While some Razzie-awarded films actually offer a worthwhile viewing experience, the winners of the Worst Picture category typically deserve their reputation. A glance at the 10 movies that clinched the Worst Picture Razzie in the 2010s reveals films that often exploit existing intellectual properties or political biases, rather than showcasing the unique creativity seen in the works of filmmakers like Ed Wood or Tommy Wiseau. Hopefully, future films recognized by the Razzies will be more enjoyable than those from the 2010s.

One of the Razzies’ most debatable decisions was naming “The Twilight Saga: Breaking Dawn – Part 2” as Worst Picture. While it wasn’t as egregious as some past choices, such as “Showgirls” winning Worst Picture, or the nominations for “Road House” and “The Blair Witch Project,” it still raised eyebrows. The final “Twilight” film is plagued by issues such as awkward pacing and dialogue, and problematic gender roles, indicative of the entire series.

The “Twilight” series faced constant mockery throughout its release, and this Worst Picture accolade seemed like the Razzies’ final chance to take a swipe before the series’ end. In doing so, the awards overlooked the finale’s strengths and failed to recognize truly inferior films from 2012, such as “Red Dawn” and “Tooth Fairy 2.”

There’s no denying that “Cats” is a catastrophe in filmmaking—a visual spectacle of dark lighting and unsettling CGI cats with human faces. This ambitious yet misguided endeavor was an attempt to emulate the awards success of Tom Hooper’s previous projects like “Les Misérables.” Despite its flaws, “Cats” is surprisingly engaging in its absurdity. Hooper’s interpretation veers unpredictably between horror, slapstick comedy, bizarre sensuality (particularly during Skimbleshanks’ scenes), and a surreal, feverish dreamscape.

The “Twilight” movies were constantly mocked as they were being released, so this Worst Picture win seems like it was a way for the Razzies to score one last jab before the saga concluded. In the process, the Razzies ignored both this finale’s better qualities and vastly inferior 2012 fare like “Red Dawn” and “Tooth Fairy 2.”

• Cast: Kristen Stewart, Robert Pattinson, Taylor Lautner
• Director: Bill Condon
• Rating: PG-13
• Year: 2012
• Runtime: 115 minutes
• Where to Watch: Hulu, Pluto TV

Make no mistake, “Cats” is a bad movie, a visually bamboozling affair, opting for persistently dark lighting and awkward CG cats with the faces of their live-action performers. This deeply cynical enterprise mistakenly hoped to replicate the past award season successes of director Tom Hooper’s prior works like “Les Misérables” and other musicals released around Christmas. It’s also a deeply deranged project that’s far more watchable (in more of a trainwreck way) than it has any right to be. Hooper’s vision for “Cats” wildly oscillates between a horror film, a slapstick comedy, a weirdly sexual exercise (especially whenever Skimbleshanks is on-screen), and something approaching a fever dream.

The calculated nature of “Cats” (particularly the unimaginative casting of actors like James Corden and Taylor Swift) prevents it from lapsing into actually interesting art. However, it’s certainly the kind of fascinating boondoggle that doesn’t emerge from major studio machinery that often. The inexplicable commitment to maintaining elements (like Old Deuteronomy suddenly breaking the fourth wall in the final song) that would only work on the stage is the cherry on top of this bewildering sundae. That’s not enough to make “Cats” good or even a new entry into peak trash cinema — it’s still a little too polished for that. The worst movie of 2019, though? The Razzies were as wicked as Macavity making that decision

• Cast: James Corden, Judi Dench, Idris Elba
• Director: Tom Hooper
• Rating: PG
• Year: 2019
• Runtime: 110 minutes
• Where to Watch: Netflix

Moviegoers everywhere strapped in for the film adaptation of “Fifty Shades of Grey” over Valentine’s Day weekend in 2015. A smidge over a year later, that title tied with “Fantastic Four” as the 36th winner of the Worst Picture award at the Golden Raspberry Awards. It also took home a deluge of other awards at this ceremony, including Worst Actress and Worst Actor, for Dakota Johnson and Jamie Dornan, respectively. Those wins are retroactively amusing given the careers the two have had, with these “worst” lead actors going on to work with myriad famous auteurs.

Johnson and Dornan have moved far beyond the “Fifty Shades” world, and so has pop culture as a whole. A decade after its release, “Fifty Shades of Grey” has largely been forgotten. It simply hasn’t endured, especially in the age of streaming when Netflix and other platforms put out similarly sensual romantic dramas. As such, it’s just another steamy drama that didn’t get great reviews, like 2012’s “The Vow.” That’s not enough to make “Fifty Shades of Grey” great cinema. However, it’s far from 2015’s cinematic nadir considering “Fantastic Four” and “Paul Blart: Mall Cop 2” were also nominated.

