0 5mm movie review

Film Review: ‘0.5 mm’

Momoko Ando's absorbing elderly-care drama is a work of both cool precision and endearing eccentricity.

By Maggie Lee

Chief Asia Film Critic

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A freeloading nurse becomes catnip for lonely old men in “0.5 mm,” a delightful sophomore feature from indie helmer Momoko Ando (“Kakera: A Piece of Her Life”) that exposes Japanese apathy toward its aging population with cool precision, while also capturing the experience of growing old with endearing eccentricity. With a whopping 196-minute running time, it’s no small feat that the pic stays absorbing, propelled by a show-stopping leading performance by the helmer’s sister Sakura Ando (“Love Exposure,” “100 Yen Love”). Still, the narrative would have remained intact even if it had shed the 30-minute epilogue, a measure that might open doors beyond indie festivals.

Adapted from the helmer’s novel of the same title, “0.5 mm” mirrors the book’s chapter-like form and is unusually lopsided in structure by most film standards. Starting with three light episodes before delving into one that takes up more than an hour, the film subtly shifts into a serious historical-political tenor, revealing the insidious damage that wartime errors and trauma have caused Japan’s collective psyche. However, even as the final episode revisits characters we met earlier, it actually takes the film in a new and distractingly open-ended direction, away from its theme of the aged — thus dissipating the rousing momentum which the narrative has so assiduously built up to this point.

Sawa Yamagishi (Sakura Ando) is a nurse outsourced to care for geriatric patients in private homes in Kochi, a prefecture in the outlying Shikoku Islands. At first, the yarn threatens to become another spacey Nipponese indie film scattered with quirky contrivances, starting with Sawa looking after bed-bound patient Kataoka (Junkichi Orimoto) and scooping up his urine with a glass bearing a smiley face; it gets weirder when Kataoka’s daughter Yukiko (Midori Kiuchi) offers Sawa a large sum to sleep with him for one night. Despite Yukiko’s reassurances that her father is on his last legs, the toothless lecher still has his mojo, apparently.

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The transaction ends badly, in a gothic way, and Sawa finds herself jobless and penniless. Things take an amusing turn when she tags along with elderly retiree Yasuo (Tatsuo Inoue) to a karaoke lounge; even with suitcase and IV drip in tow, Yasuo is a perfect gentleman, and his farewell gesture to Sawa touchingly demonstrates what a little companionship means to lonely seniors. So the wily hustler embarks on a freewheeling road trip, stalking elderly men who have committed minor indiscretions, like puncturing bicycle tires for fun or shoplifting soft-porn books.

Unexpectedly, she becomes like an angel to them as she takes charge of their lives, warding off criminals far more rapacious than herself and helping the men regain their joie de vivre. Diverting scenes of the long-neglected men perking up at the meals she expertly prepares reveal the soul-nourishing care she provides. For their part, her charges respond with off-kilter body language that draws attention to their deteriorating bodily functions, in stark contrast with their still-frisky carnal desires. It’s a sometimes disturbing but candidly humane view of men who are not willing to go gentle into that good night.

Sakura Ando is wickedly deadpan as the carer who remains unflustered by her patients’ most unseemly behavior, and she’s irresistible when she coerces or coaxes them out of antisocial behavior in a polite, impersonal voice, seeming to see through all their pretenses. The actress’s consummate control is made apparent when she releases all her clenched emotions while silently listening to a cassette recording, in a pivotal scene that expresses the film’s underlying theme of social activism through individual effort.

The film is also a rare showpiece for some of Japan’s most distinguished veteran actors and entertainment personalities. Comedian Toshio Sakata brings a mischievous spark to his role as a cranky auto mechanic and boasts great chemistry with actress Ando, while evoking genuine pathos in a scene when he reverts to childlike helplessness under pressure. Masahiko Tsugawa delivers a tour de force performance as Makabe, a professor slowly crushed by the fact that his wife (Mitsuko Kusabue) has dementia — a heartrending struggle to overcome his distaste for the one he once adored.

Tech credits are competent, selectively using Kochi’s offshore geography and semi-rural community to provide a sluggish, isolated backdrop for the elderly characters’ comfortable but lonely existence. While the interiors may look mundane, production designer Koichi Takeuchi has in fact meticulously devised sets that reflect the characters’ social classes, as well as their habits and mental states. D.p. Takahiro Haibara’s long takes and precise framing capture subtle movements in stasis; his lensing of Makabe’s roomy mansion is particularly artful, revealing hidden spaces through unusual angles just as one slowly discovers complex layers beneath the scholar’s patrician image.

