From ‘I Saw The TV Glow,’ To ‘Joker: Folie à Deux,’ To ‘The American Society Of Magical Negroes,’ These Are The Top 10 Worst Films Of 2024
Another year, another lineup of the year’s most abysmal film releases that Hollywood has to offer. In 2024, the studio establishment took aim at men in the Western world and promoted several projects full of degeneracy, blasphemy, and Black Lives Matter radical division.
When Hollywood movies are bad, they are BAD — sadly, that downward trend is getting worse, not better. This year saw the release of a handful of bad films that absolutely no one wanted to watch, and some could be considered some of the worst films of all time.
First, let’s get some honorable mentions out of the way for the worst movies of 2024:
Lisa Frankenstein
Challengers
Emilia Pérez
Dear Santa
Wicked
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We had to narrow the list down to 10 — not an easy task — but here they are, starting with the biggest cinematic punch in the dick for comic book fans of a billion-dollar franchise.
10. Joker: Folie à Deux
I sincerely hope those reading this hate yourself as much as Todd Phillips and the creative minds behind Joker hate the character they brought to life. There is no reason to sugarcoat it: This sequel is a deliberate punishment to those fans who made the first Joker a billion-dollar hit. It takes a character that people identify with and murders him in a manner that feels more like a ritual sacrifice than a piece of entertainment.
Because the hyper-progressive Hollywood system hated the fact that, in their eyes, the film and its success were propping up a white male known for chaos and destruction as an aspirational hero, the sequel serves to course correct by rebuking viewers for making Joker a success.
Lady Gaga serves no purpose in this movie and exists to tear down the character further. Joker: Folie à Deux systematically rapes and kills the character in front of the audience as a means to tell them, “He’s dead now; he’s no longer your hero. You lose.”
It’s not just a bad movie; it is a movie that is hostile to its fan base. If you love the first movie, this film is not only going to serve to destroy what you loved but to make you feel a different type of way about the first movie – as intended by Phillips and his co-screenwriter, Scott Silver.
9. Madame Web
Let’s be very clear: If Sony didn’t own the film rights to Spider-Man, there would be a lot of executives at the studio flipping burgers at Jack in the Box right now. A film that has been in development for several years, it’s finally out in theaters. The movie is so bad that even the actresses involved with it have been subtly burying it before its release.
Madame Web is the most bush-league superhero film of all time. Porn parodies and mockbusters have better acting. The first five minutes of this film tell you everything you need to know about it. The acting is so bad it’s almost as if the editors accidentally put the wrong takes into the movie and never corrected their mistakes.
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The dialogue in this film is abysmal. Early on, Dakota Johnson and Adam Scott are driving in the ambulance when a woman is actively dying. And both actors are treating the severity of the situation as if it’s an episode of Seinfeld. No situational awareness of the scene that they’re in, just complete indifference.
Audiences are baited and switched into this movie in the worst possible way. All you are left with here is a film so bad that people are going to be giving handwritten apologies to Morbius for all the memes that were created over the last two years.
8. My Old Ass
Modern audiences, despite being pandered to the most, do not care about LGBTQ-centered love stories, which is why multiple films and television shows find themselves flopping time and time again.
The bad news is that anyone who happens to get duped into watching this movie will likely find themselves with an intense battle of attrition within the first 10 minutes of the pseudo-coming-of-age story that only an industry as degenerate as Hollywood can find relatable.
My Old Ass is a story about a girl fighting against her desire to become a heterosexual. That may seem a bit too dismissive, but that is all that this film truly has to offer. It has the writing structure of a Hallmark movie with the writing quality of a Tubi exclusive.
Ellie (Aubrey Plaza/Maisy Stella) is a foul-mouthed girl, who does hardcore drugs with her friends, has a worldview that revolves around social justice, and occasionally makes time to have sex with her girlfriend in public places. This is the type of behavior that Hollywood thinks is typical of your everyday American teenage girl.
The film is a cinematic overdose of liberal coping that tries to come back around in the final acts of the movie and have a heartwarming moment with our protagonist by turning her into a normal human being. My Old Ass is a film that exists solely to increase Amazon’s studio index rating when it ranks them on how much LGBTQ representation they had in the year 2024.
7. Monkey Man
After an assassination attempt goes wrong, a kid is on the run from everyone in the city, and his only hope for survival is a small group of indigenous transgender warriors who can nurse him and prepare him for the final fight that is to come…
You heard that correctly.
Just like Jordan Peele, Patel uses his film to tell a generic story that gives a platform to talk about the social issues of society. In this case, Patel focuses on the country of India where the caste system remains in play, and the country is accused of mass discrimination against Muslims and transgender people.
We have another film that is a bait and switch that teases you with the idea of a super cool bloody action movie while waterboarding you with a social justice lecture. When the film isn’t worshiping demons, Monkey Man lays the groundwork for a far more entertaining movie that never manages to pull itself off of the ground.
Monkey Man is the equivalent of a choose-your-own-adventure set in India, and you pick the worst possible adventure to go on. Unless you care about monkey demons and international trans communities, this film has nothing to offer you.
6. Borderlands
When the movie sits in developmental hell for a decade and a half, sometimes it is better to cut your losses and save face rather than continue with a movie that can only be described as a cinematic tsunami.
There’s no better example of the soullessness that consumes Hollywood than the latest film from Lionsgate entitled Borderlands. It doesn’t take much time to realize that whatever studio executive who greenlit this project thought that somehow they were going to make money by profiting off of the name of a popular video game series, without having any idea about the game they were trying to create in the first place.
Borderlands is a movie that doesn’t feel authentic for a single second of its runtime. The movie comes off as a bunch of A-list Hollywood actors cosplaying at Comic-Con about a video game franchise they know less than little about. Except for Sonic the Hedgehog, video games in Hollywood do not result in a positive outcome.
Borderlands is yet another example of how these two mediums cannot coexist with one another. If you are a fan of the franchise, you’re better off dusting off your old PlayStation 3 and playing the original game for a few more hours rather than wasting your money and time to go see this soulless Hollywood effort masquerading as a summer blockbuster.
Ethan Cohen decided to write direct and produce a film about two lesbians driving to Florida in a comedy road trip movie.
Margaret Qualley and Geraldine Viswanathan star as two lesbos embarking on a road trip to Tallahassee, so they can get laid. That’s it, that’s the movie. For those of you who think I’m being short with this film, this is a film that does not have a plot. This is a film that’s only 84 minutes long, and 20 minutes of it are spent on nonsensical psychedelic flashbacks starring Miley Cyrus.
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Margaret Qualley plays a spunky lesbian woman with a Southern accent that borders on Foghorn Leghorn in terms of believability. Geraldine Viswanathan is a cardboard cutout of a neurotic lesbian woman with no personality. Her character showcases exactly why Hollywood believes that sexual orientation is a substitute for charisma and personality.
Drive-Away Dolls is a type of movie that elevates other terrible movies. Because at least with the other awful movies, they offer the bare minimum and attempt to have a plot, which this film does not have. Next time, Ethan Cohen should try crafting a more successful conclusion to his failing marriage rather than co-writing this abomination of a movie that he expects audiences to consume.
4. Babes
The current state of comedy in Hollywood is the equivalent of a rotten corpse found four months after its death.
A major factor in the death of comedy has been the insert of progressive politics that has not only attempted to redefine what audiences find to be funny, but has produced abhorrent garbage that is only funny to those who have an AOC bumper sticker on the back of their Ford Fiesta.
Babes is a comedy starring Illana Glazer playing the role of Eden (very subtle) who is a single woman in her late 30s living in New York City. And the closest thing to a real relationship she has in her life is with her best friend, Dawn. The film then becomes nearly two hours of jokes that don’t land with people who don’t watch Jimmy Kimmel every night, as Eden develops a pseudo-relationship with her best friend rather than a healthy relationship with the father of her child because in 2024, heterosexuality is not allowed.
Babes is a film that is only relatable to the lowest common denominator of liberal feminist society. The entire purpose of this film is for Glazer to create a world where she’s in a pseudo-queer relationship with her best friend in New York City, where everyone is steeped in the progressive mindset and ideology, as she gets assistance from her female friend to raise her biracial child.
Babes is a film that should be the worst movie of the entire year. Because if there are three to five more movies that are worse than this, not only is it over for audiences, but Hollywood in general is totally cooked.
