The 10 Worst Movies Of 2025 (So Far)

2025 has delivered some all-time great movies, including "Sinners," "One Battle After Another," "Sorry, Baby," and "April." However, no year of cinema is devoid of truly terrible motion pictures. So it is with 2025, which has delivered plenty of notable turkeys even before the year is through. Across 2025's first nine months, several dismal motion pictures have infiltrated the pop culture zeitgeist, including multiple exceptionally atrocious titles that have taken the internet by storm in all the wrong ways. Examining the 10 worst movies of 2025 so far, there's no common thread binding why all these films failed in their respective creative aims. No two snowflakes are alike, and no two underwhelming features from this year went haywire in the exact same way.

Some of these subpar 2025 titles suffer from a lack of visual imagination. Others were built on ill-conceived ideas for movies in the first place. Still others were deeply cynical exercises from major studios that clearly only existed to make a quick buck. Endeavors once perceived as licenses to print money instead turned into embarrassing wastes of countless artists and millions. On and on the reasons for these failures go.

These various motion pictures went awry because of wildly varying problems, but they all came out within 2025's first nine months. Before the year is over, let's look back on what cinematic atrocities were unleashed on the public so far.

Presumably, "Eddington" materialized in writer/director Ari Aster's imagination when he realized that the customary six-foot distance between two people in COVID lockdown times kind of looked like a high noon Western showdown. Thus, this story was born, which zeroes in on the troubled town of Eddington, New Mexico, in May 2020. Amid the pandemic, paranoid right-wing sheriff Joe Cross (Joaquin Phoenix) vows to run against Eddington's current mayor, Ted Garcia (Pedro Pascal), unleashing a wave of chaos, protestors, and gunfire.

Aster's prior films, "Hereditary" and "Midsommar," concerned people consumed by toxic communal bonds while coping with unspeakable turmoil. This filmmaker translates that thematic motif to 2020s America with "Eddington," in subplots like Joe's wife, Louise (Emma Stone), grappling with sexual trauma by falling down a QAnon-esque rabbit hole. The intent is obvious, but Aster's execution is shockingly lifeless. There's too much of an adherence to subdued "respectability" in the film's form, which keeps it from becoming a "Showgirls"/"Southland Tales"-style outsized indictment of modern America. The performances are also too broad and calculated for their own good, particularly a phoned-in Phoenix turn. 

Most disappointing of all, Aster's varied visual instincts from "Midsommar" and "Beau is Afraid" are absent in "Eddington." The feature's stagnant imagery reinforces "Eddington's" endlessly frustrating shortcomings. For a movie aiming for cinematic dangerousness, it's mostly derivative and tedious.

Cast: Joaquin Phoenix, Pedro Pascal, Emma Stone

Director: Ari Aster

Rating: R

Runtime: 149 minutes

Where to Watch: Digital rental or purchase on Amazon Prime Video or Apple TV

Writer/director Nicholas Stoller centers the romantic-comedy "You're Cordially Invited" on Jim Caldwell (Will Ferrell) and Margot Buckley (Reese Witherspoon) accidentally scheduling weddings for their respective kids on the same weekend at the same inn on Palmetto Island, Georgia. Lots of rivalry ensues, but little of it is funny. It's hard to imagine this limp comedy hails from the same filmmaker behind more amusing titles like "Neighbors" and "Forgetting Sarah Marshall."

For one thing, the lame camerawork impulses in "You're Cordially Invited" keep undercutting punchlines. For another, the characters aren't nearly involving enough to spend an insultingly excessive 109 minutes with. The film also suffers from asking Ferrell and Witherspoon to just play the same characters they've inhabited countless times before. Both artists are capable of so much more, which makes their derivative performances here so frustrating.

