Published on November 8th, 2019
Movies are intriguing and we love them as they keep us entertained at all times. Whenever we are in a foul mood the choice of a comedy caper is sure to bring a smile to our faces.
These films are usually made after years of dedication and anticipation of the final product keeps us on the toes as well.
However, despite this, some of the movies are outrightly rejected. People do not like these films and they quickly bomb.
Despite this, there are some scenes from these movies which are exquisitely shot and make us feel how such a crucial scene was ever thought of. Here we are bringing for you 20 great scenes in totally rotten movies.
The scenes we are talking about are unique and could have been memorable only if the film had been able to be successful.
By seeing these scenes you would understand how actually creative scenes are ignored because the overall content is not cool enough. Moreover, it also shows the fickle nature of the film industry and some of its absurd ways.
1. Star Wars: Episode I – The Phantom Menace
The evil Trade Federation, led by Nute Gunray is planning to take over the peaceful world of Naboo. Jedi Knights Qui-Gon Jinn and Obi-Wan Kenobi are sent to confront the leaders. But not everything goes to plan. The two Jedi escape, and along with their new Gungan friend, Jar Jar Binks head to Naboo to warn Queen Amidala, but droids have already started to capture Naboo and the Queen is not safe there.
Eventually, they land on Tatooine, where they become friends with a young boy known as Anakin Skywalker. Qui-Gon is curious about the boy, and sees a bright future for him. The group must now find a way of getting to Coruscant and to finally solve this trade dispute, but there is someone else hiding in the shadows. Are the Sith really extinct? Is the Queen really who she says she is? And what’s so special about this young boy?
Review: THE TIMES
Ker-ching! The 3-D conversion of Star Wars Episode 1 – The Phantom Menace from 1999 will be a nice little earner. But is it any good? Well, the 3-D certainly improves the thrilling pod-racing scene with Anakin Skywalker in a couple of tin cans ducking and diving though canyons.
The story, however, really creaks. Do kids really want to follow a plot about intergalactic trade embargoes? While the cityscapes benefit from the 3-D, the character-based scenes look unchanged and the dialogue and effects are clunky.
2. The Perfect Storm
In October 1991, a confluence of weather conditions combined to form a killer storm in the North Atlantic. Caught in the storm was the sword-fishing boat, Andrea Gail. Magnificent foreshadowing and anticipation fill this true-life drama while minute details of the fishing boats, their gear and the weather are juxtaposed with the sea adventure.
Review: Roger Ebert
“The Perfect Storm” is a well-crafted example of a film of pure sensation. It is about ships tossed by a violent storm. The film doesn’t have complex and involving characters, but they are not needed. It doesn’t tell a sophisticated story and doesn’t need to; the main events are known to most of the audience before the movie begins. All depends on the storm. I do not mind admitting I was enthralled.
3. The Mummy
Though safely entombed in a crypt deep beneath the unforgiving desert, an ancient princess, whose destiny was unjustly taken from her, is awakened in our current day bringing with her malevolence grown over millennia, and terrors that defy human comprehension.
Review: Roger Ebert
There is within me an unslaked hunger for preposterous adventure movies. I resist the bad ones, but when a “Congo” or an “Anaconda” comes along, my heart leaps up and I cave in. “The Mummy” is a movie like that. There is hardly a thing I can say in its favor, except that I was cheered by nearly every minute of it.
I cannot argue for the script, the direction, the acting or even the mummy, but I can say that I was not bored and sometimes I was unreasonably pleased. There is a little immaturity stuck away in the crannies of even the most judicious of us, and we should treasure it.
4. Ace Ventura: When Nature Calls
Ace Ventura, emerging from self-imposed exile in a remote Himalayan hideaway, travels to Africa with explorer Fulton Greenwall to find a sacred bat which is told will avert a war between with Wachootoo and Wachati tribes. Of course, when Ace gets involved, all hell breaks loose…
Review: Reel Film Reviews
A surprisingly awful sequel, Ace Ventura: When Nature Calls follows Jim Carrey’s title character as he travels to Africa to locate and recover a stolen (and very rare) white bat. Filmmaker Steve Oedekerk delivers a fairly strong opening credits sequence, a funny parody of Renny Harlin’s Cliffhanger, that ultimately stands as the high point within the proceedings, as the movie, from that point forward, adopts an almost gratingly larger-than-life sensibility that only grows more and more frustrating as time progresses – with Carrey’s egregiously broad performance playing a pivotal role in establishing and perpetuating the picture’s less-than-compelling atmosphere (ie the actor’s cranked-to-11 work here is nothing short of exhausting, and one does long for some of the smaller, more human moments that were in the original film).
