Another year and another lineup of the year’s most abysmal film releases that Hollywood has to offer. 2022 was the year that woke progressive propaganda films crashed and burned at the box office.
While Top Gun: Maverick dominated the box office, Hollywood’s 2022 film lineup included child grooming, LGBTQ overrepresentation, terrible sequels, feminist revisionism, and rewriting real-life history in numerous efforts that contributed to the lowest box office turnout since 9/11.
2022 had some stunningly bad films that absolutely no one wanted to watch and we narrowed the list down to 10 of the worst movies of the year starting at number 10.
10. Halloween Ends
The saga of Michael Myers and Laurie Strode comes to a climax in the final installment of this trilogy.
Starting off the list is one of the worst endings to a film trilogy in cinematic history. Halloween Ends wraps things up with a stunning exercise on making the wrong creative decision every step of the way. For those hoping to see Michael Myers butcher as many people as possible, this is not the film for you.
In fact, Michael Myers doesn’t even appear until almost an hour into the run time and if you want to see him kill you’ll have to wait an additional 30 minutes; from top to bottom, Halloween Ends is a massive waste of time. 106 minutes of run time is wasted on characters we don’t care about as the mainstay characters are completely removed from the story.
Littered with plot and character-included stupidity throughout, ‘ridiculous’ is the only word to describe this film. From start to finish, the entire sequel trilogy for Halloween has been a failure; wrapping the series with an ending that gives fans less hope than ever before.
A 1950s housewife living with her husband in a utopian experimental community begins to worry that his glamorous company could be hiding disturbing secrets.
The MeToo movement has paved the way for a multitude of films over the last few years that just repeat the same misandrist message: men controlling everything is bad and everything would be so much better if women were in charge.
Don’t Worry Darling is a film that attempts to magnify that message in front of a camera; behind it, however, the film proves the notion of feminism is nothing more than a pipedream. In the minds of intersectional progressive feminists, the worst time for women in the history of the United States was the ’50s.
A time when women didn’t have to work 60 hours a week to afford a rundown apartment. A time when women listened to Patsy Cline and not Megan Thee Stallion. A time when women dressed like someone you wanted to marry and not someone spending her time twerking on TikTok.
The premise of the movie relies on the effectiveness of its reveal and by the end of this, you will be begging for an M. Night Shyamalan twist. The twist is so absurd and impractical, you will laugh as a coping mechanism against the reality that you just wasted 2 hours of your life.
The 4th entry in Marvel Studios’ tonally inconsistent Thor franchise.
Thor: Love and Thunder is all over the place. The opening act presents three different stories with three different tones and fails to mesh any of them together for a coherent story. The film attempts to be a rom-com between Thor and Natalie Portman’s Jane Foster, while her character is dealing with the very serious reality that is cancer.
The seriousness of Jane’s morality is snuffed throughout the film by Taika Waititi’s need to inject comedy where it is not needed; a trope that is unbearable in some of the director’s other films — such as Jojo Rabbit, for example. Chris Hemsworth has described Taika Waititi’s style as a director as “an inner child running wild” saying that Thor: Love and Thunder is the film a 7-year-old would make.
This is the most accurate description of this movie in the worst way. Thor: Love and Thunder is the worst MCU film not named Eternals. If you didn’t like Captain Marvel or Shang-Chi And The Legend Of The Ten Rings, this movie is far worse than both.
7. Marry Me
Music superstars Kat Valdez (Jennifer Lopez) and Bastian (Maluma) are getting married before a global audience of fans. When Kat learns, only seconds before her vows, that Bastian has been unfaithful, she instead decides to marry Charlie (Owen Wilson), who is just a stranger in the crowd.
I would say that Marry Me reminds me of a high-budget Hallmark Movie, but I have literally seen Hallmark movies better than this. Having said that, I can’t throw Lopez completely under the bus because her co-star Owen Wilson looks like he doesn’t want to be in this film either. Wilson displays zero charisma in the role; something the film itself unapologetically mocks.
Adding insult to injury, the supporting cast includes unfunny comedian Sarah Silverman, who plays Owen’s fellow teacher and de facto lesbian best friend — because it’s important we keep those “diversity and inclusion” numbers up. Most of the runtime of Marry Me is just the cast letting Jennifer Lopez know how awesome and empowering she is while she spews out some girl power mumbo jumbo that only sounds good in a Daily Beast article.
It’s an embarrassment that it took three screenwriters to write this garbage. The film is written by people who think middle-aged women using Instagram Live are relatable, not to mention the predictability of the storyline; mainly because it’s been done to death and there is no flair added to shake things up.
6. The Menu
A young couple travel to a remote island to eat at an exclusive restaurant where the chef has prepared a lavish menu, with some shocking surprises.
The Menu is a predictable cinematic experience that you can figure out within the first three minutes. Whenever a film inserts progressive story tropes into the plot it becomes predictable and you can accurately guess exactly where it is going. The cast is nothing more than a bunch of rich, entitled elitists with unlikable personalities; offering audiences absolutely no one to root for the jump.
If the only person they were supposed to identify with is a rude and arrogant protagonist — whose only redeeming quality is the fact that, unlike the other characters, is not rich — the entire premise of this movie is dead on arrival.
The film puts all its chips into building a mystery that gives you no payoff in the final act, leading up to one of the dumbest twists in cinema in 2022; one that makes the entire journey a big fat waste of time. The Menu is a film that insults your intelligence while trying to talk down to you simultaneously.
