As the year concludes, it’s a perfect opportunity to reflect on the best films of the year, but it’s also time to consider those that… well… missed the mark. “Worst of the Year” lists can be contentious, often seen as harsh, yet any film released in theaters that audiences were expected to pay for is fair game. All the films listed here are genuinely poor—though if anyone who loves (or even likes) any of these films wishes to share their thoughts in the comments, we welcome that. Movies are subjective: I might enjoy a film while you might dislike it (and vice versa), and both opinions can be valid.
So, without further delay, here are the worst movies of 2025.
10. Ella McKay:
James L. Brooks’ first film since the poorly received How Do You Know turned out to be an even greater failure, which is unfortunate since it may be the last film we see from the once-great writer/director of Terms of Endearment, Broadcast News, and As Good as It Gets. Intended to launch Emma Mackey as a star, she is instead burdened with a dreadful role as perhaps the most unconvincing screen politician in cinematic history. Jamie Lee Curtis, Ayo Edebiri, Woody Harrelson, and particularly Leo Woodall (who must convincingly portray a sixteen-year-old at one point) all perform poorly in a film I’m astonished Disney/20th Century Studios ever approved.
9. Snow White:
While I’ve encountered worse films this year, Snow White epitomizes many issues plaguing modern Disney productions; it lacks a compelling reason for existence. The movie faced backlash from audiences before its release due to misguided remarks by star Rachel Zegler, who disparaged the original classic—upon which modern Disney relies. Instead, this adaptation was given an “empowering” new angle that was executed far better in Snow White and the Huntsman. It feels like a film that underwent excessive reshoots (much like Disney’s other winter flop, Captain America: Brave New World) to cater to the broadest audience possible—but ultimately satisfied no one. Many involved seem to have suffered significant career setbacks, including Zegler and co-star Gal Gadot, whose portrayal of the Evil Queen was so poor that clips went viral for all the wrong reasons.
8. Wolf Man:
More than any other film on this list, Wolf Man had potential. Directed by Leigh Whannell—who previously created the outstanding Upgrade and the successful remake of The Invisible Man, which was a major hit for Blumhouse—the film falters because it fails to deliver a true Wolf Man experience. It reinterprets the classic formula into a body-horror narrative that borrows heavily from The Fly, contributing nothing novel to the genre. Among Universal Monsters, the Wolf Man holds significant promise as an antihero; however, Whannell’s adaptation squanders this opportunity by presenting a dull and thrill-less horror film. It’s a significant waste of talents Christopher Abbott and Julia Garner; Garner notably appears in both one of this year’s best horror films (Weapons) and one of its worst.
7. Star Trek: Section 31:
This year has seen Paramount significantly damage its Star Trek franchise by inundating audiences with excessive content—regardless of its quality. The worst among them was Star Trek: Section 31, marking the first Star Trek film in nine years; however, it was so poorly received that Trekkies wished it had never been produced. This cringe-worthy attempt aimed to spin off Michelle Yeoh’s antihero from Star Trek: Discovery, which thankfully fizzled after its release amid widespread criticism from fans. The trailers did little to help either; one featured someone calling Yeoh a “bad bitch” while a Beyoncé song played in the background. Yes indeed—this is what Star Trek has become.
6. Holland:
A particularly disappointing cinematic experience for me this year was Prime Video’s Holland, featuring Nicole Kidman—a film buried on streaming after its disastrous SXSW premiere that I attended. Kidman portrays a housewife who suspects her husband (Matthew Macfadyen) of infidelity but becomes embroiled in an absurdly dark plot that fails to entertain and seems entirely out of left field. This marks a rough follow-up for director Mimi Cave after her excellent horror-comedy Fresh. She attempts to channel a Coen Brothers vibe through a feminist lens; unfortunately… it doesn’t quite succeed. I hope she rebounds with her next project since Fresh showcased her considerable talent; I doubt all blame rests solely on her shoulders.
5. Death of a Unicorn:
This was another significant misfire I experienced at SXSW and part of a troubling series of films released by A24 earlier this year that left many questioning whether they had lost their touch. Fortunately, they redeemed themselves with titles like Bring Her Back, Marty Supreme, and others. Despite having an intriguing cast including Paul Rudd and Jenna Ortega and an interesting premise,Death of a Unicorn represents an utterly foolish attempt at satire aimed at families like the Sacklers in an incredibly dull and toothless manner. Watching this was painful.
4. The Electric State:
The Russo Brothers faced embarrassment with their Chris Pratt and Millie Bobby Brown-led epic that reportedly cost $320 million but was seemingly overlooked by most Netflix viewers—resulting in one of the streamer’s largest flops ever. They took Simon Stålenhag’s excellent book and transformed it into an utterly soulless and vapid excuse for a blockbuster amidst a year filled with such disappointments. The only silver lining is that had this not been such an impending disaster (it faced numerous delays), the Russo Brothers likely would not have returned to Marvel.
3. Hurry Up Tomorrow:
This will undoubtedly be remembered as one of the most misguided vanity projects ever conceived; The Weeknd stars as himself in this psychological thriller where he is held captive by an obsessed fan played by Jenna Ortega. Just how bad is this movie? Take a shot every time The Weeknd gazes soulfully into the camera while crying—you won’t make it past forty-five minutes! If you do manage to endure it until then you’ll miss the conclusion where Ortega appears to be cured of her murderous tendencies by The Weeknd’s melodious voice.
2. War of the Worlds:
