As a movie enthusiast, I can’t help but appreciate the comedic genius of Nicholas Stoller. This talented filmmaker has been instrumental in crafting some of the funniest and most successful comedies from the 21st century. From behind the camera, he’s directed blockbusters like “Forgetting Sarah Marshall” and “Neighbors,” while his writing skills have graced films as diverse as “The Muppets,” “Captain Underpants,” and “Sex Tape.
Over the past ten years, I’ve found myself delving deeper into television production, breathing life into series like “Platonic” on Apple TV+ and “Goosebumps” on Disney+. Since 2017, my focus has primarily been on directing, with only one film to my credit – the romantic comedy “Bros,” starring Billy Eichner.
To an outside viewer, it appears as though television is growing more open to backing witty, character-centric comedies compared to films. When I posed this observation to Stoller, he didn’t outright oppose the idea.
Currently, my wife Francesca Delbanco and I are watching the second season of Platonic. Stoller mentioned this during our Zoom conversation earlier in the week. Previously, Seth Rogen (who stars in both the series and Stoller’s movies Neighbors and Neighbors 2) had commented that a more elaborate version of the concept could have been a movie years ago. However, it seems that the business model for such projects has shifted towards television now, which is why these ideas have moved to TV shows instead.
Stoller’s current project takes him back into the film industry, albeit avoiding movie theaters. The hilarious film titled “You’re Cordially Invited” features Will Ferrell and Reese Witherspoon as two meticulous individuals who unknowingly scheduled the same wedding for their loved ones at a charming yet tiny venue on the same day. The ensuing confusion and laughter are guaranteed.
The film can be streamed immediately on Amazon Prime Video. Watching it at home had me pondering over the fun I used to have watching movies like “You’re Cordially Invited” in cinemas. We briefly discussed this year’s Academy Award contenders (we both liked “The Brutalist” and “Challengers,” two films that we revisited during our conversation about screenwriting). Stoller and I then talked about his current project, how he adapted the script to suit his actors, and a glimpse into the future of comedy movies in 2025.
Many people might wonder about the inspiration behind this film’s creation. What I find intriguing is the personal experience – a surprising, distressing event that took place at a wedding I attended or perhaps unintentionally caused – that sparked the idea for this movie.
You might find it intriguing to note that the story isn’t based on my personal experiences at all. What resonates with me are the characters and their core emotional journeys. For instance, having three daughters myself, I deeply relate to the character Will, who is sad about his daughter growing up – a sentiment I can certainly empathize with.
Reese has a unique bond with her sister, while I can identify with certain aspects of my own sibling relationship. Interestingly, the coincidental clash of two weddings serves as a platform for delving into the emotional journeys of these characters.
Whenever I attempt to recall amusing wedding anecdotes, I find myself drawing a blank. Frankly, my personal collection of wild wedding tales is quite limited. If only I had more to share! It’s all fictional, everything you see in the film.
Are there any specific rules or principles you follow when creating comedies, as I noticed over the weekend that your films, although they have unique stories, share a similar structure? I’ve observed that there are fewer hero-villain dynamics and more rivalries; tales where I find myself liking both characters who seem to be at odds. Could you elaborate on what appeals to you about making movies with this kind of structure?
Absolutely, I believe a compelling narrative could be centered around competitors. We were discussing “The Brutalist” earlier, and it showcases a rivalry between Adrien Brody and Guy Pearce. This dynamic breeds tension, which is essential for both dramatic and humorous narratives.
The topic we were discussing earlier is called “Challengers”. This competition is quite engaging, I believe it offers an array of emotional journeys and creates a suspenseful narrative that leaves viewers eager for more. Therefore, I suppose this is what makes it so intriguing.
