exciting as the film wants it to be. With series star Sylvester Stallone bowing out early, “Expen4bles” quickly loses its primary hook. After that, it’s a pile-up of cheesy one-liners and lazy action sequences. Sure, the first three entries followed a similar template, but they weren’t saddled with bad special effects, poor cast chemistry, or a disappointing villain. The lack of imagination is abundantly clear from the opening minutes of this by-the-numbers action flick that bombed both critically and commercially.

“The Blair Witch Project” took audiences by surprise with found-footage techniques that were revolutionary at the time. The second entry decided to do the exact same, but unfortunately ignored any need for creativity. Where the original was subtle, with horrors that come from fractured neuroses, the sequel simply relies on recycling this aspect. The plot follows people heading to the place that doomed the original film’s characters. To nobody’s surprise, the new cast undergoes the same torturous experience that eliminates them one by one. There are never really any stakes involved, since the characters’ ill-fated misadventures are a foregone conclusion. These kinds of obvious, in-your-face scares rarely work, and pale in comparison to the first film they’re trying to draw inspiration from.

Calling the first film in this franchise great is certainly a stretch. But it looks positively Oscar-worthy next to the sequel. The minimal effort in writing the story is easy to see, considering the film doesn’t even take place in a mall. The protagonist figures out an attempt to steal a hotel’s expensive art pieces, and rallies fellow security guards against the bad guys. The humor in Kevin James' repeated tripping and stumbling dissipates soon enough, as watching such shallow slapstick comedy is a chore to sit through. There are only so many laughs you can get from bizarre scenes like James fighting a bird next to an oblivious piano player. Seriously, we’re not kidding.

Slasher movies are best when it’s a simple cat-and-mouse game between the villain and the protagonists. Unfortunately, the sixth “Halloween” goes for a confusing plot line involving Michael Myers and a strange cult. Viewers don’t generally watch this genre for mystic elements, so there’s a severe disconnect between the basic premise and a tacked-on supernatural plotline. Paul Rudd isn’t really believable as a threat to Myers, and seems oddly out of place. Instead of being entertained by creative kills, audiences have to sit through tons of exposition. In retrospect, “The Curse of Michael Myers” is the first among a number of underwhelming “Halloween” movies that include the equally maligned “Halloween: Resurrection” and 2009’s “Halloween II.”

John Belushi’s popularity from late night sketch comedy propelled 1980’s “Blues Brothers” to success. Without Belushi, the sequel banks on the general “Blues” aesthetic to sell its premise. However, apart from a fair-enough soundtrack, there’s not much to go on for “Blues Brothers 2000.” The “mission from God” doesn’t appear to be anything other than the characters reuniting, with most of the story essentially directionless. Things might have worked out had the film embraced itself as a musical, considering the number of high-profile cameos. But forced humor and dry jokes turn “Blues Brothers 2000” into a comedy movie that isn’t particularly funny.

This sequel did the impossible by reaching a Rotten Tomatoes score lower than the original’s 2%. And to be fair, the rating of “Baby Geniuses 2” does reflect the complete absence of quality in the movie. The protagonists are a group of babies who moonlight as superheroes, led by an ageless baby named Kahuna. It’s as ridiculous as it sounds, and the film overflows with unfunny humor that even young viewers will find hard to laugh at. Somehow, “Baby Geniuses 2” stretches to an 88-minute runtime, by the end of which most will be wondering who the target audience was supposed to be. The biggest mystery is how it was followed by sequels on home media despite its critical and commercial failure.

While the first “Space Jam” seemed innovative and exciting, the sequel is a retread of the same material. Much like Michael Jordan’s film, LeBron James has to team up with “Looney Tunes” characters and win a basketball game. Despite being the lead, James looks like he’d rather be anywhere else but in this movie. It even teases viewers with an appearance by MJ for a bait-and-switch cameo by Michael B. Jordan. The movie comes across more as an advertisement for the studio brand than anything else, with constant cameos from various characters that serve no purpose. And that ain’t good.