Reviewed at Nippon Connection (Vision), Frankfurt, June 6, 2015. (Also in Shanghai Film Festival; Japan Cuts.) Running time: 196 MIN. (Original title: "0.5 meri")

• Production: (Japan) An Aya Pro (in Japan) release of a Zero Pictures, Real Products presentation of a Zero Pictures, Real Products, Humanite production, in association with Gentosha. (International sales: Zero Pictures, Tokyo.) Produced by Yoshiya Nagasawa. Executive producer, Eiji Okuda.
• Crew: Directed, written by Momoko Ando, based on his novel. Camera (color, widescreen, HD), Takahiro Haibara; editor, Junichi Masuda; music, TaQ; music supervisor, TaQ, Shu Kubota; production designer, Koichi Takeuchi; set decorator, Toshiharu Aida; costume designer, Masae Miyamoto; sound, Shinji Watanabe, Masaya Kitada; food stylist, Kazu Ando; action director, Kazuyoshi Yamada, Mei Takano; associate producer, Suzuko Hatanaka; assistant director, Takashi Yamaguchi.
• With: Sakura Ando, Masahiko Tsugawa, Mitsuko Kusabue, Toshio Sakata, Nozomi Tsuchiya, Junkichi Orimoto, Midori Kiuchi, Akira Emoto, Tatsuo Inoue, Masahiro Higashide, Kazue Tsunogae. (Japanese dialogue)

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Japan Cuts 2014 Review: 0.5MM, A Darkly Comedic Probe Of Japan's Historical And Social Psyche

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Directed by Momoko Ando

Sawa, a home helper for a middle class family with an elderly infirm grandfather, is forced to stretch her morals to keep her job. As a result, she finds herself broke and out on the street. She survives her first night by striking up an ambiguous friendship with a kindly old man, gaining access to a portion of the immense wealth held by Japan's aging population. She continues with similar encounters, and while these begin as scams or revenge on rampant sexism, they ultimately become vulnerable intergenerational exchanges.

Sakura Ando Junkichi Orimoto Toshio Sakata Masahiko Tsugawa Akira Emoto Mitsuko Kusabue Nozomi Tsuchiya Midori Kiuchi Kazue Tsunogae Miyoko Asada Bengal Masahiro Higashide

Director Director

Momoko Ando

Producers Producers

Yoshiya Nagasawa Suzuko Hatanaka

Writer Writer

Original writer original writer, assistant director asst. director.

Yuji Yamaguchi

Executive Producer Exec. Producer

Art direction art direction.

Kôichi Takeuchi

Zero Pictures

Alternative Titles

0.5 miri, 0.5mm, 0.5毫米, 0.5미리

Releases by Date

17 jul 2014, 08 nov 2014, releases by country.

• Premiere Japan Cuts

198 mins   More at IMDb TMDb Report this page

Popular reviews

Review by dinosauroidable ★★★★★ 10

This wiped me out. Unsparing, so the elderly aren't magical lessons, but whole & broken, deteriorating people, for whom aging is agency & desire dwindled to the immaterial & unrealized, and these needs are ever-immediate, not receding, not unstuck & out of time. And it's so outrageously funny--Sawa bundles old men into her mercenary care arrangements with flurries of confusion & threats & blackmail. But she's a vital reciprocating presence in lives that have gone without, and out of her strong arm initiations comes this rough & weird framework of compassion that feels as lofty as tenuous, i.e., so real. When this ended I felt uplifted, devastated, assured, uncertain. Sakura Ando's performance is as ensnaring as her character & excellent. This only has 100 or so views? Why is this?

Review by reibureibu ★★★★ 6

It's rewarding to help other people, and it's a labor of love too. Those who've worked long in customer service jobs know that feeling, but even more so for the ones who cook, clean, and care for others.

0.5 mm centers around one such person, a caretaker who looks after the elderly. Sawa Yamagishi does this by trade, but an unfortunate incident leaves her with neither a job nor home. To survive she ends up finding old men and integrating herself (and her caretaking services) into their lives until both parties find a meaning that wasn't immediately there at the start.

This leaves both of them feeling fulfilled as the elderly find closure in their lives, though the natural outcome…

Review by DNA cinephile🏳️‍🌈 ★★★★½ 4

0.5 mm. 2014. Directed by Momoko Ando.