• Cast: Dakota Johnson, Jamie Dornan, Jennifer Ehle
• Director: Sam Taylor-Johnson
• Rating: R
• Year: 2015
• Runtime: 125 minutes
• Where to Watch: Netflix

In the years since its release, the principal “Fantastic Four” actors have all expressed regret over how the 2015 adaptation turned out. Kate Mara has openly discussed her biggest regret about “Fantastic Four,” for instance, while Victor Von Doom actor Toby Kebbell has lamented how a superior, darker incarnation of the film will never get publicly released. These sentiments unfortunately reflect the fact that “Fantastic Four” is an utter failure, regardless of its intentions as a radical, bleaker version. Those ambitions are thwarted by both the surface-level writing and a generic CGI-heavy finale that could’ve been lifted from any superhero feature.

Amazing actors like Michael B. Jordan and Tim Blake Nelson get nothing to do, while the drab visual aesthetic is an eyesore. Between director Josh Trank’s grim concepts and meddling from studio executives everything is stretched like Mr. Fantastic. Being such an infamously reviled endeavor, it’s no surprise 2015’s “Fantastic Four” bombed at the box office. While there definitely worse movies throughout the 2010s, “Fantastic Four” remains a cautionary tale for filmmakers, studios, and actors to this day.

• Cast: Miles Teller, Kate Mara, Michael B. Jordan
• Director: Josh Trank
• Rating: PG-13
• Year: 2015
• Runtime: 100 minutes
• Where to Watch: Disney+

Before Sony Pictures Animation overhauled its image by delivering projects like “KPop: Demon Hunters,” “The Mitchells vs. the Machines,” and the two “Spider-Verse” installments, the studio was more associated with embarrassing projects like “The Emoji Movie.” This intellectually insulting movie features an outcast emoji on a journey of self-discovery across a slew of recognizable brand name apps, such as Twitter. The movie feels like the McDonald’s dance scene from “Mac & Me” stretched out into an entire motion picture, complete with lifeless voice work from actors like T.J. Miller and James Corden.

The animation style of “The Emoji Movie” similarly lacks personality and specificity, while its attempts at pathos are groan-worthy. Any of the loud stabs at comedy, though, are especially insufferable, particularly whenever they come from Corden’s vocal work. “The Emoji Movie” is the atrocious antithesis of modern films that cleverly played with the identity of their brand, such as “The LEGO Movie” and “Barbie.”

This paint-by-numbers enterprise commits many of the cinematic crimes that plague so many animated family films in America, with  some of the same abysmal jokes and lackluster imagery as “Doogal” and “The Playmobil Movie.” The only reason this picture isn’t ranked higher on this list is that its flaws aren’t especially idiosyncratic.

• Cast: T.J. Miller, James Corden, Anna Faris
• Director: Tony Leondis
• Rating: PG
• Year: 2017
• Runtime: 86 minutes
• Where to Watch: Netflix

Allegedly, Sony/Columbia Pictures attempted to sell their comedy “Holmes & Watson” to Netflix after disastrous test screenings. The streamer passed on picking up the title, which says a lot considering Netflix has released awful slop like “The Electric State,” “The Last Days of American Crime,” and “Uglies.” Netflix’s disinterest should give you an idea of how dismally unfunny this buddy comedy with John C. Reilly and Will Ferrell was. 

This atrociously reviewed feature failed to wring any major laughs out of the idea of Ferrell and Reilly playing Sherlock Holmes and John Watson, respectively, while also criminally wasting the talents of supporting players like Ralph Fiennes, Rebecca Hall, and Kelly Macdonald. Considering how funny Reilly and Ferrell are, it’s confounding how unfunny and boring “Holmes & Watson” are. The jokes here could have easily been dropped in from any other subpar Ferrell star vehicle, such as “Daddy’s Home.”

Given how many superior Ferrell and Reilly comedies are out there, why would anyone waste their time on “Holmes & Watson?” The 39th Golden Raspberry Awards rightfully deemed this flop the worst film of the year.

• Cast: Will Ferrell, John C. Reilly, Rebecca Hall
• Director: Etan Coen
• Rating: PG-13
• Year: 2018
• Runtime: 90 minutes
• Where to Watch: Prime Video

By July 2016, when his third directorial effort, “Hillary’s America: The Secret History of the Democratic Party,” hit theaters, the creative tendencies of director Dinesh D’Souza’s critically reviled documentaries were clear. A disrespected filmmaker (who has been convicted of a felony for illegal campaign donations and has had to apologize for one documentary after a lawsuit proved its erroneous nature), D’Souza makes conservative documentaries purporting grand conspiracies by liberal and leftist figures that “threatened” the very fabric of America. Obtuse music cues and shoddy camerawork compounded this banal film about Hillary Clinton’s 2016 campaign for president, and claimed that her track record suggested nothing short of an American apocalypse should she secure the title of President of the United States.

A rancid work reliant on recycled shock-and-awe tactics, D’Souza’s limp filmmaking style somehow makes grand proclamations of hidden conspiracies actually tedious. Such monotonous filmmaking eventually caught the eye of the Golden Raspberry Awards, which gave “Hillary’s America” five wins, including one for Worst Picture. There was no grand conspiracy behind why people detested this documentary so much.