Stoller's script also suffocates every scene with tin-eared dialogue, mechanically setting up interpersonal drama (namely, Margot's hostility towards her relatives). All this tepid melodrama and instances of characters bellowing out their emotions ensures there's little time for successful romance or laughs in this romantic comedy. Further crimes like utterly wasting supporting performers like Geraldine Viswanathan and Jimmy Tatro and indulging in shameless celebrity cameos (hello, Peyton Manning) accentuate the film's inescapable emptiness. The highest compliment one can afford to "You're Cordially Invited" is at least it's not quite as bad as "Anyone But You."

Cast: Reese Witherspoon, Will Ferrell, Geraldine Viswanathan

Director: Nicholas Stoller

Rating: R

Runtime: 107 minutes

Where to Watch: Prime Video

Director James Madigan and writers Brooks McLaren and D.J. Cotrona's "Fight or Flight" follows washed-up secret service agent Lucas Reyes (Josh Hartnett) being forced to apprehend a hacker known only as 'The Ghost' on a flight. Turns out, though, this plane is crammed with assassins eager to take down the Ghost. A simple but potentially effective premise for an action film instead goes down in flames thanks to one key flaw: dialogue. McLaren and Cotrona set "Fight or Flight" in a universe where every single person speaks in "Deadpool"-style snarky quips. By the five-minute mark, everyone exchanging interchangeable petulant one-liners becomes insufferable. This is not a film of varying individual personalities, but of one sarcastic teenage Redditor possessing several human beings.

The screenplay also provides an egregiously long amount of time between the fight scenes. "Fight or Flight" instead kills time with endless conspiracies over who is really a good or bad guy in this scenario. When the skirmishes do emerge, they're realized with fine but not especially noteworthy camerawork. They're certainly nowhere near good enough to make the dialogue-heavy scenes remotely tolerable. Adding insult to injury, the whole film ends with an abrupt cliffhanger insultingly selling a sequel. Who on earth would want to spend more time in this universe? 

Cast: Josh Hartnett, Charithra Chandran, Marko Zaror

Director: James Madigan

Rating: R

Runtime: 97 minutes

Where to Watch: Digital rental or purchase on Amazon Prime Video or Apple TV

Director Justin Tipping's "Him" is a film that constantly pulls its punches. The story of young quarterback Cameron Cade (Tyriq Withers) learning under the guidance of master football player Isaiah (Marlon Wayans) has the potential to exploit the weird, dehumanizing world of football for horror storytelling. Instead, it opts for generic jump scares and fails to flesh out its titular lead as a nuanced human being. The screenplay from Tipping, Zack Ackers, and Skip Bronkie also leans hard on heavy-handed monologues rife with obvious historical references. All these characters are exceedingly verbose, but they're not saying anything interesting, and they're certainly not inspiring unforgettable horror movie sequences.

"Him" even fumbles a conceptually can't-miss climax involving Cameron fighting back against white establishment figures that have "groomed" him for decades. Tipping framing the grisly demises of these adversaries either entirely off-screen or through clumsy framing, though, ensures "Him" can't even go out on a rebellious bang. Long before that, the film meanders when it should convey an inexplicably ominous tone. A grab-bag of side-villains (an obsessive Isaiah fan, a fringe-covered mascot) only solidifies how "Him" is throwing so much at the wall without lending specificity to its digressions. Marlon Wayans does what he can in an admirable play against type as Isaiah, but even his commitment can't save a production this miscalculated and devoid of scares.

Cast: Marlon Wayans, Tyriq Withers, Julia Fox

Director: Justin Tipping

Rating: R

Runtime: 96 minutes

Where to Watch: Now playing in theaters everywhere

Director Leigh Whannell worked magic reviving an old Universal Monsters legend for the modern world with "The Invisible Man" in 2020. Returning to that well with 2025's "Wolf Man," though, produced a slog of a horror movie that was all moroseness with no scares or fun. For one thing, the titular beast, here manifesting through anger-prone Blake Lovell (Christopher Abbott), is a total bore. Chief among its transgressions is that the titular creature doesn't look very interesting. Why has the once-mighty Wolf Man been robbed of all the grandiose, fantastical features that made it so distinctive in the first place? Having the plot focus on Blake taking his wife Charlotte (Julia Garner) and daughter to his isolated childhood home also ensures there are no fun sequences of the Wolf Man colliding with modern society.

