The amount of technical and technical disciplines required to transform a film from thought to perception presents infinite variants of disaster. Whether it’s poor acting, dialed-in performance, bland direction, convoluted script, or a lack of coherence between any or all of the above, just one ingredient can spoil the entire recipe.
Such was the case for the following films released in 2022, which fell short in one or more ways, though each fell particularly short when it came to the most important component of a film: good, engaging storytelling.
If you enjoyed any of these movies, more power to you! But as far as IGN critics go, these are the 17 worst movies of 2022, ranked from highest to lowest review score.
The worst reviewed movies of 2022
From our review: Like being awakened from a dream by the most disturbing voice, Bardo, False Chronicle of a Handful of Truths is a film whose style and ethereal symbolism are replaced, at every turn, by boisterous craftsmanship. Alejandro González Iñárritu, from a Los Angeles-based documentary filmmaker returned to Mexico, is autobiographical with superficial self-criticism, turning his tale of time, loss, and dual national identity into a dull drama that only succeeds when it decides to. Be a farce. – Sedant Edlakha
From our review: Deep Water aspires to be a borderline thriller but is stuck in the water in the mini pool. Director Adrian Lyne, who used to be more close to the genre, must have lost his “How to Make It Famous” handbook in the two decades since he made it unfaithful. Whether it’s poor casting or terrible scripting, Affleck and de Armas are lethargic when it comes to their onscreen chemistry. They’re also saddled with an inconsequential scenario that never makes you feel anything for these two strangers. – Tara Bennett
From our review: While Fantastic Beasts: The Secrets of Dumbledore finally makes Dumbledore legally gay, it does little else of note, remaining scattered across a half-dozen unimportant subplots for most of its runtime. It looks and feels lackluster as if it was made by people who wanted to leave its magical premise behind, though the series refuses to have anything resembling mature politics or viewpoints. – Sedant Edlakha
From our review: Green Lantern: Beware My Power Tends to a cosmic scale, Green Lantern stories can draw from two major comic book arcs. Unfortunately, writers Ernie Altbaker and John Simper and director Jeff Wamster can’t actually live up to their grand ambitions, and fail to do these stories justice while robbing John Stewart of a satisfying backstory by using the film to introduce far too many other characters. – Samantha Nelson
From our review: The King’s Daughter is a series of scenes edited together and she has no idea what movie she wants in the end. What should be, and what could be, a sweet fairy tale for teens is a movie that is often too harsh and existential for kids to enjoy, and then made too cheaply and misleadingly for adults to take seriously. Only Kaya Scodelario rises above the chaos, working hard to try to craft an earnest, witty heroine who’s very interesting to the rest of the boring characters in the story. – Tara Bennett
From our review: The Mean One is a series of onscreen letdowns that squander the potential of a still bewildering parody. Stacking The Mean One against Terrifier 2—both David Howard Thornton vehicles, both trying their luck theatrically—is like watching Slasher’s “Do This, Not That” lesson in Appreciation 101. Did you laugh at a few lines Dr. Seuss’ twisting of innocence into profane evil, or find Kristel Martin is momentarily charming as the ultimate girl who is tough as a bull? no lies; There are a few moments that make you smile. However, the pleasure fades away like the joy of biting into a candy bar only to find, seconds later, that it’s the flavor of black licorice. The Mean One is to try a brand name like 2019’s The Banana Splits Movie or the upcoming Winnie-the-Pooh movie: Blood and Honey that seems to be based on being first to market – a bullshit mentality that disembowels any horror entertainment that might otherwise exist. – Donato died
From our review: Mr. Harrigan’s Phone is a frustratingly lifeless drama masquerading as a supernatural thriller. No concerns will be found here because the movie has a very long running time to tell a story that isn’t really worth watching. Some powerful performances from Donald Sutherland and Jaden Martell give us a glimpse into a tender friendship that transcends generational barriers. But even so, there’s a bit to really sink your teeth into, with over-the-top sentimentality trumping anything approaching a true story. A rote scripted plot fails to elevate this adaptation, leaving it little more than a short story stretched into a not-so-scary, not-so-dramatic movie. Mr. Harrigan’s phone shows some early promise, but it simply fails to do anything with it. The only scary part is Harrigan’s potential roaming fees. – Ryan Liston