Set 25 years after a streak of brutal murders shocked the quiet town of Woodsboro, California, the film introduces a new killer donning the Ghostface mask who begins targeting a group of teenagers to resurrect secrets from the town’s deadly past.
Here’s a writing tip for modern-day screenwriters: being quirky and self-aware doesn’t make your film good, especially in a series that did it far better than you ever could. Scream (2022) is Paramount Pictures’ latest cash grab that tries to make a movie off of fanatics of the franchise, including some gullible zoomers along the way.
The film is the textbook definition of soulless. The way the film tries to shoehorn modern characters into the franchises’ plot while trying to meet its diversity inclusion quotas is every bit as laughable as it is insulting. Billy Loomis is the father of a girl who looks like an extra on Sábado Gigante because, why not?
Let’s completely retread Jamie Kennedy’s character from the first film and put him in the body of a woke black lesbian and call her his niece; because f—k you, that’s why.
This film had the audacity to save face by claiming they did this film for Wes Craven who if he is in hell is surely being tortured by being forced to watch this film for all eternity.
A group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game turns deadly with backstabbing, fake friends, and one party gone very, very wrong.
Bodies Bodies Bodies is a film that describes itself as a black comedy slasher film, it only takes 30 minutes of run time to understand that the creators of this movie have no idea what the words ‘comedy’, ‘satire,’ or ‘slasher’ actually mean — making it one of the most obnoxious films in the 21st century.
The film is a giant Gumbo pot filled with just about everything you can’t stand about modern society and presented by people who truly believe they are not part of the problem. The music selection only reminds you just how far we have fallen as a society. The dialogue is abysmal, to the point they try to play up the bad dialogue as part of the “comedy.” Sarah DeLappe, the screenwriter of this movie, does not have a single writing credit on her entire resume.
She has no resume as a writer, no resume as a producer, and she doesn’t even have a Wikipedia page so, how did this woman get to be the main screenwriter for this film short of “diversity and inclusion” quotas? Within seconds, Bodies Bodies Bodies is a film that grinds on your last nerves and drags you along under the guise that there will be a payoff that is never coming.
A historical epic inspired by true events that took place in The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries.
What do you call a historical epic that omits key details to the story to avoid telling the truth? A fantasy. The Woman King is the textbook definition of revisionist history. This is the biggest problem with the entire premise of this movie.
The filmmakers attempt to turn the Agojie and Dahomey into the heroes of world history as warriors who fought against slavery and oppression, when history states that the Dahomey tribe was amongst the most prominent slave traders of their time.
The true history of the female warriors that Hollywood attempts to immortalize was too uncomfortable for the filmmakers because the truth got in the way. When the Agojie in the film are running down Europeans and Americans as “slavers” and “oppressors,” the film doesn’t want you to know that this tribe was home to some of the worst slavers in African and world history.
It’s never a good sign when, the week that a film is released, the star of a movie is trying to guilt audiences into supporting their product in the face of another woke Hollywood box office bomb.
2. Not Okay
An ambitious young woman finds followers and fame when she poses as the survivor of a deadly attack, but she soon learns that online notoriety comes with a terrible price.
Being a Left-wing Progressive in 2022 is a miserable experience, and that’s not my opinion. All you have to do is simply watch the film, Not Okay and these self-professed progressives will attempt to convince audiences that they live miserable, unhappy, and unfulfilled lives. The film is about the absolute state of misery that is being a Left-wing progressive living in a major US city.
The irony is you’re watching a film written by someone who hates their protagonist without actually being any different than the character that they are crapping on. It’s one thing to bash your audience over the head with diversity and inclusion along with not-so-subtle woke talking points that are almost beyond parody, but to force someone to sit through almost two hours of misery porn about just how sad and pathetic your life is — without even awarding them with a proper ending to the film — is unforgivable.
Not Okay is a certified waste of time and a film that, on top of that, probably hates its target audience, so go spend your time being happy while the key demographic for this film lives in misery.
Two men with commitment problems attempt a relationship.
The worst movie of 2022 is the film that got me banned from Letterboxd. Bros is a wide-open window into what “sex and relationships” are seen as in the LGBTQ community. The movie attempts to normalize polyamorous dating, ‘throuples,’ gay orgies, gender reveal gay orgies, and hook-up culture on steroids as the “norm” for people within their circle.
This is what the film portrays as “normal sexual experiences” for gay men in a big city — no wonder people don’t want their kids exposed to this lifestyle. Bros tries to have its cake and eat it too but miserably fails to make it work.
The runtime is bloated, the jokes aren’t funny outside of the LGBTQ bubble, and the camerawork is shoddy at best, but none of that is the biggest sin of the film. In the wake of Florida’s Parental Rights in Education bill, which bans the teaching of sexuality and transgenderism to children between kindergarten through third grade, Billy Eichner inexplicably used an R-rated sex comedy to make the case for grooming children into the LGBTQ lifestyle the same one that in this film has been displayed as nothing but degenerate and emotionally damaging.
The second the film tried to make the argument of grooming children into the by-their-own-admission degeneracy that is presented in this film, that is where Bros crossed the line.
The LGBTQ community used the film Bros as a window into their lifestyle and, instead, they offered a look inside the Trojan horse we let into the gates.