5. Pirates Of The Caribbean: Dead Men Tell No Tales
Captain Jack Sparrow finds the winds of ill-fortune blowing even more strongly when deadly ghost pirates led by his old nemesis, the terrifying Captain Salazar, escape from the Devil’s Triangle, determined to kill every pirate at sea.
Including him. Captain Jack’s only hope of survival lies in seeking out the legendary Trident of Poseidon, a powerful artifact that bestows upon its possessor total control over the seas.
Review: The Atlantic
The subtitle of the new Pirates of the Caribbean movie is “Dead Men Tell No Tales.” The moral of the movie, alas, is that the same cannot be said of dead franchises.
The first Pirates film was an unexpected success: wildly overlong and over-plotted yet kept afloat by a wicked, bravura, and utterly original performance by Johnny Depp as Captain Jack Sparrow, a swishily swaggering mélange of rum, eyeliner, and impudence.
As is customary, the sequel was a pale imitation, and the third installment of the presumed trilogy went a bit trippy and meta.
6. Scream 3
A new film is currently in production, and a killer is on the loose. The murders draw a reporter, ex-cop, and young woman to the set of the movie inspired by their life. They soon find out that they are dealing with a trilogy, and in a trilogy…anything can happen.
Review: DAILY NEWS
SCREAM 3. With Neve Campbell, David Arquette, Courtney Cox Arquette, Patrick Dempsey, Parker Posey. Directed by Wes Craven. Running time: 116 mins. Area theaters. Rated R: strong horror violence and language. 3 Stars. Fans of “Scream,” Wes Craven’s in-jokey slasher series, recognize the “Scream” setup moment as one where the characters – savvy movie buffs all – discuss the nature of horror films in ways that describe the situation and danger they’re in.
In the first film, released in 1996, that moment comes when its young cast muses about the very horror film clichés that will soon terrorize them. In the 1997 sequel, it’s a discussion about the pathetic quality of sequels.
In “Scream 3,” the few survivors of the first two movies – plus a few fresh bodies – ponder the cyclical structure of the trilogy. “In the third movie,” a victim from the earlier films informs the others, via a pre-death videotape, “all bets are off.
The Burlesque Lounge has its best days behind it. Tess, a retired dancer and owner of the venue, struggles to keep the ageing theatre alive, facing all kinds of financial and artistic challenges. With the Lounge’s troupe members becoming increasingly distracted by personal problems and a threat coming from a wealthy businessman’s quest to buy the spot from Tess, the good fortune seems to have abandoned the club altogether.
Meanwhile, the life of Ali, a small-town girl from Iowa, is about to change dramatically. Hired by Tess as a waitress at the Lounge, Ali escapes a hollow past and quickly falls in love with the art of burlesque. Backed by newfound friends amongst the theater’s crew, she manages to fulfill her dreams of being on stage herself. Things take a dramatic turn though when Ali’s big voice makes her become the main attraction of the revue.
The critic on my left twitched so much during Burlesque, I thought she was having a seizure. The one on my right bolted for the door early. As for me, I just had one question: when can I see it again?
Sorry, Harry Potter, but Burlesque is the event of the holiday season, like the drunk aunt who shows up late to Thanksgiving dinner and falls into your mashed potatoes. The acting is almost nonexistent—Cher’s face can’t move because of Botox, and Christina Aguilera’s moves even less (she can’t emote).
The audience I saw it with laughed at the serious lines, and I could hear crickets during the jokes. But Burlesque is so bad that it’s good: over-the-top, ridiculous fun. As with a Taylor Swift concert or a stick of Velveeta, you can’t resist the cheese.
8. I Know What You Did Last Summer
After an accident on a winding road, four teens make the fatal mistake of dumping their victim’s body into the sea. But exactly one year later, the dead man returns from his watery grave and he’s looking for more than an apology.
Review: Chicago Tribune
In oh so many tried and tired ways, “I Know What You Did Last Summer” is little more than a typical teen slasher movie, complete with football jocks, beauty queens, sex on the beach and sharp, bloody killing instruments. What makes this particular gore gala so frustrating, however, is that it shows a great deal of promise in its moodily shot opening 40 minutes before the story disintegrates and the movie goes straight to cinematic hell.
The tale begins one fateful night not long after high school graduation, in the picturesque seaside town of Southport, N.C., as four friends wallow in their new-found freedom while discussing plans for the fall. There are level-headed Julie (Jennifer Love Hewitt, from TV’s “Party of Five”); her working-class boyfriend, Ray (Freddie Prinze Jr., from “House of Yes”); aspiring actress Helen (Sarah Michelle Gellar, from TV’s “Buffy the Vampire Slayer”); and spoiled jock Barry (Ryan Phillippe, from “Nowhere”).