The fifth installment turns the series’ time-traveling outline into a convoluted fiasco. Here, series protagonist John Connor is corrupted into a Terminator himself, while his parents and Arnold Schwarzenegger’s T-800 hop around alternate timelines. It keeps trying to wow audiences with one surprise after another, failing to craft a story that truly makes sense. Schwarzenegger’s once-terrifying character is relegated to cheesy dialogue and dad jokes. “Genisys” also loses the thought-provoking commentary about the dangers of artificial intelligence from previous films, opting for tired callbacks and catchphrases instead. Both lead actress Emilia Clarke and director Alan Taylor have since voiced their displeasure with “Genisys.” After watching the movie, we really can’t blame them.

The spoof genre was well past its heyday by the time of “Zoolander 2’s” release, so audiences weren’t as keen on the same gags as they once were. Where the first part is a clever satire on the fashion industry, the second is laden with gross-out gags that turn it into a parody of itself. The fun of watching celebrity cameos runs thin when you realize that’s pretty much all the film has to offer. Derek Zoolander isn’t as charming the second time either, as the character’s antics become frustrating the longer the movie goes on. Being outrageous for the sake of it is a recipe for disaster. “Zoolander 2” learned this the hard way, bombing at the box office and being lambasted by critics.

Not all popular films require sequels, especially not one with a lead who didn’t return. “Independence Day: Resurgence” arrived twenty years after the original, without Will Smith. With a rehashed plotline and uninspiring protagonists, “Resurgence” misses the mark. It doesn’t have that revolutionary edge to its CGI and special effects that made the first such a success. The sequel further jumps the shark by taking the aliens’ hive minds to near-supernatural levels. The formulaic progression of the story means that the finale is entirely predictable long before the ending arrives. Ultimately, “Resurgence” ends up as just another sci-fi flick with a thin plot and mindless action.

Although a story about nuclear disarmament sounds good, “Superman IV’s” execution of its premise is kinda absurd. Christopher Reeve reportedly agreed to return only if the studio financed a passion project of his. And the actor’s disinterest in this sequel shows right from the get-go, as Superman couldn’t seem less interested. Another issue is an abundance of less-than-cool special effects that basically interfere with viewers being immersed in the movie. Minimal stakes and the unthreatening presence of villains like Nuclear Man make it look like a glorified TV episode that should never have made the air. For many fans, Christopher Reeve is the definitive onscreen Superman. It’s a shame, then, that a film as terrible as “The Quest for Peace” is his final hurrah.

Most adult-themed films have some sex scenes to go with the story. This film has some story to go with its sex scenes. The first “365 Days” is no classic, but it at least spends time introducing its basic premise. On the other hand, the sequel simply looks for any excuse to show its characters in various states of undress. To be fair, we can’t expect much from a plot involving fantasies about the house gardener and an evil twin. Still, “This Day” puts even the laziest of screenplays to shame with shoddy dialogue and a ludicrous plot twist that doesn’t even qualify it as a “so bad it’s good” movie.

“The Sting” was a mega-hit that won the Oscar for Best Picture. “The Sting II” basically runs in the opposite direction without ever stopping. The 1983 follow-up is so loosely connected to the 1973 original that you might have forgotten it even exists. Even though it calls back to the events of the first movie, the protagonists have different first names and personalities. This time, the characters look to work another elaborate scheme at a boxing match. Centering around a con job but delivering jokes along the way doesn’t work here, and the film suffers from a loss of identity. Unlike the original “The Sting II” settles for being a simplistic heist comedy.

The possibilities seemed endless for another fast-paced experience after the success of 1994’s “Speed.” So, which cool means of transport did “Speed 2” go for? That would be a slow-moving cruise ship. There’s no real need for control, as the title suggests, since the ship seems to take forever to reach its destination. Fans are also robbed of Sandra Bullock’s pairing with Keanu Reeves, as the latter opted to stay out of this ill-fated sequel. While Sandy B does look like she’s trying her best, she’s limited by a script that crawls toward a pretty predictable finale. With not much chemistry between Bullock and Jason Patric, along with a scenery-chewing Willem Dafoe as the villain, “Speed 2” quickly wears out its welcome.

