No Sugar Coating It…
2025 was historical ASS. Another year, another lineup of the year’s most abysmal film releases that Hollywood has to offer. 2025 was the year that Hollywood didn’t even try to give audiences anything entertaining. Projects full of degeneracy, blasphemy, and Superheroes.
When Hollywood movies are bad, they are BAD — sadly, that downward trend is getting worse, not better. This year saw the release of a handful of bad films that absolutely no one wanted to watch. We had to narrow the list down to 10 but here are honorable mentions first.
Now the top 10 WORST movies of the year!
10. 28 Years Later
In a post-zombie-fad world where even The Walking Dead limps along forgotten, Sony inexplicably exhumes the 28 Days Later franchise for this nostalgia cash-grab stuck in development hell. The first 25 minutes tease promise: a gritty father-son dynamic in a quarantined Europe, Aaron Taylor-Johnson training his boy to slay evolved, semi-intelligent rage-zombies amid a mother’s mysterious illness.
But then it spectacularly derails—swerving into absurd “empathy for the infected” nonsense, capped by a jarring on-screen zombie birth that feels spliced from a far worse movie. Characters turn irredeemable, storytelling muddled, tones incoherent. Absent original visionaries Boyle and Garland, this disjointed mess exhausts with chaos and eye-rolling callbacks. A textbook overstayed welcome in a dead genre. Watch the opener, then bail.
Adam Sandler plunges to his absolute nadir with this lazy, spirit-butcher Netflix sequel that desecrates the original’s chaotic charm. Kicking off with Happy’s errant swing killing wife Virginia just minutes in—a contrived cop-out that resets him to broke loser funding his daughter’s ballet dreams while fending off a rival league—it insultingly recycles the underdog formula with forced modern tweaks.
Paper-thin script, flat unfunny jokes, pointless celeb cameos (MJF, Eminem, Becky Lynch) that land like wet farts, and golf scenes stripped of all manic energy. Grief subplot feels tacked-on; Sandler blatantly phones it in, wasting post-Uncut Gems goodwill. Streaming’s only mercy: easy abandonment. This feels like straight-to-DVD Blockbuster slop—worse than Tremors 2. Rewatch the ’96 classic; pretend this travesty doesn’t exist.
8. Together
Together is the kind of gimmick film that mistakes grotesque body horror for depth, wasting real-life couple Dave Franco and Alison Brie’s palpable chemistry on a stomach-churning premise: after drinking tainted cave water, their bodies literally fuse together. What starts as a strained relationship drama—jobless Tim trailing ambitious Millie to the countryside—devolves into incoherent mess once a vague homosexual Mormon cult gets blamed for the merger.
The script clumsily pushes feminist angles by vilifying Tim’s PTSD while glossing over actual trauma, building to cheap shocks and a nonsensical cop-out ending. Direction and pacing collapse under the weight of the concept, delivering zero emotional stakes amid the splatter. A cinematic trainwreck from start to finish—not even ironically watchable. Skip this date-night poison entirely.
7. Americana
Hollywood can’t even fake not hating you anymore, and Americana is the smug proof—a disjointed, contempt-dripping “blue-collar” thriller reeking of coastal superiority. The absurd plot: a white-trash girlfriend brains her toxic boyfriend, flees with their son (whom she believes is Sitting Bull reincarnated) and a priceless Lakota ghost shirt.
Cue a dimwitted ladies’ man (Paul Walter Hauser) and stammering waitress (Sydney Sweeney in a wasted cameo) scheming to steal it, clashing with Native American communists quoting Frantz Fanon, a white-trash Mormon goblin, and a psychopathic crime boss in a sloppy battle royale. Every character is insufferable; editing’s a mess aping Tarantino badly. It’s clichéd left-wing caricature—flags, crosses, Western tropes slapped on to mock flyover “rubes”—while anointing a child-abandoning killer as empowered hero. Smug fanfic that despises Middle America. Skip this slop.
6. Mickey 17
Hollywood’s box office keeps tanking because smug flicks like Bong Joon-ho’s Mickey 17 can’t resist lecturing audiences while hating half of them—especially Trump voters reduced to cartoon fascists. Robert Pattinson plays Mickey, a disposable debtor cloned endlessly for a dystopian ice colony run by egomaniac Kenneth Marshall, an unsubtle Trump caricature leading a cultish, racist regime.
When Mickey 17 and 18 coexist, it sparks rivalry and a ham-fisted revolution against “capitalism bad.” But this bloated 140-minute sci-fi sermon prioritizes MSNBC-level fearmongering over coherent storytelling—tonal whiplash, zero chemistry in forced subplots, and repetitive anti-capitalist hammering without nuance. Pattinson tries, but he’s wasted in this pretentious venting session masquerading as satire. Hollywood openly despises you; this venomous, audience-alienating slop proves it. Skip and save your money.