In a different perspective, I don’t subscribe to the idea of villains. I find traditional villains unengaging. Instead, the most compelling villains are those that seem human and have relatable motives, allowing us to grasp their reasoning. This is particularly true in comedies and the kind of films I produce. You see, way back in the early 2000s, characters like Bradley Cooper’s in “Wedding Crashers,” who were simply jerks with no redeeming qualities, were common. However, I’ve never encountered such a person in real life. Even the most arrogant individuals I’ve met often turn out to be shy and reticent when given a chance to express themselves genuinely.
People find humor in things that resonate with them and are genuine. When you’re laughing at such things, you’re connecting with them. Consequently, I don’t usually idolize heroes. Instead, it’s more amusing to witness Jason Segel going through a nervous breakdown compared to the traditional hero figure winning someone’s heart or achieving something else.
Absolutely. Did you write this with Will and Reese in mind?
Initially, I considered a unique concept for a double-booked destination wedding many years back, but I lacked any further development. Recognizing its commercial potential, I held onto the idea until a few years later when inspiration struck – creating a film featuring Will and Reese seemed like an entertaining prospect. My admiration for both of them ran deep, and I was eager to work on a project with them. I believed the concept had enough substance to accommodate their talents. I expanded upon the idea, pitched it to them, and they both agreed. Since then, I’ve been developing it specifically for them.
When developing the role for Will Ferrell in this project – given my appreciation for his comedic talent – did you consider specific skills or aspects of his performance that you wanted to showcase in your film? Is there a particular style or genre where, if he’s placed, you are confident he will excel?
Will appears to be an ordinary person with an unpredictable edge, which makes anything seem possible, yet assures us everything will turn out alright. In comedy, particularly for characters like Reese and Will, it’s effective if they can argue in a way that’s humorous rather than resembling a heated family dispute. Reese excels at delivering hilarious outbursts, and this unpredictable nature of Will is indeed captivating.
What I hadn’t noticed him perform before was a role that seemed more emotionally charged than what he typically does. Despite being renowned for his hilarious comedies such as “Talladega Nights” and “Anchorman”, these movies didn’t feature many emotional scenes. However, I had hoped for some emotional moments between him and Geraldine, and he certainly delivered. His final scene where he apologizes to his daughter is incredibly touching, bittersweet, and still manages to be comical, particularly when discussing the topic of missing intimacy with his wife.
[laughs]
It’s so shocking, and so funny, but also I’m always on the verge of tears when that scene happens.
This scene is quite hilarious! It’s hard not to reminisce about the past, but I have a feeling that this scene and the entire movie would have been a huge hit in theaters back then. As someone who follows the film industry and enjoys comedies, it seems like there are fewer and fewer comedies being shown in theaters these days. From a creator’s perspective, what do you think might be causing this decline in major studio-produced comedies?
A recently released comedy titled “[One of Them Days]“, produced by Issa Rae, has been successful in cinemas. I believe that comedies have the potential to thrive on stage, however, the window for success in a theater has narrowed significantly over time. Consequently, studios are less inclined to take risks with comedies as they once did.
This film offers an exceptional theater-like encounter, yet none can enjoy this in-person experience. Instead, it will be an experience each one will have at their homes, which is somewhat disappointing – however, it’s also enjoyable to watch together with a group of people at home, making it a pleasant alternative.
Indeed, I find it disappointing due to my affection for watching comedies in large cinemas, as it’s enjoyable to share laughter with others in such a setting. However, it seems that studios are focusing on two main categories now: movies with spectacular visual effects (such as Marvel productions) or those based on massive cultural phenomena (like Barbie), which can draw a large crowd. This shift is likely due to the perception that these types of films offer an ‘event’ experience, while other movies might be more conveniently streamed online.
Additionally, it’s worth noting that the approaches to business vary significantly. Numerous production studios expressed interest in producing this film, but Amazon presented the most attractive proposition. While they were fantastic collaborators and incredibly supportive throughout the project, their business strategy doesn’t align with traditional theater operations. Given this, we were aware of the circumstances from the outset. In hindsight, I realized that movies typically spend 95% of their lifespan on streaming platforms or DVD, rather than in cinemas. Therefore, my perspective shifted after considering all aspects of the situation.