Female Written and Directed.

Momoko Ando’s original story and screenplay about Japanese gerontological nursing, WWII PTSD, how to care for an aging population and persons with intersex conditions was a sprawling masterpiece. Often, I hesitate to use the word masterpiece but in this case we believe it is true. 0.5 mm (2014) left us laughing out loud and cheering for Sakura Ando’s (The directors real life sister) character Sawa Yamagishi. One night after caring for her elderly patient, Sawa is asked to return and sleep with the patient who is 60 to 70 years older than her. At any rate, this situation blows up and and Sawa finds herself on the street. She…

Review by DamRibeiro ★★★★★ 4

Momoko nós apresenta um quadro em branco enquanto Sakura Ando preenche ele com os sentimentos mais puros é profundos que já senti, definitivamente a experiência mais avassaladora é inesquecível que presencie durante minha vida muito difícil colocar em palavras tantos sentimentos colidindo ao mesmo tempo, nas 3 horas de duração do filme Sakura Ando mostra a verdadeira extensão da sua atuação adentrando nas mais complexas camadas existenciais humanas, seu jeito sereno nós encanta é envolve em um mundo que está sendo remendado aos poucos, essa história se inicia de uma maneira bem tragicômica Sawa uma cuidadora de idosos acaba se envolvendo em um grande acidente durante seu trabalho é acaba perdendo não só ele como sua casa, vagando sozinha ela…

Review by ella ★★★★½ 2

“ Obscure roads gives us clarity. Punishing roads exposes life for what it is. Nothing in life is wasted.”

According to 0.5 Miri, elderly people are all the same. They whether live the rest of their lives trying to make it easier to someone else or they hide their innermost feelings searching for a substitute for their loneliness, trying to fill the unbearable void that aging brought. The feeling that waking up every morning knowning that this cruel and apathetic world has nothing new to offer brings... Until Sakura Ando's sympathetic on-screen persona, Sawa, invade their lives.

From senile patients to old war veterans, 0.5 Miri explores the concept of common good, and connections and disconnections as Sawa (Sakura Ando), wanders…

Review by Graham ★★★★½ 4

Immediately searches for anything in which Sakura Ando appears... wow, what a performance.

The loneliness of old age is a scary prospect, but combined with the almost unrelenting thirst for human company, it can leave even the most confident characters vulnerable to the wolves of society. They wait and prey on the unsuspecting, trusting nature of the elderly to fill their pockets with their victim's hard-earned treasures.

Sawa's journey from home help to vulture is complicated though, and it's clear that despite her ability to use a situation to extract the goodies from her victims, she gives plenty of herself in return. Listening, supporting, helping, but mostly just providing an ear to talk to and share life's journey.

Review by PlaguDocta ★★★★★ 2

The finest 3-hour drive on what it means to be a drifting caretaker. Moving by 0.5mm . A sudden caretaker. Intergenerational. Nothing in life is ever wasted. A surviving Isuzu 117 Coupé , it's a fragment of the past. You feel hopeless right now, but now it's time to be cared for. Possibly the greatest mix of indie film elements and arthouse tendencies, a road where it spirals off into different emotions; strongly human to the point where everything is just so compelling, and it just makes one speechless; it's just so glorious. People in this world die and come alive each day, because that's how the cycle of life works. The world showcased is small yet expansive, people are near the sea as maybe that's their way of contemplating on where to lead yourself. Old people have been through so much different events in their lives, but that doesn't matter when someone cares for them.

Review by Rafid. ★★★★★ 6

0.5 mm is like a scorn of sullied women's anecdote, whose itinerant experiences in life are increasingly debasing and often conclude with her death, somewhat like Mizoguchi's the Life of Oharu. it's warm, complex, enigmatic, surprisingly funny and thought provoking that is also often very beautiful and immensely enjoyable.

Society is full of lonely, elderly people who either have no close family or have become estranged from them. Sawa's very atypical woman. Great at work, a doting person in more ways than one. Yet, her various encounters with the older generation speak of a number of different social problems that cannot be repaired by one person alone. There's some kind of epiphany brought about by her presence.

At 196 minutes,…

Review by Lencho of the Apes ★★★★ 2

Guerrilla caregiving, good-locust style. Ambiguous solutions to inescapable problems, driven by desperate gutter humanism.Subtle and nuanced to a degree we almost never see -- not anymore not never.

(Paraphrasing Ulmer) "A love that almost looks like hatred, because it's so real."