Instead, there's only one or two kills against a bunch of generic backdrops (like a greenhouse or forest) that could've easily been used in a straight-to-Tubi creature feature. The characters are also a total snooze, which makes "Wolf Man's" instincts to emphasize grounded domestic drama a severely miscalculated one. As either a monster movie or a character study, "Wolf Man" is a yawn-worthy disaster. Not even talented actors like Abbott and Garner can save a movie this committed to eschewing bold swings or entertainment. Beware of "Wolf Man" like it's an actual bloodthirsty animal.

Cast: Christopher Abbott, Julia Garner, Sam Jaeger

Director: Leigh Whannell

Rating: R

Runtime: 103 minutes

Where to Watch: Prime Video

"Pete Davidson: horror star" doesn't sound like a great concept, and "The Home" doesn't come close to countering that perception. Writer/director James DeMonaco has Davidson playing Max, a troublemaker court-mandated to work at a retirement home. Something sinister is happening here, and watching Max unravel the truth is the very detention of tedious.

So much has gone wrong with "The Home," including DeMonaco's script rapidly running through references to various sociopolitical issues (namely global warming and elder abuse) without ever exploring any of them thoughtfully. Several instances of laughably bad ADR tie together character motivations and plot points, accentuating how sloppily assembled "The Home" is. Worst of all, none of this is scary. Even if Chad from "Saturday Night Live" wasn't at the center of all this dreck, this would still be a movie plagued by uninspired ideas for frights. The way twists are revealed, the lighting choices — none of it works properly to create inescapable dread.

Sure, "The Home" ends with Davidson slaughtering a bunch of elderly people like he's in the "Oldboy" hallway fight, an unexpectedly gruesome sight to say the least. However, it isn't worth sitting through a movie this atrocious to witness Davidson at his most bloodthirsty. Horror can inhabit many forms, but it shouldn't be as monotonous as "The Home."

Cast: Pete Davidson, John Glover, Bruce Altman

Director: James DeMonaco

Rating: R

Runtime: 95 minutes

Where to Watch: Digital rental or purchase on Amazon Prime Video or Apple TV

Poor Rachel Zegler. So magnetic in "West Side Story" and blessed with a glorious voice, she's utterly wasted in "Snow White." Director Marc Webb's staggeringly miscalculated remake is drowning in drab colors and utterly hideous CGI. The seven dwarfs, once a masterful display of endearing hand-drawn animation, are now repellent uncanny valley creations brought to life with distractingly rigid physicality. Any charm is gone, and they have nothing of consequence to do in this story.

Webb also populates the film with a barrage of terrible showtunes from "The Greatest Showman" songwriters Pasek & Paul. Ditties like "Princess Problems" are postmodern pablum regurgitating the same snark about fairy tales that hasn't been novel since 2002. Gal Gadot as the Evil Queen, meanwhile, delivers a villainous rap number so awful it has to be seen to be believed. Every inch of Gadot's performance is absolutely awful, but her lifeless delivery of Pasek & Paul's insipid lyrics is especially torturous. There's also an excessively crowded supporting cast (including seven new bandit characters) and a remarkably awful and generic performance from Andrew Burnap as new male lead Jonathan.

Throw in the fact that "Snow White" struggles to choose between being an overhaul of its source material or a shot-for-shot remake, and you wind up with an ugly mess fit for nobody. Zegler's immense talents and paying moviegoers both deserved so much better.

Cast: Rachel Zegler, Andrew Burnap, Gal Gadot

Director: Marc Webb

Rating: PG

Runtime: 109 minutes

Where to Watch: Disney+

"F Marry Kill," from director Laura Murphy, tries combining romantic-comedy tropes with slasher film/serial killer thriller vibes. Such a mixture emerges through the story of Eva Vaughn (Lucy Hale), who realizes one of three guys she's dating must be the Swipe Right Killer. Combining so many genres at once doesn't give viewers the best of both worlds. Instead, they just get a film full of rote writing and execution.