It’s certainly better that it exists than it doesn’t exist.
Exactly.
As a cinephile, I appreciate your insight about the charm of watching a hilarious movie with a crowd. Given my recent focus on television projects, could it be that the TV landscape is simply more open to comedy productions compared to the film industry?
I strongly agree with this perspective. To be frank, it seems like television, particularly streaming services, might have somewhat overshadowed movie comedy to some extent. Shows like “Platonic” aim for hard-hitting comedy, complete with set pieces and elements typically found in movies. The convenience of watching such content at home on Apple TV makes it more accessible compared to going to the cinema.
I believe that “You’re Cordially Invited” could have been suitable for a stage performance. However, it doesn’t align with the original concept. From the start, I was intrigued to discover what this experience would be like.
There’s something delightful about it: It frees you from any worries regarding box office success. When a movie premieres, all I can think about is its box office performance. And then, the only one who seems to remember what happened is me. That’s quite amusing, isn’t it? People will say, “Oh, Forgetting Sarah Marshall was such a massive hit.” But that’s not true. It did well. Frankly, if we were comparing it to the biggest hits of all time back then, it would have been just another film. At the time, it was seen as the younger sibling to Superbad, or so on. However, people don’t remember it that way. Thus, eliminating the box office burden or influence can only be a positive thing. [laughs]
As we prepare to leave, you shared that you’re a father of three growing daughters. I too have two daughters, and I’m finding myself experiencing the emotions you described so poignantly in Will’s character from the movie. Could you offer some guidance for a dad like me who is navigating this phase of life you mentioned?
How old are your daughters?
They’re seven and nine.
Change is something you just need to embrace. Life itself is a constant process of change. A significant part of the movie “You’re Cordially Invited” revolves around characters grappling with life’s changes, which resonates deeply with me. Whenever I see the montage at the end showing Geraldine growing up, it always brings tears to my eyes. All those photos and memorabilia are actually from Geraldine. Each time I watch that scene, I can’t help but think, “Why did I put myself through this?” [laughs]
You’re Cordially Invited is now streaming on Prime Video.
25 Terrible Movies So Bad They Became Iconic
25. The Book of Henry (2017)
In a surprising turn, Director Colin Trevorrow followed up the blockbuster hit “Jurassic World” with an enigmatic flop. This film is unusual in that it blends magical realism with disturbing themes of child abuse. It can also be seen as a modern parable of Christ, where a divine figure sacrifices himself so that his abusive mother may kill a man and adopt her tormented stepdaughter. Simultaneously, it serves as a cautionary tale about the dangers of indifference, conveyed through the strange narrative of a dead child prodigy teaching his mother assassination skills from beyond the grave. Remarkably, this outlandish concept is handled with utmost seriousness, despite being created by one of Hollywood’s most promising young directors who has worked on multiple “Jurassic Park” sequels and almost directed a “Star Wars” film, thus adding to its unique and peculiar allure.
24. Fantastic Four (2015)
1. A band of talented young researchers invent a gadget for inter-dimensional travel, but fear their funding organization may seize their work for credit, so they test it themselves and inadvertently acquire extraordinary abilities or grotesque appearances. Essentially, the narrative arc of Josh Trank’s troubled ‘Fantastic Four’ can be interpreted as a symbol of its production process, where a group with noble aspirations reimagines popular characters, only to find their vision threatened by profit-driven forces. This movie oscillates between a grim horror tale and a superhero spectacle, but the different storylines never coalesce harmoniously.
2. Regarding the Thing’s nudity throughout the film, it seems that no one else finds this peculiar or awkward, despite the movie’s already questionable reputation. The film’s infamy deepened when even its own director, Trank, rated it a mere 2/5 stars on Letterboxd.
23. Alone in the Dark (2005)
Uwe Boll gained a notorious reputation among directors by producing numerous film adaptations based on video games, leveraging a German tax loophole to ensure financial success. To imagine the characters from Mel Brooks’ “The Producers” as gamers gives you an idea of the situation.