Review by 𖨆 ★★★★

must say that 0.5 mm is especially good because it tackles the elderly in a way that contrasts with other depictions in mainstream media. they aren't cuddly old men; they aren't a metronome of time's passage for the young, and it's not that their lives don't matter anymore because their time is ending so they have to exist for others. they're flawed, desperate and very lonely. they have regrets, they resent society and find little meaning in their lives. sawa is one of my favorite roles by sakura andō because her character produces so much chaos in this film while remaining a character whose goodness you trust completely.

Review by Sin ✊🏿 ★★★ 2

I honestly don’t know what to make of this…

It’s weird, funny (at times), endearing, a bit depressing, and disturbing when you consider what’s going on.

To a certain extent, I guess I can see why this movie’s widely lauded. I appreciate it, I find it mainly interesting, and I feel that there are some good parts/elements. However, I also found it hella overlong and meandering in ways that just didn’t work for me.

And let me repeat: This movie is weird!

I assume your mileage may vary on how much you enjoy this based in large part on how sold you are on the premise. For me, what the protagonist (Sawa) is doing just doesn’t make sense. Thus, I…

Review by AshCrow ★★★★½

The Roaming Caregiver

• Japanuary 2022 #4 🇯🇵

Nach dem doch sehr anstrengenden Eros + Massacre war 0,5 mm der erhoffte Silberstreif am Horizont. Nicht unbedingt kürzer, jedoch um einiges einnehmender war die Erfahrung die ich mit Momoko Andos Film hatte. Hauptverantwortlich dafür war die herausragende Performance von ihrer Schwester, Sakura Ando, die in der Rolle von Sawa , die als Pflegekraft arbeitet, so natürlich und charmant wirkt das es eine wahre Freude war sie über die 3 Stunden hinaus zu begleiten.

0,5 mm widmet sich dem oft übersehen Beruf der Tagespflegekraft auf beeindruckend feinfühlige und sensibel Weise. Zunächst in einem normalen Arbeitsverhältnis für eine Familie aus der japanischen Mittelklasse beschäftigt, verliert Sawa durch ein unglückliches Ereignis ihren Job und landet…

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10 out of 10: 0.5MM

•   July 20, 2016
•   Kevin Rakestraw
•   Features , 10 out of 10

Film Pulse Score

DIRECTED by MOMOKO ANDÔ                              2014  –  196 min.

A miscellany of genres presented with a potpourri of visual stylings, Momoko Andô ’s 0.5mm emulsifies screwball comedy and affecting drama into one epic emotional traversing across generational divides. Entrance into the lives of these pensioners is reluctantly granted through stereotypes and book-cover judgments then coaxed via blackmail into living arraignments that, in turn, give way to complex character portraits of lonely men in the diminuendo of life, cast aside from society and left to wilt away in their homes.

The visual presentation of these eclectic moments range from static frames, artfully-composed, to point-of-view surveillance and even sentient, free-form inquisitions of the camera; all carefully controlled and executed by cinematographer Takahiro Haibara , ensuring that the visuals never develop into a monotonous slideshow of person-to-person interactions, varying the actions with a mix of handheld and stationary, using the former to break free from the latter while injecting a youthful vitality to the otherwise contemplative stasis stretches.

The exploits of our house-guest extortionist are broken up into episodes of differing lengths which works wonders on the film’s three-hour-plus runtime; segmenting her experiences into easily digestible capsules, while providing a through-line between and across all five sections, the weight of the film’s length is almost imperceptible. Considering the depth exhibited within the characters and the thorough explorations of the film’s themes, 196 minutes appears to be the exact amount of minutes needed in order to properly examine the differences between generations while mining for empathy.

One of the film’s more important through-lines happens to be Sakura Andô (who is also the director’s sister) as Sawa, the home-care specialist left without a job or a place to live after a moonlighting gig ends with a suicide and a burnt-down house. It is a performance of immense range, equal parts take-no-shit attitude and genuine warmth and kindness; a balance of physical comedy and subtle movement, Andô ’s Sawa is the driving force behind a majority of the film’s humor and poignancy, a catalyst through coercion and compassion.

Sure, her motivations and intentions are somewhat dubious in the sense that they are rooted in self-preservation, accomplishing just that through the dangling of an elderly man’s reputation over a fire of indictment and embarrassment. Yet, those circumstances act as the gateway into the intimate proceedings of their home lives allowing for an acquiescence of assessment as Sawa’s unrelenting domestic efforts soften the shells of these men letting free their once-private emotional states.