9. The Ridiculous 6
A white man, Tommy, raised by Indians is approached by his long lost father who tells him he needs $50,000 or he’ll die at the hands of his former gang. Tommy goes on an incredible and ridiculous journey picking up his other 5 new brothers on the way in a race to save their dad.
Review: The Guardian
And so does the universe correct itself: in the week of the most anticipated film ever made, a new Adam Sandler release trickles on to Netflix. Depending on temperament, spoof western The Ridiculous 6 will mark either a sea change or merely a plumbing adjustment.
It’s the first feature Sandler’s Happy Madison Productions has pumped directly into living rooms, a breakthrough that recalls that scatological Stewart Lee aside about paying to watch E4.
Despite production line troubles – several Native American extras quit in protest at the project’s insensitivity – the final cut still features characters named Beaver Breath and Never Wears Bra, played by Caucasians in “brownface” makeup. For Sandler, it’s business as usual.
10. X-Men Origins: Wolverine
Two mutant brothers, Logan and Victor, born two hundred years ago, suffer childhood trauma and have only each other to depend on. Basically, they’re fighters and killers, living from war to war throughout U.S. history. In modern times, a U.S. Colonel, Stryker, recruits them and other mutants as commandos. Logan quits and becomes a logger, falling in love with a local teacher. When Logan refuses to rejoin Stryker’s crew, the Colonel sends the murderous Victor. Logan now wants revenge.
Review: Time Out
Catty claws are already extended for this prequel, leaked online and troubled by another kind of animal malaise that might have audiences avoiding theaters altogether. Is Hugh charming enough to overcome the toxic antihype? We’ll never know, because X-Men Origins: Wolverine, a schlocky, dispiriting affair that kicks off the summer season in exhausted fashion, relies less on its overqualified cast (or even the outsider mythos of the comics) and more on fake-feeling computerized stunts. Big, dumb fun? Certainly big—and dumb.
11. Ong Bak 2
In 1431, the Kingdom of Ayutthayan conquers the territory of Sukhothai expanding their lands to the East. The noble Lord Siha Decho is betrayed by his Captain, Rajasena, and is murdered together with his wife. However their son Tien is saved by one loyal soldier and left alone in the woods.
Review: Slant Magazine
A prequel of sorts to Thai martial arts star Tony Jaa’s breakout film, Ong Bak 2 is infused with an urgency and relentlessness that few contemporary action films have. As a co-director, actor, and choreographer, Jaa is a born showman whose biggest mistake in making Ong Bak 2, a dream project that drove him to an emotional and financial breakdown, was refusing to slow down long enough to realize that not every scene needs to be spectacular. Still, Tony Jaa is Tony Jaa and here he displays grace in even the most unpolished scenes of violence (look out for those crocodiles!), incurring only negligible damage on his magnum opus.
12. The Boondock Saints
Two Irish brothers accidentally kill mafia thugs. They turn themselves in and are released as heroes. They then see it as a calling by God and start knocking off mafia gang members one by one. Willem Dafoe plays the detective trying to figure out the killings, but the closer he comes to catching the Irish brothers, the more he thinks the brothers are doing the right thing.
Review: The A.V. Club
Less a proper action-thriller than a series of gratuitously violent setpieces strung together with only the sketchiest semblance of a plot, The Boondock Saints is clearly designed to appeal to heartless armchair sadists. Sean Patrick Flanery (Simply Irresistible) and Norman Reedus star as fresh-faced Irish brothers united by their deep religious faith as well as their proclivity for carefully orchestrated mass murder.
After killing a pair of Russian mobsters in a characteristically realistic scene involving Flanery leaping off a tall building directly onto a confused thug’s head hundreds of feet below, the brothers decide to execute all of Boston’s criminals in a series of brutally effective massacres. Equally infuriated with and jealous of the brothers’ flair for bloodshed is a flamboyantly gay FBI agent (Willem Dafoe, in an enjoyably demented performance) who can’t seem to decide whether to arrest the brothers or join their crusade.
13. Valerian And The City Of A Thousand Planets
In the Century XXVIII, the space station Alpha is a city where beings from different planets live together exchanging their knowledge and culture. Peace is granted by a human force, including Major Valerian and his partner Sergeant Laureline.
They are assigned by the Defence Minister to retrieve the last species of converter in a dangerous mission. They succeed and back to Alpha, unknown humanoids abduct Commander Arun Filitt expecting to steal the converter.
