Film critics often come along with negative judgments, and some consider that so “mean”. If they were right, the list of the year’s worst movies would be the meanest thing we can do. However, we sometimes need to review our work to make sure that the evolution is still in progress. So. we’d love to think that this special occasion for insult and invective isn’t really about us. It refers to movies that were, indeed, so bad that they nearly almost challenged us to describe all the ways they went so wrong.
In fact, even good movies get bad ratings from critics. So, it's ultimately about the personal idea that not everyone will agree with. If you think we are truly mean, then so be it. Today, we simply defend our opinion on the list of worst films of 2022. And below is the opinion of Owen Gleiberman who’s an American film critic who has been a chief film critic for Variety magazine since May 2016. Let’s scroll down and check them out!
#1 Minions: The Rise of Gru
Source: Universal
As an animated sequel serves no more surprise than a cash cow that’s being milked dry, it can be a weirdly lifeless affair. That's probably why the 5th entry in the “Despicable Me” movie looks like the 105th. Come to watch it, you may understand this much: Minions gonna Minion. Still, for the one-time “Million” fan, they’ve put on their gobbledygook welcome - and so há Gru, displayed here as an 11-year-old who desires to become a supervillain… but this is the problem. He’s already determined what he’s going to be, robbing the story of its “rise” factor and making Gru seem as if he usually knew it was his destiny to be a McDonald’s action figure.
#2 Amsterdam
Source: Merie Weismiller Wallace; SMPSP
A terrible film can be boring. Or it can be paralyzingly, head-scratchingly WTF illogical. Or it can be whimsically annoying and in love with that very aspect of itself. David O. Russell’s weird fiasco manages the dubious difference of being all three at once. Christian Bale and John David Washington firstly natter at each other about an impending autopsy for reasons that massively elude the viewers, the movie didn’t likely make up its mind about what it’s about. Set in 1930s America that looks like it’s under glass, “Amsterdam” reveals Bale, Washington, and Marget Robbie to be part of the least sizzling of love triangles. But the real plot is about a tried fascist takeover, which really occurred. By the time the movie gets there, you wish that Russell could just start over with that reality and ditch the twee misfire he made up.
#3 Firestarter
Source: Ken Woroner/Univer
Why remake one of the most terrible Stephen King films of the ‘80s? To prove that you could make an even worse version of it. That’s named the horror of IP. The 1984 Drew Barrymore film played off one of King’s metaphors for unstoppable rage, but the new version is overstocked with conspiratorial story turns that are every cut-and-dried kindling. The sets burst into oversize blazes, but the film never catches fire.
#4 Bones and All
Source: ©MGM/Courtesy Everett Collection
Timothee Chalamet and Taylor Russell starred in this YA-road-movie-meet-fashion-show as flesh-eaters who are not zombies (remarkably, they’re nice, sexy, and dull), came out ò the Venice Film Festival like a house ò “Twilight” hype on fire. It landed with a thud because viewers figured out that for 2 hours and 10 minutes nearly nothing happens. We have more than enough time to gawk at the oversize holes in Chalamet’s jeans, which disclose a set of bones as bare as the script.
#5 Three Thousand Years of Longing
Source: Everett Collection
George Miller is a visionary director when he’s producing “Mad Max” movies. The rest of the time, not so much. His grandly hollow adaptation of an A.S. Byatt short story is a multi-tiered fable that time-trips via history while decreasing it to a kind of overstuffed bric-à-brac store. Tilda Swinton portrayed a repressed “narratologist” (i.e., the story is going to deconstruct itself!), and Idris Elba is the jolly djinn who grants her 3 wishes. You can wish this labor of love were less of a labor to sit through, and that the romantic climax didn’t appear to drop in from a distant film completely.