One of Boll’s most disastrous ventures in the video game sphere features Tara Reid as a brilliant archaeologist, alongside Christian Slater as a detective who investigates paranormal activities. Unfortunately, due to its incoherence, I can’t provide much detail about the film – even the opening title crawl, which is overly lengthy and confusing, makes “Alone in the Dark” more puzzling than it already was. (The crawl lasts an impressive 90 seconds.) It’s worth noting that this movie ranks below “Alone in the Dark,” a film that holds the unenviable position of being the worst video game adaptation ever made, which speaks volumes about its quality.
22. The Bonfire of the Vanities
The elaborate cinematography found throughout this movie, despite being abundant, failed to rescue Brian De Palma’s “The Bonfire of the Vanities” from some of the most questionable casting decisions in ’90s cinema. Unfortunately, each of the main actors seemed miscast for their roles. Tom Hanks appeared woefully unsuitable as a blue blood character, Melanie Griffith offered little depth to her portrayal of his mistress, and Bruce Willis’ overly smug demeanor did not convey the necessary desperation for his role as an alcoholic journalist. When all three lead performances are off-target, it results in a catastrophe that is difficult to salvage.
The book upon which this film was based was a topic of much conversation during its time, generating high expectations for its screen adaptation. However, the final product was so flawed that it became notorious – partly because its production was documented in one of the most compelling Hollywood books ever written, Julie Salamon’s “The Devil’s Candy.
21. Green Lantern (2011)
Fans of comics often become agitated when adaptations deviate too far from their cherished original content. A counterargument for such deviations can be seen in the film “Green Lantern,” which jam-packed DC’s intricate intergalactic police lore and ring-wielding powers into its 114-minute duration. While it includes characters like Tomar-Re, Kilowog, Abin-Sur, and Sinestro, the rush to incorporate so much material results in insufficient development for these characters and limited screen time for Hal Jordan (played by Ryan Reynolds) and his Earthly life before or during his transition into Sector 2814’s protector. Peter Sarsgaard effectively portrays Hector Hammond, a telekinetic monster with a seemingly enormous growth on his forehead; however, he fails to convincingly embody a peer of Blake Lively’s Carol Ferris, who plays a character younger than Sarsgaard, despite their characters being supposedly childhood friends.
The movie was poorly received, but its notoriety has grown worse over time. This is largely due to the film’s own star, Ryan Reynolds, repeatedly making fun of it in interviews and even in films like Deadpool. The more he pokes fun at it, the more attention it garners.
20. The Last Airbender (2010)
In a surprising turn of events, the highly acclaimed animated series “Avatar: The Last Airbender” seemed like a surefire success when it came to live-action adaptation. However, M. Night Shyamalan proved to be an unsuitable choice for the project. Instead of delivering a seamless adaptation, Shyamalan compressed the show into 100 minutes filled with awkward pacing, with many roles that were originally Asian characters in the source material being played by white actors. (Shyamalan justified his casting choices as part of what he claimed was “the most culturally diverse tent-pole” Hollywood had ever produced.)
Unfortunately, the film’s quality was so poor that it became the final installment of the “Airbender” series; the negative response from fans and dismal box office results put an end to plans for a trilogy of live-action “Avatar” films. The casting controversy gave rise to a term we still use today – “racebending.”
The live-action adaptation of the beloved animated series “Avatar: The Last Airbender” seemed like it would be a guaranteed success, but M. Night Shyamalan turned out to be an inappropriate choice for the material. Instead of creating a faithful adaptation, he condensed the show into 100 minutes filled with awkward pacing, and many roles originally played by Asian actors were given to white actors. (Shyamalan defended his casting choices as part of what he claimed was “the most culturally diverse tent-pole” Hollywood had ever produced.)
Unfortunately, the film’s quality was so poor that it marked the end of the “Airbender” series; fans and box office results rejected the film, putting a stop to plans for a trilogy of live-action “Avatar” films. The controversy surrounding the casting led to the creation of a term we still use today – “racebending.