They head to a forbidden area that is infected but Valerian and Laureline follow them and disclose a hidden secret about the race and the infected area.
Review: The Guardian
It’s not accurate or pertinent to complain of deja vu after watching Luc Besson’s goofy sci-fi Valerian and the City of a Thousand Planets. It might look a bit like his film The Fifth Element (1997), but then that movie made Besson look like Johnny Hallyday to Ridley Scott’s Elvis, and in any case, Valerian is derivative in more ways than this.
The film is based on a French comic-book series that has been running since the 1960s, and it stars Dane DeHaan and Cara Delevingne as Valerian and Laureline, sleek and preposterous space agents in the 28th century.
14. The Interview
In the action-comedy, The Interview, Dave Skylark (James Franco) and his producer Aaron Rapoport (Seth Rogen) run the popular celebrity tabloid TV show “Skylark Tonight.”
When they discover that North Korean dictator Kim Jong-un is a fan of the show, they land an interview with him in an attempt to legitimize themselves as journalists.
As Dave and Aaron prepare to travel to Pyongyang, their plans change when the CIA recruits them, perhaps the two least-qualified men imaginable, to assassinate Kim Jong-un.
Review: Roger Ebert
After months of controversy and now a limited release in arthouse theatres and through VOD, “The Interview” is nothing new, but it looks great. Its widescreen visuals are James Bond/”Mission: Impossible” chrome-plated sleekness. The camera glides, shakes and catches the occasional wispy anamorphic lens flare as characters flit through control rooms, conference rooms, hotel suites and grand chambers. You expect Kanye West and some X-Men to show up.
Ken Castle is extremely rich, popular and powerful since he invented and started exploiting the virtual online parallel reality games, in which people can either pay as user or be paid as ‘actor’ in a system of mind-control. The ultimate version, Slayers, fields death row convicts as gladiators in a desperate dim bid for survival, which no-one made yet.
The champion, John ‘Kable’ Tillman, was scheduled to die just before he’ld gain release, but he persuades his teenage ‘handler’ to hand over the reins so he can fully use his talents and experience. Thus Kable escapes to freedom, only to be chased illegally by Castle’s men, yet fights back all the way to his HQ and challenges his evil hidden plans.
Review: Entertainment Weekly
In the fractious future of Gamer, videogames have ”gone human,” with real live blood-sport warriors controlled by geeks with joysticks. The sickest of these games is Slayers, in which death-row inmates kill each other off in a noisy orgy of skip-stutter editing and dirty-ash-spattered explosions.
It’s The Dirty Dozen meets TRON, updated for the age of action incoherence. As the brutish Kable, Gerard Butler must find out who’s pulling his strings, but it’s the audience whose chain gets yanked by this headache-inducing techno-violent mishmash.
16. Hot Rod
Rod Kimble is a naïf, a slacker living in a small US town with his mom, his younger brother, and his stepfather whose respect he craves. He also misses his dead dad, whom he thinks was Evel Knievel’s back-up. Rod, a man-child, believes that he is a stunt man.
When his stepfather needs an operation, with help from his brother and his slacker pals, Rod hatches a plan to set a school-bus-jumping record on his moped.
First, his crew and he have to raise money to rent the buses and build the ramp. Trouble is, Rod’s inept at his chosen career. Looming failure is complicated by the return of Denise, Rod’s next-door neighbor and secret heartthrob, who is home from college.
A charmless idiot, a clumsy rip-off of “Jackass” and one more tiresome exercise in arrested adolescence — add them up and you have “Hot Rod,” starring rubbery faced Andy Samberg and prompting a question: What does producer Lorne Michaels think he’s doing? Making money, of course, but after coasting on the long-since exhausted glory of “Saturday Night Live” for so many years and creating cultural pollutants like Samberg, you’d think the man would have some shame. Apparently not.
A movie that will have audiences laughing in embarrassment if at all, “Hot Rod’s” titular imbecile entertains his fellow cretins — Kevin (Jorma Taccone), Dave (Bill Hader) and Rico (Danny R. McBride) — by not doing anything he attempts to do. Like jump his moped over a truck, or riding it with any aplomb, or avoiding injury while failing to accomplish any of the zany antics he thinks will make him famous.
17. Final Destination 2
Whilst heading onto the highway, Kimberly Corman has a vision of a huge car accident. Bringing the traffic to a halt, Kimberly is horrified when the accident actually happens. Kimberly links the occurrence with a similar event a year earlier: the Flight 180 disaster.
