Top 10 Worst Movies Of 2013 | Casey's Movie Mania | Movie Reviews, Features & Others

Monday, 30 December 2013

Top 10 Worst Movies Of 2013

For every great movie that released every year, there will be always a number of worst movies that comes with it. And here are my “Top 10 Worst Movies of 2013” that I have sadly compiled into the list:


In this third and final movie of the lucrative HANGOVER franchise, director Todd Phillips does the impossible by ditching the concept of the hangover premise itself and replaced with an uninspired comedy that is neither outrageous nor particularly hilarious.


When I first watched all the trailers, I was very convinced that A GOOD DAY TO DIE HARD will deliver its promise. But the movie itself turned out to be a huge disappointment. Director John Moore single-handedly ruined the iconic DIE HARD franchise by shooting the picture with lots of handheld camera! Not surprisingly, the action is chaotically staged to the point of WTF-moment. In fact, it’s a very noisy movie and even the presence of Bruce Willis as John McClane is nothing more than an auto-pilot performance.


A big budget misfire where the filmmakers of the hugely-successful PIRATES OF THE CARIBBEAN franchise thought they can reap magic on whatever materials being tasked for – which in this case, a long-forgotten franchise of THE LONE RANGER. Unfortunately this hugely expensive Western movie is a bloated mess – it is way too long (149 minutes?!), surprisingly lack of action, too many unnecessary subplots and characters while Armie Hammer is terribly miscast as the title character.


This sequel surprisingly made a lot of money at the box office, but the movie itself is one lazily-constructed comedy that’s hardly funny and all the cast here are basically cashing in big paycheck without making much effort.

6. R.I.P.D.

I got three words for this turd: D.O.A. Yes, as in dead on arrival. Despite the inspiring pair-up of Ryan Reynolds and Jeff Bridges, this MEN IN BLACK rip-off is full of crap.


Great real-life figure always make a great biopic, right? In the case of DIANA, it’s not. This poorly-scripted biopic manages the impossible by making her a strict caricature where Naomi Watts’ Princess Diana acts like a giggling schoolgirl who falls in love with Naveen Andrews’ Hasnat Khan. Are we supposed to watch a biopic or a Hollywood-like fairy tale romance?


Before I begin, I must applaud the ambition of director Yusry Abdul Halim and his KRU Studios for trying to break the international market by making a big-budget historical epic with a mix of international cast. In fact, he is bold enough to make a Viking movie usually reserved for Hollywood filmmakers! But VIKINGDOM is an epic failure. You name it – bad script, uninspired direction, cheap-looking special effects and the lead actor, Dominic Purcell, is terribly miscast as the lead Viking hero who looks like he’s been high on drugs 24/7.


This sci-fi second sequel to the cult favorite PITCH BLACK and the underwhelming CHRONICLES OF RIDDICK is a crushing bore. The movie is surprisingly long-winded with too many expositions while the action is poorly executed with too many close-ups. Even the return of the fan-favorite Vin Diesel as Riddick is an empty shell this time around.


The once-reputable director M. Night Shyamalan (THE SIXTH SENSE, UNBREAKABLE) has done it again… but not in a good way, of course. Despite the involvement of Will Smith, his performance is shockingly stiff who looks constipated the whole time. And his real-life son, Jaden Smith doesn’t have enough personality to carry most of the heavy lifting. As a post-apocalyptic adventure, AFTER EARTH is surprisingly minimal in action and suspense. Even the special effects are average-looking for a big budget summer movie.

Once upon a time, Andrew Niccol was an ambitious visionary director when he first debuted in 1997’s GATTACA. But he hits an all-time low for second time in the row after 2011’s IN TIME with the painfully slow-moving sci-fi/teen romance drama, THE HOST. It’s hard to believe a reputable director like him would end up making a movie so ponderous and yet so lifeless. If you ever have insomnia, this movie might be a cure for you.

OTHER (DIS)HONORABLE MENTIONS (in non-particular orders):


The studio should have bring back original director Stephen Sommers (2009’s G.I. JOE: THE RISE OF COBRA) instead of hiring this inexperienced director Jon M. Chu. At least Sommers knows how to execute a popcorn-worthy action movie. In this highly-anticipated sequel, the action is clumsily choreographed with too many tight close-ups and excessive shaky cams while Jon M. Chu is the kind of director who doesn’t understands the simple word called “coherence”.


It has a blockbuster-sized budget, A-list stars (Andy Lau, Zhang Jingchu and Lin Chi-Ling), exotic locations, lavish sets and a James Bond-like premise that almost guarantees SWITCH as a crowd pleaser. But the movie is a complete mess, with first-time feature director Jay Sun has little idea how to execute a decent movie at all.


On paper, MALAVITA sounds like a potential winner: a mob comedy which stars Robert De Niro, Michelle Pfeiffer and Tommy Lee Jones. Plus, it’s also a movie which is executive produced by the great Martin Scorsese and directed by the renowned Euro action specialist Luc Besson. However, MALAVITA does the impossible by being shockingly unfunny and painfully overlong mob comedy… which is seriously a waste of time.


At last! Donnie Yen is back to his familiar modern-day action role in SPECIAL ID since 2005’s SPL and 2007’s FLASH POINT! But what could be a kick-ass action extravaganza turns out to be a huge disappointment after all. Sure, there are plenty of Donnie Yen’s trademark MMA-inspired action sequences but the movie itself is surprisingly amateurish with a combination of ill-fitting drama and misplaced sense of humor. For instance, can you believe that Donnie Yen is trying to be funny as well?


Actor Joseph Gordon-Levitt’s first directing debut in this vulgar comedy about porn addiction is supposed to be something to look forward to. Instead, Gordon-Levitt fails to execute his premise in a sustainable manner. At 90 minutes, the story is basically “rinse-and-repeat” formula that doesn’t really go anywhere. Worst of all, most of the movie here is unfunny while Gordon-Levitt chokes his movie with too many done-to-death stereotypes (e.g. Tony Danza’s and Glenne Headly’s Italian-American family).

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