19. The Oogieloves in the Big Balloon Adventure (2012)
It’s astonishing that such visually unattractive creatures as Oogieloves even graced the silver screen. Their oversized heads, swollen midsections, and bizarre Popeye-like arms are far from appealing, resembling a disguise a kidnapper might use to lure children into an unmarked van. Remarkably, this is the starring cast of a movie that could easily be crowned as the worst ever made, even by someone like me who has watched numerous terrible kids’ movies and considers them all masterpieces compared to The Oogieloves.
However, it’s remarkable that such unattractive designs were released in legitimate movie theaters across the country – over 2,000 of them! This only adds to the uniqueness of this movie (despite it still being terrible, but in a unique way).
18. Winnie-the-Pooh: Blood and Honey (2023)
In simpler terms, the movie titled “Blood and Honey,” which is a controversial spin-off based on A.A. Milne’s classic book that has now entered the public domain, doesn’t succeed as a slasher film or a satire of children’s literature. Instead, it ironically works to strongly argue against the idea of a public domain. This is because if copyright protection keeps trash like this from being produced and exposed to the public… perhaps it’s not such a bad thing. Despite its abysmal quality, “Blood and Honey” became viral and paved the way for a flood of similar children’s literature-themed horror imitations.
17. Wild Wild West (1999)
The film “Wild Wild West,” which was based on an old TV series that hardly anyone recalled by 1999, let alone now, was already a notorious failure when it debuted in theaters. In later years, it became even more synonymous with poor quality after its lead actor, Will Smith, admitted in interviews that he accepted the role instead of another opportunity: The chance to play Neo in the original “Matrix” film.
The role in one of history’s most influential sci-fi films? He passed. But for this silly Western comedy, he was game!
16. Catwoman (2004)
In a surprising twist, Halle Berry uncovers that her beauty company’s novel creation is hazardous and meets an untimely end at the hands of her superiors to conceal the truth. However, feline companions resurrect her, transforming her into the latest incarnation of Catwoman, a historical figure known for prowling the Earth with cat-like abilities. Berry’s character, Patience Phillips, now battles crime (occasionally instigating it) using all the renowned abilities of felines: agility, the knack of always landing on her feet, exceptional basketball skills, an affinity for stealing jewelry, the propensity to whip people, a fondness for leather puns, and a resemblance to a real cat in many ways.
It’s no wonder that, despite the eccentric costume Berry wore, Catwoman remains vivid in our minds even two decades later.
15. Madame Web (2024)
The movie titled “Madame Web” quickly became infamous for being a poor quality film, largely due to the absence of Spider-Man despite being marketed as a spin-off from his universe. Additionally, its marketing campaign was confusing, with lines such as “Ezekiel Sims … he was in the Amazon with my mother while she was studying spiders just before she died.” This line, initially included in the film’s trailers and later ridiculed online, was ultimately removed from the final version of the movie. (It’s hard to say why!)
14. Planet of the Apes (2001)
In a rather predictable yet criticized tribute to the finale of the original “Planet of the Apes”, Tim Burton’s remake concludes with Mark Wahlberg crash-landing in front of a confoundingly ape-like Lincoln Memorial. This ending, often ridiculed as one of the worst in cinematic history, serves to highlight all that is flawed about this reboot. Unlike the original “Apes” twist which provided insights into the film’s narrative, Burton’s unexpected revelation only sparked more confusion. As there was no sequel, these queries were left unanswered, leading to two and a half decades of jokes about “Ape-raham Lincoln”.