After speaking with Clear Rivers, the only remaining survivor of the Flight 180 disaster, Kimberly discovers that Death’s pattern has been disturbed, meaning everyone who was originally supposed to die will now be killed in separate freak accidents. Kimberly and the rest of the survivors must work with Clear to try and stop Death from repeating its process.
“Death is Coming” posits this cheerfully vindictive sequel to 2000’s sprightly shocker (which presumably should now be retitled “Penultimate Destination”).
As with the original, Death is after a disparate bunch of stereotypes who’ve escaped an ugly fate. In the first, it was obliteration in a plane crash. Here, it’s to die horribly in a motorway pile-up.
We still get to see the flesh-mangling “accident”, this time through Kimberly (AJ Cook) – a teenage hottie who visualises the whole mess and then holds up traffic to avert disaster.
18. White Chicks
After an unsuccessful mission, FBI agents Kevin Copeland and Marcus Copeland fall in disgrace in the agency. They decide to swap their bad position with his superior Section Chief Elliott Gordon working undercover in an abduction case, disguised in the two spoiled white daughters of a tycoon, Brittany and Tiffany Wilson, getting in hilarious situations.
Review: Time Out
Two black, male FBI officers go undercover as white society girls: hardly the sell of the century, is it? Nevertheless, this comedy caper got the green light – perhaps we have its stars, sitcom brothers Shawn and Marlon Wayans to thank. Or not. It’s hardly a credible affair, for starters.
Not only do two men clearly wearing hideous rubber masks pass for women, but they pass for two specific women: notorious party girls under threat of kidnap who must be replaced in the Hamptons (there is at least a spurious plot point to explain why white female FBI agents weren’t called upon). While the black men teach the Hamptons girls a thing or two about enjoying themselves, they learn about women’s ways and try to dodge lecherous rich men, ‘Some Like It Hot’ style.
Most gags are as weak as they are derivative, offering little incentive to suspend one’s disbelief, and as for the gender politics, well… you can only imagine.
The final chapter of the Dr Hannibal Lecter quadrilogy, the murdering cannibal. He is presently in Italy, and works as a curator at a museum. Clarice Starling (Julianne Moore), the F.B.I. Agent who he aided to apprehend a serial killer, was placed in charge of an operation, but when one of her men botches it, she’s called to the mat by the Bureau. One high ranking official, Paul Krendler (Ray Liotta) has it in for her.
But she gets a reprieve because Mason Verger (Gary Oldman), one of Lecter’s victims who is looking to get back at Lecter for what Lecter did to him, wants to use Starling to lure him out. When Lecter sends her a note, she learns that he’s in Italy, so she asks the Police to keep an eye out for him. But a corrupt Policeman, who wants to get the reward that Verger placed on him, tells Verger where he is, but they fail to get him. Later, Verger decides to frame Starling, which makes Lecter return to the U.S., and the race to get Lecter begins.
Review: Roger Ebert
Ridley Scott’s “Hannibal” is a carnival geek show elevated in the direction of art. It never quite gets there, but it tries with every fiber of its craft to redeem its pulp origins, and we must give it credit for the courage of its depravity; if it proves nothing else, it proves that if a man cutting off his face and feeding it to his dogs doesn’t get the NC-17 rating for violence, nothing ever will.
The film lacks the focus and brilliance of “The Silence of the Lambs” for a number of reasons, but most clearly because it misplaces the reason why we liked Hannibal Lecter so much. He was, in the 1991 classic, a good man to the degree that his nature allowed him to be. He was hard-wired as a cannibal and mass murderer, true, but that was his nature, not his fault, and in his relationship with the heroine, FBI trainee Clarice Starling, he was civil and even kind. He did the best he could.
20. Death Sentence
When a family falls victim to a vicious attack perpetrated as a gang initiation ritual, the vengeful father, Nick Hume, vows to track down each person involved in the crime. A sympathetic homicide detective questions her pledge to assist Hume after suspecting that he may have turned to murder as a means of exacting his revenge.
Review: Roger Ebert
When he was asked by Johnny Carson how a magazine could quote him saying he really would murder to avenge his family, Charles Bronson looked Carson in the eye and said, “Because the quote is accurate. I really could, and I would.” There was a little silence then, because Bronson was totally convincing.
He was publicizing “Death Wish” (1974), his film about a man whose wife is killed and daughter raped. He gets a gun and starts posing as bait for muggers, a middle-aged guy with a bag of groceries. Then he shoots them dead. I think he kills about 11 victims (17 in the book) and is nicknamed “The New York Vigilante,” but the homicide rate drops 50 percent in New York, and so a cop cuts him a deal: Get out of town. As the film ends, he’s drawing a bead on a guy in Chicago.