The series that began with 1989’s dark, brooding “Batman” eventually worked its way to the Dark Knight flashing a Bat Credit Card and ice skating with the Boy Wonder. Joel Schumacher’s “Batman Forever” was on the lighter side, but “Batman & Robin” is as hammy as it gets. The main characters team up with Batgirl to stop Poison Ivy and Mr. Freeze. You’ll definitely remember the latter’s superpower, considering he spends just about every scene throwing out one ice-related pun after another. Whether it’s Bane’s oafish mannerisms or George Clooney playing himself rather than Bruce Wayne, it’s best enjoyed as satire. While 1966’s “Batman” was deliberately funny, the jokes in “Batman & Robin” are more unintentional.

“Basic Instinct” solidified adult-themed thrillers as a bankable genre. Sharon Stone’s portrayal of villainess Catherine Tramell was so popular that it spawned a sequel around her character. Too bad it ditches the subtlety and tension from the first film in favor of bland thrills and over-the-top sexuality. The main appeal of Tremell’s character was the ambiguity behind her intentions – without it, “Basic Instinct 2” is too on-the-nose. Stone plays the villain with so much self-awareness, you almost expect her to break the fourth wall and wink at the audience. We already know what’s coming since the main character doesn’t bother concealing any of her plans. It’s no surprise that “Basic Instinct 2” won that year’s Razzie Award for Worst Picture.

Thanks to performances from comedic legends like Bill Murray, Chevy Chase, and Rodney Dangerfield, “Caddyshack” was a big, wacky success. But eight years later, none of the performers were that interested in its follow-up, which tried more of the same formula, but with unfortunate results. It’s remarkable how poorly the film turned out despite following the template of the original. While Chase features in a smaller role, Murray refused to return, and Dangerfield quit before production began, reportedly due to its weak script. “Caddyshack II” misfires in all directions, with corny jokes, wooden acting, and an awkward cast dynamic.

1995’s “Mortal Kombat” didn’t receive the best reviews, yet it is entertaining in its own way. But the sequel lives up to its title, annihilating the likelihood of an expanding cinematic franchise. Instead of wondering how Liu Kang’s team will defeat Shao Kahn, viewers will question where the money from the $30 million film budget went. With unimpressive special effects and acting performances, the mediocrity on display can be overwhelming. Not much of an attempt seems to have been made towards a compelling story either, as characters constantly jump around fighting different enemies until the movie ends. Reboot did arrive over two decades later, but the unfortunate memory of this sequel remains.

1994’s “The Mask” was a smash, largely because of Jim Carrey’s scene-stealing performance. Any sequel without him stood little chance, which proved true when “Son of the Mask” basically flopped. The story features Loki trying to reclaim the mask, with things really going off the rails when the protagonist conceives a child who gains The Mask’s powers. There’s no coming back after this, and subsequent scenes are chock-a-block with slapstick material. Kennedy isn’t even the main focus, as the plot revolves around a rivalry between the CGI baby and the family’s jealous dog. The few chuckles evaporate after relentless fart jokes and toilet humor that are more infuriating than funny. Here’s hoping Hollywood never decides to greenlight a “Grandson of the Mask” in the future.

This blockbuster franchise seemed to have reached its nadir with “Jaws 3-D.” However, it got worse… much worse. “Jaws: The Revenge” flips the script as a revenge story from the perspective of the shark. The villainous fish travels all the way to the Bahamas targeting Martin Brody’s family. The only thing consistent about the film is how illogical it is. The characters willingly enter the sea with a killer shark on the loose, placing themselves at risk when they could just stay on land. The meandering pace of the story also zaps the film of any sense of urgency. It doesn’t help that “Jaws: The Revenge’s” cinematography and set design look worse than a standard B-movie, as it ultimately sinks to a forgettable conclusion.