13. Gigli (2003)
In 2003, the film “Gigli” was infamously released in cinemas, receiving a dismal 6% score on Rotten Tomatoes. As someone who found enjoyment in watching poor films, I convinced a group of friends and colleagues to join me for the premiere, expecting a riotous flop. However, the movie was anything but funny. In fact, it was a genuine disaster. The real-life couple Ben Affleck and Jennifer Lopez failed to display any chemistry on screen, despite their apparent connection in real life. Their plot, involving kidnapping a mentally challenged child played by Justin Bartha, aimed at pressuring a federal prosecutor for Affleck’s boss, was bewilderingly terrible. I spent weeks apologizing to everyone who attended the movie with me, as “Gigli” turned out to be such a dismal romantic comedy that it even strained friendships (those friends have never truly forgiven me, and still bring up the incident!).
12. Mac and Me (1988)
The tremendous success of “E.T.: The Extra-Terrestrial” in the 1980s sparked an interest in tales about aliens visiting Earth and befriending humans, making it a profitable market. Even McDonald’s jumped on board with this trend by producing a low-quality movie imitating E.T., featuring another adorable creature and its human companion. The title itself hinted subtly at the Golden Arches.
In one notoriously cringe-worthy scene, the storyline paused for an extended dance routine set in a McDonald’s. Despite being dreadful, this film played a crucial role in giving Paul Rudd the opportunity to prank Conan O’Brien over many years, thereby solidifying its status as a cinematic giant of bad movies.
11. North (1994)
10. Justice League (2017)
The Justice League movie was anticipated as the climactic culmination of an interconnected narrative. However, it turned out to be the dismal low point for a once-thriving film universe. Originally directed by Zack Snyder, he had to abandon the project due to personal matters, and Joss Whedon stepped in. The final product lacks the cohesion that could have been expected from either of them. The editing is disjointed, the mood is inconsistent, and the main antagonist is a generic CGI villain with no charm or backstory – his ambition being as simple as world domination. Remarkably, despite its poor quality, Justice League has gained notoriety because of Zack Snyder’s persistent online campaign to rework it into “The Snyder Cut.” There was a possibility that the movie would flop and fade away unnoticed; instead, #ReleaseTheSnyderCut has been an enduring internet joke for years.
9. Manos: The Hands of Fate (1966)
The film, titled “Manos: The Hands of Fate“, is undeniably one of the most peculiar movies ever produced. It might not be as terrible as it seems, given that it defies conventional elements like coherence and rhythm. Despite its initial obscurity, this film gained significant attention due to arguably the best episode of “Mystery Science Theater 3000“. The role of “Manos” in the series dedicated to making fun of bad movies meant that countless cinephiles (or perhaps cine-masochists) would seek out this enigmatic film, willing to endure its puzzling challenges and ordeals.
8. Jaws: The Revenge (1987)
As a passionate film enthusiast, I’d rephrase it like this:
“I must admit, ‘Jaws’ is an iconic movie about a menacing shark terrorizing a peaceful beach town. On the other hand, ‘Jaws: The Revenge’ presents a unique twist – a shark seeking vengeance against a family who supposedly hunted it across multiple movies. The protagonist, skillfully portrayed by Lorraine Gary, suspects the shark is systematically eliminating her kin, leading her to flee to the Bahamas. Incredibly, this relentless predator manages to track her down an astonishing 1100 miles away! One could argue that this shark is exceptionally smart – or perhaps a vengeful spirit of the sharks from the original ‘Jaws’, ‘Jaws 2’, and ‘Jaws 3D’. It’s a mystery how shark vengeance works, but we could use a clear explanation!
Despite the abundance of subpar shark films, what makes ‘Jaws: The Revenge’ stand out is its connection to ‘Jaws’, a cinematic masterpiece not just among shark movies, but among films in general. This sequel adds an extra layer of uniqueness to an already extraordinary movie.
7. Mommie Dearest (1981)
Movies that are poorly made often garner more interest when they’re produced by renowned filmmakers, particularly those who have won Oscars. A prime example is the movie “Mommie Dearest“, where Oscar winner Faye Dunaway portrays another Oscar winner, Joan Crawford, in a role that depicts her as the epitome of a bad mother. She screams at her adopted daughter over the use of wire hangers and makes her cut down a cherished tree with an axe. While the film may have originated from a good intention (though this is debatable, given Crawford’s real-life daughter’s rejection of the movie), its intense emotionality and high level of drama make it a truly memorable spectacle.