3. The American Society of Magical Negroes
The magical negro is a supporting black character who usually comes to the aid of the white protagonist in a movie. A term crafted by notorious race hustler Spike Lee, who was bothered by the on-screen race relations between blacks and whites in modern movies.
This is the premise of the American Society of Magical Negroes. The film stars Justice Smith as Aren, the textbook definition of a beta male. Aaron is so good at being a walking doormat to anyone who comes within a 5-foot radius. Because of this, he is recruited by a man named Roger (played by David Alan Grier) to become a member of a magical society of negroes.
The American Society of Magical Negroes is probably one of the most racist films to come out in the last several years. Still, its biggest sin is being one of the most boring films that came out in those years with one of the worst actors in Hollywood given the responsibility to lead this movie.
Justice Smith, who is Hollywood’s go-to actor whenever they need someone black and feminine, is taxed with leading this abomination of a comedy movie that is thinly disguised as satire. Magical Negroes is a film that takes poorly disguised hatred and racism of another race in the realm of comedy, thinking that they can fall back on calling this movie a satire whenever they are called out for spreading racial division.
However, without racial division between blacks and whites, this story has absolutely nothing to offer. There’s no chemistry between the two leads in this film, as no one believes Justice Smith is heterosexual, let alone can play one on screen. The American Society of Magical Negroes is a soulless charisma vacuum of a film that has nothing but hate in its heart.
2. The Book of Clarence
Before being accused of the rape of a teenage girl 25 years ago, rapper Jay Z teamed up with The Harder They Fall director James Samuel for a project that looked every bit as racially divisive as it was blasphemous. Most of the people reading this have probably never heard of the 5 Percent Nation or the Nation of Islam.
The name Clarence comes from the founder of the 5 Percent Nation of Islam who was a cult leader in Harlem, New York. He taught poor black people that the black man is God, and the white man is the devil. As a result, The Book of Clarence is set in an alternative version of 33 AD Jerusalem where the overwhelming majority of the nation is black.
The film is centered around a weed-smoking drug dealer/scammer named Clarence (LaKeith Stanfield), who is in the presence of a figure known as Jesus Christ (who is also black). But instead of being humble, Clarence grows jealous of Jesus. So he decides to scam people, claiming he is the true Messiah so that the people give money to buy his way out of trouble. The Book of Clarence is a blasphemous film that holds nothing but contempt for the true believers of Christ.
The film tells its audience Christianity has been corrupted by white people and goes into full-fledged blasphemy by tearing down “white Jesus” and replacing him with Clarence to the point where it denies the death, burial, and resurrection of Jesus Christ (also known as the spirit of the antichrist).
The Book of Clarence is a film that is only going to be applauded by people who hate God and white people. That should tell you all you need to know about the film and who it’s pandering to.
1. I Saw the TV Glow
The worst film of 2024 is a movie that I struggle with even calling “a movie.” As previously mentioned, Justice Smith is the worst actor working in Hollywood today, and I’m not saying that for the sole purpose of obtaining clicks. Even before the actor officially came out as gay, his excessive screaming and crying in movies such as Jurassic World and The Fallen Kingdom already put him on the list of one of the least favorable actors in Hollywood.
Justin gets the honor of being in two of the three worst movies of the year with the film I Saw the TV Glow. If you don’t know anything about this film, the writer and director, Jane Schoenbrun, is a trans man. So it should not shock anyone to discover that this film is an allegory for trans people.
I Saw the TV Glow is not a movie. There’s no plot, there’s no storyline, there’s no dialogue, and you’re presented with two protagonists who barely meet the minimum qualifications of being called characters. And when you mix all of this in a pot, you are left with a film that gives you a hundred minutes of you asking yourself, “Why did I watch this movie?” and, “What the hell did I watch?”
Justice Smith and Brigette Lundy-Paine are two real-life gay actors who don’t even pretend for a single second to have any kind of chemistry romantically or even on a baseline platonic level. Understanding the context that this film is an allegory to a man’s transition into becoming a woman, the only thing left to say by the time that Fred Durst from Limp Bizkit arrives in the movie is, “Who the hell wrote this bull****?”
I Saw the TV Glow is one of the most boring films to have ever been crafted by the brain of a human being. There is more excitement in watching grass grow than having to sit through two hours of a mind-numbing attempt at a story from someone who needs either therapy or Jesus or a combination of both.
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