Another year and another lineup of the year’s most abysmal film releases that Hollywood has to offer. 2022 was the year that woke progressive propaganda films crashed and burned at the box office. While Top Gun: Maverick dominated the box office, Hollywood’s 2022 film lineup included child grooming, LGBTQ overrepresentation, terrible sequels, feminist revisionism, and rewriting real-life history in numerous efforts that contributed to the lowest box office turnout since 9/11.
2022 had some stunningly bad films that absolutely no one wanted to watch and we narrowed the list down to 10 of the worst movies of the year starting at 10.
10. Halloween Ends
Starting off the list is one of the worst endings to a film trilogy in cinematic history. “Halloween Ends” with a stunning exercise on making the wrong creative decision every step of the way. For those hoping to see Michael Myers butcher as many people as possible, this is not the film for you. Michael Myers doesn’t even appear until almost an hour into the run time and if you want to see him kill you’ll have to wait another 30 minutes after that. Halloween from top to bottom is a massive waste of time. 106 minutes of run time is wasted on characters we don’t care about as the mainstay characters are completely removed from the story. Ridiculous is the only word to describe this film which is littered with plot and character-included stupidity throughout. The entire sequel trilogy for Halloween has been a failure from start to finish and they end the series giving fans less hope than ever before.
The MeToo movement has paved the way for a multitude of films over the last few years that just repeat the same misandrist message, Men controlling everything is bad and everything would be so much better if we just let women be in charge. ‘Don’t Worry Darling’ is a film that tries to magnify that message in front of a camera, but behind the camera proves why that notion is nothing more than a feminist pipedream. In the minds of intersectional progressive feminists, the worst time for women in the history of the United States was the 50s. A time when women didn’t have to work 60 hours a week to afford a rundown apartment. A time when women listened to Patsy Cline and not Megan Thee Stallion. A time when women dressed like someone you wanted to marry and not twerking on Tik Tok. The premise of the movie relies on the effectiveness of its reveal and by the end of this, you will be begging for an M. Night Shyamalan twist. The twist is so absurd and impractical, you will laugh as a coping mechanism against the reality that you just wasted 2 hours of your life.
Thor: Love and Thunder is all over the place. The opening act presents three different stories with three different tones and fails to mess any of them together for a coherent story. The film attempts to be a rom-com between Thor and Jane while Jane is dealing with the very serious reality of her cancer. The seriousness of Jane’s morality is snuffed throughout the film by Taika Waititi’s need to inject comedy where it is not needed (a trope that is unbearable in films such as Jojo Rabbit). Chris Hemsworth has described Taika Waititi’s style as a director as “an inner child running wild” saying that Love and Thunder is the film a 7-Year-Old Would make”. This is the most accurate description of this movie in the worst way. “Thor: Love and Thunder” is the worst MCU film not named Eternals. If you didn’t like Captain Marvel and Shang-Chi And The Legend Of The Ten Rings, this movie is far worse than both.
7. Marry Me
I would say that ‘Marry Me’ reminds me of a high-budget Hallmark Movie but I have literally seen Hallmark movies better than this. But honestly, I can’t throw Lopez completely under the bus because her co-star Owen Wilson looks like he doesn’t want to be in this film either. Wilson displays zero charisma in the role and even the film itself mocks how boring and dry he is. The supporting cast involves Sarah Silverman who has never been funny. Most of the runtime of ‘Marry Me’ is just the cast letting Jennifer Lopez know how awesome and empowering she is while she spews out some girl power mumbo jumbo that only sounds good in a Daily Beast article. It’s an embarrassment that it took 3 screenwriters to write this garbage. The film is written by people who think middle-aged women using Instagram live are relatable. Not to mention, the storyline is so predictable because it’s been done to death and there is no flair added to shake things up.
6. The Menu
“The Menu” is a predictable cinematic experience that you can figure out within the first three minutes. Whenever a film inserts Progressive story tropes into the plot it becomes predictable and you can accurately guess exactly where it is going. The cast is full of a bunch of rich and entitled elitists with unlikable personalities offering audiences absolutely no one to root for the jump. If the only person they were supposed to identify with is a rude and arrogant protagonist whose only redeeming quality is the fact that she’s not rich like the other characters, the entire premise of this movie is dead on arrival. The film puts all its chips into building a mystery that gives you no payoff in the final act. The ending of this film is one of the dumbest twists in cinema this year that makes the entire journey a big fat waste of time. The Menu is a film that insults your intelligence while trying to talk down to you simultaneously.