From our review: My Police Man is nowhere near as compelling as it ought to be with a ramshacklely below-average story and an agonizing central performance from Harry Styles. Everything about My Police Police is disturbingly modest, featuring a handful of unnerving moments that were meant to tease something. David Dawson and Emma Corrin do a lot of the heavy lifting to bring the film up to par, with Dawson’s perspective on this forbidden love story as a high point. However, it never develops beyond an in-depth look at the lack of gay rights in the UK, and in fact doesn’t say much about it. My Cop is underwhelming in every way, from its lumbering script to its woefully below-par performance of Styles. Better call fluff. – Ryan Liston
From our review: An unbalanced supernatural drama about the discovery of the afterlife, Next Exit features committed lead leads from Rahul Kohli and Katie Parker as strangers on a suicidal road trip, but fails to even use most of its own ideas, let alone connect them meaningfully. – Sedant Edlakha
From our review: Sylvester Stallone’s superhero movie Samaritan is more concerned with plot than sense, over predictable revelations, and not much else. A mechanical revamp of better films and ideas. – Sedant Edlakha
From our review: The twins squander its desolate setting, talented cast, and powerful opening into a meandering story that hinges on a final act of revelation that just doesn’t come off. Teresa Palmer and Stephen Creary are much better than the story they’re given, and while they try, they can’t get over glaring problems with the script and its plot-focused formulas to make this satisfyingly twisted story. – Tara Bennett
From our review: The Nation isn’t scary, but the themes behind it are horrifying as they deal with generational trauma and guilt. Although the cultural references run deep, they are peppered with symbolic images that are never fully explained. Although Oh and Stewart give strong performances, the tone and tension of the story ends up being choppy and confusing. – Laura Cericole
From our review: A low-energy comedy from a French farce, The Valet tries (and fails) to inject an absurdist tale of stardom and fake romance with commentary and overdubs. Eugenio Derbez and Samara Weaving lead a more than competent cast, but they can’t beat the film’s slow length and disconnected story. – Sedant Edlakha
Best reviewed movies of 2022
From our review: Bring It On: Cheer Up or Die is everything a competent oscillator shouldn’t be, even a slasher portal. It’s so bloodless, gratuitously moodless, and devoid of genre investment, it’s going to have to be scraped off the bottom of the barrel of this year’s Halloween movie. Rebecca McKendry’s post got me excited because she has proven as a filmmaker and journalist that she knows horror — a pipe dream, I’m afraid. A twisted trick played on slasher movie destiners who howled at the concept (like me) delivers what has to be the Bring It On franchise’s worst entry yet (I admit I haven’t kept up with Cheersmacks or Fight to the Finishes). Bring It On: Cheer or Die doesn’t deserve redemption as this Disney Light wannabe that never really steps in sync with the horror genre, and her landing stumbles worse than Candace in Final Destination 5. – Donato died
From our review: Maneater torpedoes the underwater thriller formula many think is foolproof, only reinforces the fact that shark cinema isn’t beholden to its simplest ingredients. Hungry Sharks, The Dead – But what about sharks with visual appeal, deaths that mean something, and a story worth telling? Justin Lee isn’t trying to do a fool’s job, but the execution fails to even impress alongside guppies of this oft-underestimated subspecies. Whatever moments of absurdity exist in the B-movie – Trace Adkins quoting shark classics, ’80s porn soundtrack during sexy swim time, two-piece heroines dying pointlessly – find themselves unsurprisingly outdated given the whole spinning experience. When you can’t even take the time to re-imagine a boat docking without resorting to computer animation, maybe revisit the whole trip? – Donato died
From our review: Neither polished enough to engage in drama, nor exploitative or exploitative enough to be an effective horror, it/they are a plodding, tensionless, and ultimately wimpy movie. Even if he had something worth saying, he would have no idea how to say it. – Sedant Edlakha
From our review: One of the worst pictures of soulless prestige in years, Sam Mendes’s Empire of Light is a dull movie that doesn’t talk about anything in particular, despite its central romance (which dissipates quickly), and its musings on the power of cinema (which appears and disappears). at random), and the fraught political background of Margaret Thatcher’s Britain (the less said the better). – Sedant Edlakha
What do you think of this list? Which of this is worth defending? Let us know in the comments!
Jordan covers games, shows, and movies as a freelance writer for IGN.
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