• Cast: Dinesh D’Souza
• Director: Dinesh D’Souza
• Rating: PG-13
• Year: 2016
• Runtime: 107 minutes
• Where to Watch: Rent or purchase digitally from Amazon Prime Video

When he’s cooking, Adam Sandler’s an artist who can deliver astonishing work in movies like “Punch-Drunk Love” or “Uncut Gems.” However, despite these and other good Adam Sandler movies, he has starred in a slew of duds that go well beyond just subpar comedies. These projects have Sandler headlining some of the worst movies of all time, regardless of genre. One of these dismal motion pictures was the 2011 title “Jack & Jill,” which centered its entire plot around one recycled concept: What if Adam Sandler dressed up as a woman? The result is this insufferable comedy, with Sandler playing Jack and his obnoxious twin sister Jill.

Too often, “Jack & Jill” replaces actual gags with random celebrity cameos or relentless yelling. There’s no creativity within the jokes here, just endless layers of noise and pop culture references. Only Al Pacino playing himself provides fleeting amusement in this tremendously ill-advised enterprise. The whole project is so awful that it makes other a weak Sandler flick like “Grown Ups” look like “The Great Dictator” in comparison. It seemed almost inevitable for the Razzies to award this disaster Worst Picture.

• Cast: Adam Sandler, Katie Holmes, Al Pacino
• Director: Dennis Dugan
• Rating: PG
• Year: 2011
• Runtime: 91 minutes
• Where to Watch: Pluto TV

Looking over every M. Night Shyamalan movie, it’s clear that he’s at his worst when he’s focused exclusively on helming blockbusters like “After Earth” or “The Last Airbender.” Even he’s been very open that these movies represented the worst days of his artistic exploits. That’s especially true when it comes to 2010’s “The Last Airbender,” which was nothing less than a cinematic catastrophe.

An incredibly abbreviated live-action version of the first season of “Avatar: The Last Airbender,” Shyamalan’s film was an incredibly dour exercise lacking in personality. A classical fantasy adventure was also the absolutely worst place for Shyamalan’s off-kilter dialogue style. What works in “Unbreakable” and “Trap” instead creates an emotional barrier between audiences and the characters in “The Last Airbender.” Then there are the anemic action sequences, which are realized with a shocking lack of excitement. Fortunately, Shyamalan made a major creative comeback in the mid-2010s by returning to smaller-scale thrillers.

• Cast: Noah Ringer, Dev Patel, Nicola Peltz Beckham
• Director: M. Night Shyamalan
• Rating: PG
• Year: 2010
• Runtime: 103 minutes
• Where to Watch: Pluto TV

Long before “The Bear,” Jeremy Allen White’s immense talents as an actor were apparent years ago when he appeared in the lone amusing segment in “Movie 43.” White starred as a homeschooled teenager whose parents recreate every single aspect of high school. Thanks to White and his co-stars, Liev Schreiber and Naomi Watts, and their straight-faced commitment, this sketch is one of the only places in “Movie 43” where viewers can find chuckles. Otherwise, this anthology feature is a barren wasteland for those hoping for laughs.

Instead, it’s just a lot of famous people screaming lewd terms or “edgy” material, like “ironically” racist terminology. None of it is original or amusing, even when Hugh Jackman or Halle Berry are the ones delivering the crude punchlines. There’s also little visual or aesthetic variety between the various segments, meaning “Movie 43” quickly fades into a blur of excruciatingly unfunny and indistinguishable punchlines. To watch “Movie 43” is to stare into an endless barrage of creative miscalculations. Thank goodness for Jeremy Allen White. Otherwise, Razzie winner “Movie 43” would be entirely devoid of merit. 

• Cast: Hugh Jackman, Emma Stone, Richard Gere
• Director: Steven Brill, Peter Farrelly, Elizabeth Banks, James Gunn (among others)
• Rating: R
• Year: 2013
• Runtime: 94 minutes
• Where to Watch: Prime Video, Plex

“Locke” wasn’t the only 2014 movie to spend tons of screen time inside a car. Kirk Cameron’s 2014 feature “Saving Christmas” is also largely set within an automobile, in this case with Cameron (playing himself) and his brother-in-law Christian (played by Darren Doane, who also directs). In this cramped area, Cameron explains to his frustrated relative how key Christmas traditions (like Christmas trees and Santa Claus) are inextricably tied to Christianity. Christian’s worries about the holiday becoming overwhelmed with materialism gradually melts away as the runtime progresses.

Given how much of it takes place inside a car, “Saving Christmas” is an incredibly inert and trying movie, even at 79 minutes. It often feels more like a lecture than a motion picture. While the Christmas decorations are bubbly and colorful, “Saving Christmas” works overtime to zap the holiday of any pizzazz. Attempts at levity are even more cringe-inducing, including a deluge of breakdancing in the film’s home stretch or cutesy, eye-rolling dialogue. “Saving Christmas” is simultaneously bizarre and tedious. It makes sense that the Razzies gave it the Worst Picture award, as it almost transcends its own badness like “Birdemic” and “The Room” before it.

• Cast: Kirk Cameron, Darren Doane, Bridgette Ridenour
• Director: Darren Doane
• Rating: PG
• Year: 2014
• Runtime: 79 minutes
• Where to Watch: Pluto TV