6. Cats (2019)
One remarkable transformation occurred when one of Broadway’s longest-running and most successful musicals, Cats, was adapted into a film. Instead of the colorful costumes and performers on stage, the movie version featured its cast, including Taylor Swift, in digital fur. The production gained notoriety with an infamous scene, often referred to as the “Butthole Cut,” where the digitally created cats all had, you guessed it, digital buttholes. Although the songs remained enjoyable, the overall quality of the production, effects, and vibe were dreadful.
Here’s another attempt:
Originally a hit on Broadway for its long run and success, the Cats musical was turned into one of the oddest and most talked-about flops in recent cinema history. In this film adaptation, Taylor Swift and the rest of the cast were given digital fur instead of costumes. The movie gained notoriety when a scene known as the “Butthole Cut” surfaced, where all the digitally created cats were shown with, you guessed it, digital buttholes. While the songs were still catchy, the production quality, special effects, and overall atmosphere left much to be desired.
5. Reefer Madness (1936)
One timeless, campy masterpiece, often referred to as “Reefer Madness” or less notably as “Tell Your Children,” portrays the devastating consequences that can ensue when individuals are lured into the world of marijuana use. The film’s alarmist approach has remarkably transformed into a rite of passage for cannabis enthusiasts across generations. (Here’s to everyone currently grappling with marijuana-induced issues. Keep going!)
4. Battlefield Earth (2000)
Occasionally, a film is released with such intense negative hype that it fails to receive a fair chance from both the audience and critics. The movie “Battlefield Earth” was no exception; all the unfavorable publicity it received prior to its release proved to be completely justified. It was a chaotic blend of terrible makeup, subpar acting, and dialogue that was downright ridiculous. Attempting to read any line from this movie with a straight face is almost impossible! Have a look at the IMDb Quotes page for this film if you don’t believe me. One of the credited screenwriters for “Battlefield Earth” even issued an apology, stating that comparing it to a train wreck was unfair to actual train wrecks because people actually enjoy watching those. Apologies from screenwriters often help propel bad films into further levels of infamy.
3. The Star Wars Holiday Special (1978)
Fans who aren’t deeply invested in “Star Wars” often criticize “The Rise of Skywalker,” but that film seems like a masterpiece next to the infamous “Star Wars Holiday Special.” This notorious CBS TV movie was produced during the gap between the release of the original “Star Wars” and the start of work on “The Empire Strikes Back.” It’s an excruciating 100 minutes filled with cheesy singing, poor humor, peculiar guest stars (Art Carney, Bea Arthur?), a decent animated segment featuring Boba Fett’s debut. Despite its terrible reputation, it might be even worse. Although it has never been officially released on home video, the tales about it have persisted and grown over time to become a significant part of pop culture shorthand. If you describe something as “The Star Wars Holiday Special”-level bad, you’re saying it’s not just terrible—it’s a source of immense embarrassment.
2. The Room (2003)
1. Plan 9 From Outer Space (1959)
Discussing that topic, it’s fascinating how Tim Burton showcases the life of a filmmaker notorious for creating some of the worst films in history – Edward D. Wood Jr., particularly focusing on his infamous creation, “Plan 9 From Outer Space.” This movie has been hailed as the epitome of laughably poor cinema since its inclusion in one of the first books on the subject, “The Golden Turkey Awards” by Harry and Michael Medved.
To put it mildly, this film is a treasure trove of low-budget production values. From shaky sets to questionable acting, stilted dialogue, and an underlying message about nuclear war, it truly encapsulates the essence of bad cinema. If you can’t find enjoyment in “Plan 9,” I’m at a loss for words. There seems to be something amiss with your critical faculties. Alas, they say ignorance is bliss – or in this case, perhaps stupidity!
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2025-01-30 17:58