5. Scream
Here’s a writing tip for modern-day screenwriters, being quirky and self-aware doesn’t make your film good, especially in a series that did it far better than you could ever. Scream (2022) is Paramount Pictures’ latest cash grab that tries to make a movie off of fanatics of the franchise and hopefully, some gullible zoomers along the way. The film is the textbook definition of soulless. The way the film tries to shoehorn modern characters into the franchises’ plot while trying to meet its diversity inclusion quotas is every bit as laughable as it is insulting. Billy Loomis is the father of a girl who looks like an extra on Sábado Gigante because why not? Let’s completely retread Jamie Kennedy’s character from the first film and put him in the body of a woke black lesbian and call her his niece because fuck you that’s why. This film had the audacity to save face by claiming they did this film for Wes Craven who if he is in hell is surely being tortured by being forced to watch this film for all eternity.
“Bodies Bodies Bodies” is a film that describes itself as a black comedy slasher film, it only takes 30 minutes of run time to understand that the creators of this movie have no idea what the words “comedy”, “satire”, or “slasher” actually means. “Bodies Bodies Bodies” is one of the most obnoxious films in the 21st century. The film is a giant Gumbo pot filled with just about everything you can’t stand about modern society presented by people who believe that they are not part of the problem. The music selection only reminds you just how far we have fallen as a society. The dialogue is abysmal to the point they try to play up the bad dialogue as part of the “comedy”. Sarah DeLappe, the screenwriter of this movie, does not have a single writing credit on her entire resume. She has no resume as a writer, no resume as a producer, and she doesn’t even have a Wikipedia page so how did this woman get to be the main screenwriter for this film short of “diversity and inclusion” quotas? “Bodies Bodies Bodies” is a film that grinds on your last nerves within seconds and drags you along under the guise that there will be a payoff that is never coming.
What do you call a historical epic that omits key details to the story to avoid telling the truth…a fantasy. “The Woman King” is the textbook definition of “revisionist history.” This is the biggest problem with the entire premise of this movie. The filmmakers attempt to turn the Agojie and Dahomey into the heroes of world history as warriors who fought against slavery and oppression when history states that the Dahomey tribe was amongst the most prominent slave traders of their time. The true history of the female warriors that Hollywood attempts to immortalize was too uncomfortable for the filmmakers because the truth got in the way. When the Agojie in the film are running down Europeans and Americans as “slavers” and “oppressors”, the film doesn’t want you to know that this tribe was home to some of the worst slavers in African and world history. It’s never a good sign when the week that a film is released, the star of a movie is trying to guilt audiences into supporting a movie in the face of another woke Hollywood box office bomb.
2. Not Okay
Being a left-wing Progressive in 2022 is a miserable experience, and that’s not my opinion. All you have to do is simply watch the film, “Not Okay” and they will tell you that they live miserable, unhappy, and unfulfilled lives. “Not Okay” it’s a film about the absolute state of misery that is being a left-wing progressive living in a major US city. The irony is you’re watching a film written by someone who hates their main character but is no different than the character that they are crapping on. It’s one thing to bash your audience over the head with diversity and inclusion along with not-so-subtle woke talking points that are almost beyond parody, but to force someone to sit through almost two hours of misery porn about just how sad and pathetic your life is and not even award them with a proper ending to the film is unforgivable. “Not Okay” is a certified waste of time and a film probably hates you on top of that, so go spend your time being happy while the key demographic for this film lives in misery.
1. Bros
The worst movie of 2022 is the film that got me banned from Letterboxd. ‘Bros’ is a wide-open window into what “sex and relationships” are seen as in the LGBTQ community. The film attempts to normalize polyamorous dating, ‘throuples’, gay orgies, gender reveal gay orgies, and hook-up culture on steroids as the “norm” for people within the LGBTQ. This is what the film portrays as “normal sexual experiences” for gay men in a big city, and you wonder why people don’t want their kids exposed to this lifestyle. ‘Bros’ tries to have its cake and eat it but it doesn’t work. The runtime is bloated, the jokes aren’t funny outside of the LGBTQ bubble, and the camerawork is shotty at best, but none of that is the biggest sin of the film.
In the wake of Florida’s Parental Rights in Education bill which bans the teaching of sexuality and transgenderism to children between kindergarten through third grade, Billy Eichner inexplicably used an R-rated sex comedy to make the case for grooming children into the LGBTQ lifestyle. A lifestyle that in this film has been displayed as nothing but degenerate and emotionally damaging. The second the film tried to make the argument of grooming children into the 115 minutes of degeneracy that is presented in this film by their own admission, that is where we crossed the line. The LGBTQ community used the film ‘Bros’ as a window into their lifestyle, instead, they opened the door to the Trojan horse we let into the gates.
2022 ‘Worst of’ Honorable Mentions:
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