When it came to cinema, there were plenty of great movies to celebrate in 2025. However, just like every other year, there were films that bored, repulsed, and simply made audiences wince. What were the duds that haunted our cinema screens and smart TVs this year? Here’s a look at the ten worst films of 2025, along with a few dishonorable mentions.
10. THE ALTO KNIGHTS (Barry Levinson)
Take a renowned director like Barry Levinson, cast Robert De Niro in dual roles as legendary gangsters, and throw in rising star Cosmo Jarvis. What could possibly go wrong? A lot, it seems. While De Niro’s performance wasn’t terrible, the gangster movie itself was dreadfully dull. The screenplay, by Nicolas Pileggi, felt stale and formulaic, and De Niro’s dual roles seemed ill-timed in his career.
9. AFTER THE HUNT (Luca Guadagnino)
Luca Guadagnino is a filmmaker whose work often oscillates between absorbing dramas and pretentious misfires. In this case, his portrayal of a #MeToo scandal at Yale fell squarely in the latter category. With Ayo Edebiri playing a student embroiled in sexual allegations against Andrew Garfield’s character, the unconvincing dialogue and distracting visual choices made for an irritating viewing experience.
8. JAY KELLY (Noah Baumbach)
This self-absorbed drama featuring George Clooney as a glamorous movie star searching for meaning in life meandered through Italy in an uninspired slog. Baumbach, known for his wittier works, served up disappointing dialogue in what seemed like an exercise in self-indulgence. Clooney’s attempt to satirize his own persona felt tedious, leaving audiences unengaged.
7. ICE ROAD: VENGEANCE (Jonathan Hensleigh)
The first of two entries featuring Liam Neeson, this sequel felt wholly unnecessary. Neeson returns as truck driver Mike McCann, embarking on a journey to scatter his brother’s ashes that inevitably leads to a confrontation with terrorists. The film offered plenty of scowling and clichéd dialogue, ultimately feeling tired and formulaic.
6. THURSDAY MURDER CLUB (Chris Columbus)
The anticipation surrounding the adaptation of Richard Osman’s amateur detective novels ended in disappointment. Chris Columbus’s direction, coupled with a screenplay steeped in English stereotypes, resulted in a film filled with weak performances. Pierce Brosnan’s misguided attempt at an accent only added to the film’s cringe-worthy moments.
5. THE NAKED GUN (Akiva Schaffer)
Remaking the classic comedy was always a risky venture, and with Liam Neeson taking on Leslie Nielsen’s role, expectations were high. Unfortunately, the film devolved into a cheesy spectacle filled with crude humor. The film’s promotional tour overshadowed the actual movie, with speculation about off-screen romance stealing the spotlight.
4. WAR OF THE WORLDS (Rich Lee)
Following in the footsteps of Spielberg’s acclaimed adaptation, this new take fell flat. Rich Lee failed to deliver a compelling narrative, opting instead for an irritating film dominated by shouting and implausible subplots. The attempt to modernize the classic story resulted in a tedious and ineffective viewing experience.
3. BACK IN ACTION (Seth Gordon)
Cameron Diaz’s much-anticipated Hollywood comeback alongside Jamie Foxx was marred by a terrible script. With recycled gags and a lack of originality, the film felt like a subpar imitation of spy thrillers. It struggled to engage audiences, feeling more like a hastily assembled collection of clichés than a cohesive storyline.
2. THE UNHOLYLANDS (Paddy Duffy)
This poorly executed caper featured two undergraduates in Belfast’s Holylands area attempting to bring shame to their family law firm. The film suffered from dreadful writing, pacing issues, and lackluster performances, resulting in a viewing experience that felt more like a mediocre student film than a feature-length release.
1. THE ELECTRIC STATE (Joe and Anthony Russo)
If novice filmmaker Paddy Duffy’s lack of experience might explain his film’s shortcomings, the same cannot be said for the Russo brothers. With a staggering $320 million budget, this CGI-driven project fell victim to poor execution and a derivative plot. The film attempted to address themes of digital escapism while ironically being released on a platform that thrives on it, ultimately leaving audiences disillusioned.
DISHONOURABLE MENTIONS:
HAPPY GILMORE 2 (Kyle Newacheck); THE MOUNTAINHEAD (Jesse Armstrong); GET AWAY (Steffen Haars); GOODRICH (Hallie Myers-Shyler); BONO: STORIES OF SURRENDER (Andrew Dominik); OPUS (Mark Anthony Green).