The attempts at being "hip" with modern lingo in "F Marry Kill," including a bizarre use of the phrase "#NotAllMen," are insufferable. The limp visuals, meanwhile, are frustratingly devoid of personality. There's no luscious romance or tension-laced suspense emanating off these images, just off-putting sterility. Plus, the comedy in "F Marry Kill" is absolutely lifeless. Any witty commentary on modern dating or self-referential quips is bound to inspire groans, not unstoppable cackling. Worst of all, the film is bizarrely removed from reality. A random Tinder dude potentially being a serial killer is a terrifying event that many women grapple with every day. Here, it's treated like an unprecedented revelation by in-universe ladies. 

With little cognizance of how young women think, "F Marry Kill" flames out in its attempt to make a deeply relevant comedy for mid-2020s young people.

Cast: Lucy Hale, Virginia Gardner, Brooke Nevin

Director: Laura Murphy

Rating: R

Runtime: 97 minutes

Where to Watch: Hulu

Why does "Love Hurts" look so distractingly artificial? The combination of digital camerawork with excessively bright lighting and abysmal framing results in a feature that looks amateurish, especially on the big screen. Even the fight scenes, usually a reliably superb element of titles from 87North Productions, are realized with minimal flair and shoddy editing. These weak visual elements service the saga of Marvin Gable (Ke Huy Quan), a real estate agent who was previously a gruesome assassin. When former target Rose (Ariana DeBose) reappears in his life, Gable's past and present violently collide. This fusion of yesteryear and the present, though, doesn't inspire anything remotely resembling a good time for audiences. 

Gable's story is told with clumsy storytelling missteps, including too many subplots, jokes that intrude on seemingly dramatic moments, and poorly-timed flashbacks. It's also all too broad and goofy for its own good. Making everybody in this universe a silly caricature undermines the tension in dramatic sequences, but the "humorous" personalities aren't funny on their own either. Whatever tone it's aiming for, "Love Hurts" is an insultingly sloppy misfire. 

Not even "Everything Everywhere All at Once" legend Ke Huy Quan can save this one, thanks to the script giving him nothing fun to do. The title of "Love Hurts" is accurate, but sitting through movies this bad is its own kind of painful.

Cast: Ke Huy Quan, Ariana DeBose, Daniel Wu

Director: Jonathan Eusebio

Rating: R

Runtime: 83 minutes

Where to Watch: Prime Video

When the history of bad 2025 cinema is written, there's no way director Rich Lee's screenlife take on "War of the Worlds" won't dominate the conversation. 20 years prior, director Steven Spielberg adapted this H.G. Wells sci-fi novel to reflect distinctly post-9/11 anxieties in frighteningly vivid ways. This new "War of the Worlds" also reflects contemporary society, but in the worst ways possible. Now, the story of otherworldly invaders reflects what it was like to shoot movies in 2020's COVID-lockdowns (since multiple characters rarely ever share the same frame during the runtime) and the omnipresence of Amazon in modern life with its heroic Amazon delivery driver character. 

2005's "War of the Worlds" zeroed in on very relevant displays of humanity enduring strife and unpredictable chaos. 2025's "War of the Worlds," meanwhile, reflects corporate cynicism. The entire production, told through computer screens, centers on a woefully miscast Ice Cube playing Department of Homeland Security officer Will Radford, who watches the alien apocalypse unfold through viral videos and text messages. It's all ludicrous nonsense narratively, and Cube's miscalculated performance, rife with bizarre line readings, doesn't help. Tension is nonexistent. All that remains is cringeworthy Amazon product placement and idiotic conspiracy-themed subplots. 

Very little of this evokes either its source material or competent filmmaking. 2025 produced many bad movies, but none as miscalculated as "War of the Worlds."

Cast: Ice Cube, Eva Longoria, Clark Gregg

Director: Rich Lee

Rating: PG-13

Runtime: 89 minutes

Where to Watch: Prime Video