Perhaps that is the benefit of a 3+ hour runtime; it affords Andô sufficient space in order for her an/protagonist to grow and develop, same for the supporting cast, with ample opportunities to add layers to the personalities constructing complex characters; ones with rich personal histories that aid in the empathetic framings. It is remarkable how Andô is able to introduce and establish some of these men as vindictive because of their bitterness or creepy with their perversions and yet, over time, slowly dilute those initial impressions as two people connect over a generational gulf.

Andô is not, however, overly idealistic to the point of naivete. She realizes that lost causes populate the world. Some men, no matter how well-treated and cared for will remain closed off in a sense, operating from a point of entitlement. These men may not be softened by Sawa’s home-care superpowers and with that comes the realization that perhaps it is time to treat the effects, not the root cause as some temperaments are so ingrained that they remain untreatable.

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In Asian Cinema , Festival , Film Festival , Review , Streaming , This Week by Dov Kornits November 24, 2020 Leave a Comment

Sakura Ando, Akira Emoto, Masahiko Tsugawa

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…a beautiful film that says a lot about Japanese society…

Momoko Ando’s 0.5mm is a meditation on the generation gap as it pertains to Japanese culture – the divide between the young and those old enough to remember when their country was at war. It is an epic yarn told primarily through the perspective of caregiver Sawa (played by Momoko’s IRL sister Sakura), with each act following her employ under a different older gentleman, looking after them, learning about their lives, and occasionally doing bizarre things for them.

Starting with a sequence that echoes Yasunari Kawabata’s House Of The Sleeping Beauties , as Sawa is asked to sleep with her ward (in the most literal sense; no sex, just in the same bed) because he misses his mother’s breasts; what follows involves episodes with a literal bicycle thief, a lecherous war survivor, and a jaded man who wants to burn his family’s inheritance; all done to highlight how disconnected these men are from everyone else, as dependent as children, but without the innocence or hope for what comes next. Sawa performs as surrogate mother/wife for people so lonely that they’ll willingly go along with scam artists just for someone to talk to. It’d be hilarious if it wasn’t so tragic.

And Momoko wants the audience to witness every second of that tragedy. She treats time much like David Lowery’s A Ghost Story , where the prolonged lingering on every moment is meant to draw the audience’s attention to the passage of time, both on our side of the screen and as warped by the standard conventions of film editing. The audience, awash in classical music and domestic horror, is forced to take note of just how much time these men have already lived through, how much has changed for them and, more depressingly, how much hasn’t .

It’s a beautiful film that says a lot about Japanese society, how it treats the elderly, and the internal effect of its involvement in world wars… but such an experience bears a heavy cost. It has all manner of thematic rationales for its pace and methodology, from its title referring to the speed at which we go through life, to the line “Punishing roads expose life for what it is. Nothing in life is wasted.”

But none of that changes just how glacial this film’s progression is. The ability to recommend this is entirely dependent on one’s capacity for slow cinema. If you’re able to appreciate Ozu-esque storytelling, you might be able to absorb all the harrowing details at full emotional power. But if the idea of a film breaking three hours sounds more like a trial than entertainment, then a trial is what awaits you.

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0.5mm (2014)

0.5 Miri / 0.5ミリ

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Sawa, a home helper for a middle class family with an elderly infirm grandfather, is forced to stretch her morals to keep her job. As a result, she finds herself broke and out on the street. She survives her first night by striking up an ambiguous friendship with a kindly old man, gaining access to a portion of the immense wealth held by Japan's aging population. She continues with similar encounters, and while these begin as scams or revenge on rampant sexism, they ultimately become vulnerable intergenerational exchanges.

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Synopsis - Sawa works as a caretaker. One day she gets involved into unexpected events which have her lose her job and money. Not having a house to live and money to spend, she begins to hunt for her “clients” in the street, suggesting to take care of them as a sleep-in caretaker. She targets old men who seem having problems in their lives. At first they get confused by Sawa’s aggressive attitude and lots of energy, but gradually let her into their lives, and their “almost dead” lives start to shine again…

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Sawa, a home helper for a middle class family with an elderly infirm grandfather, is forced to stretch her morals to keep her job. As a result, she finds herself broke and out on the street.