One of the biggest lies Hollywood tells itself is that Dave Bautista is a good actor with range—this WWE hack gets brutally exposed again in In the Lost Lands, a blue-screen Gnosticism disaster from the perpetually rejected duo of has-been Milla Jovovich and incompetent director Paul W.S. Anderson. Jovovich plays an evil witch escaping church execution, hired by a queen to steal shapeshifter powers from a werewolf with Bautista’s bumbling hunter Boyce—all in a post-apocalyptic wasteland with zero world-building and subtle “Narrative of Baal” bias painting witches as heroes and the church as villains.
Horrendous CGI dominates; acting’s wooden (Bautista carries the load poorly); script offers no development or reason to care. $55M wasted on bad everything—effects, story, palette, fantasy, action. A Resident Evil rip-off with Drax; no redeeming factors. Easily the worst of 2025 so far, locked for top-10 infamy
4. Eternity
Eternity, its latest Gnostic poison pill mocking biblical eternity as a whimsical consumer buffet—pick your themed forever: Queer World, Capitalism World, whatever indulges your flesh. Elizabeth Olsen plays atheist Joan, who in a quirky A24 limbo “Junction” gets reverted to youth, handed brochures, and a week to choose her eternal realm and husband—ditching loyal Larry (Miles Teller) for tragic fling Luke (Callum Turner).
No pearly gates, no Great White Throne, no Lamb’s Book of Life—just salvation through “self-knowledge” and “do as thou wilt” satanism. It relativizes judgment, normalizes perversion, exalts selfish desire over covenant fidelity, and frames dumping the faithful as female empowerment. Pure heretical slop wrapped in artsy entertainment, peddling the lie that eternity’s a brochure rack, not faith in Christ alone. This fruit is poisonous—avoid at all costs.
3. Friendship
A24 cements its slide into one of Hollywood’s worst studios with Friendship, a soul-crushing piece of misery porn that rivals 2020’s ‘Downfall’. Fans of Tim Robinson’s manic genius from I Think You Should Leave and Paul Rudd’s effortless charm will feel stabbed in the back: what starts as a quirky buddy comedy about awkward Craig (Robinson) bonding with chipper neighbor Austin (Rudd) amid his crumbling marriage to cancer-survivor Tami (Kate Mara) nosedives into nihilistic despair.
Craig turns clingy nuisance, alienating everyone in a parade of detestable, irredeemable characters. This bait-and-switch fraud markets lighthearted bromance but delivers unrelenting gloom, glacial pacing, drab visuals, and a soulless script wasting stellar talent on pretentious “edgy” nonsense. Not even bad in a fun way—just a joyless void leaving regret and dread. Save your sanity; binge their better work instead.
2. Honey Don’t
Honey Don’t! stands as a vile monument to Hollywood’s creative bankruptcy—childish, mean-spirited fan fiction gleefully spitting in the face of Christianity while pandering to a niche crowd that claps for “progressive” degeneracy. Margaret Qualley plays a manic pixie bisexual artist with a rainbow tattoo, spouting “live your truth” drivel; Aubrey Plaza is a smirking lesbian bartender; Chris Evans slums as a cartoonish hypocritical Reverend Tommy running a megachurch scam.
The flimsy plot: the queer duo infiltrates his “reparative therapy” program to expose bigotry and steal cash for a hedonistic romp, complete with crude hookups, a drag queen Jesus hallucination, and endless mockery of Bible-thumpers as closeted frauds. Every Christian is a punchline or villain; queer rebellion is sainted. Flat visuals, choppy editing, forced quips—it’s smug propaganda masquerading as comedy, worse than Drive-Away Dolls. A cinematic abomination despising faith and audience. Save your soul; skip this cesspool.
Tina Romero’s Queens of the Dead—a “zombie” flick crashing the undead into a Brooklyn drag warehouse rave—isn’t horror entertainment; it’s a brazen poison pill celebrating communal depravity for a niche audience already reveling in rebellion against God. Drag queens, club kids, and allies barricade against hordes, weaponizing heels, glitter, and camp in gory “empowerment” that inverts biblical abomination into sacred excess, echoing ancient Ishtar temple prostitution.
Crammed with oozing genital gags, effeminate lust, and shade-trading perversion (Romans 1:26-27), it vilifies straight biblical conviction without nuance or repentance, subverting tropes to crown prideful sin victorious. No broad appeal—just crass, stereotype-drenched defiance masked as humor, overplaying Hollywood’s tired LGBTQ extremes amid collapsing public support. Not George Romero’s legacy (Savini cameo be damned), but Scripture-mocking filth leading the proud down the broad path to destruction. The absolute worst of 2025.
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