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32 Movies With A 0% Score On Rotten Tomatoes

C ritics. You can't live with them, and we will survive and share our thoughts even if the masses band together in an attempt to crush us. Jokes aside, critics get a bad rep, but in reality when it comes to movies that absolutely bombed in the eyes of critics, very few movies in cinematic history have hit that mark. Forty-three movies in the Rotten Tomatoes database have gotten a solid 0% rating since the 1980s, and we've gotten thirty-two of the worst. 

These movies have the rarefied air of being the worst of the worst, and most of them readers will remember or recognize. Let's dive in, and remember some of the worst movies and why critics rightfully tore them to shreds in reviews. 

Staying Alive (1983)

It took six years for the sequel to Saturday Night Fever to finally get John Travolta on board, and while Staying Alive was a commercial success, the movie was universally panned. The movie's biggest problem was taking away all the realism and grittiness of living in Brooklyn during the disco era and made it all about dancing. Critics were not impressed, to say the least. 

Simon Sez (1999)

It's well known that Dennis Rodman changed his image after seeing Demolition Man , so I think it's a bit funny he plays a character in Simon Sez with the same first name as Wesley Snipes' character. I also find it funny this movie features Dane Cook before his real big break, as well as another notable comedian, John Pinette. All the potential for laughs, and it's an action movie that failed to resonate with anyone upon release. 

The Ridiculous 6 (2015)

Critics have never been too kind to a majority of Adam Sandler's comedy work, but The Ridiculous 6 remains his worst-reviewed movie. The movie was dropped by Warner Bros. only to be picked up on Sandler's big deal with Netflix. 

Highlander 2: The Quickening (1991)

Highlander is such an iconic movie, it's a shame that Highlander 2: The Quickening is one of the worst sequels ever . If there's any consolation, the failure has little to do with the cast and crew but was rather the result of the economy collapsing in Argentina, where the movie was shot. Even if you're a big fan of the original movie, I'd suggest going directly to the TV series and skipping the second movie entirely. 

The Nutcracker In 3D (2010)

The bar is often low for movies deliberately made to release on the holidays, and if The Nutcracker In 3D was just a carbon copy of the iconic ballet show it would've been fine. Unfortunately, this star-studded affair was panned for lacking ballet, adding lyrics to the iconic songs, and drenching the movie in heavy World War II symbolism that was borderline too frightening for children. It was, surprisingly, a movie that made a bad decision on every level. 

Left Behind (2014)

Nicolas Cage has some unique choices for the best movies he ever made , but thankfully Left Behind is not one of them. The second attempt to bring the popular Christian apocalyptic books to theaters resulted in a movie that received as many negative reviews from critics as religious organizations. Its biggest sin, according to many, was being terrible. 

Look Who’s Talking Now? (1993)

They say the third time's a charm, but that was certainly not the case with Look Who's Talking Now? . It's not exactly uncommon for an audience to realize the premise for a movie is thin when the sequel comes out, but I would say it is uncommon to see producers then push for a third movie knowing that's the case. Not even John Travolta and the late Kirstie Alley could save this one from flopping. 

Killing Me Softly (2002)

Reading the description for Killing Me Softly makes it sound like a solid thriller, but the plot itself is not the issue. The issue in this Heather Graham and Joseph Fiennes movie is the choppy dialogue and over the top plot twists that just make an interesting premise turn pretty ridiculous fairly quickly. 

Pinocchio (2002)

What happens when you try to shop a Pinocchio adaptation in which a 50-year-old Italian actor plays the lead character and then the American dub enlists Breckin Meyer to make him sound like a younger boy? Well, the movie is a disaster panned by critics for a weird movie made even weirder by being poorly dubbed. 

Jaws: The Revenge (1987)

Jaws: The Revenge was born partly out of a want to promote Universal Studios' now-retired Jaws ride , which is never a solid basis for justifying a movie. That, in addition to a rushed production schedule, is also noted to compromise the quality of the movie. The one positive is that it led to the now-famous movie tagline, "This time, it's personal," which makes it all worth it. 

A Thousand Words (2012)

As CinemaBlend's review of A Thousand Words points out, this movie's failure is more because of a terrible plot centered around a solid premise and cast. A magic tree that will kill a man if he speaks too much sounds simple enough, but then it spirals out of control, and the rules of the movie are never clear. Eddie Murphy does his best to save it, but it's not enough. 

Police Academy 4: Citizens On Patrol (1987)

Police Academy 4: Citizens On Patrol is the result of a franchise that some would say exhausted its potential in the first movie. By the time they reached the fourth installment, the result was a movie desperately trying to be funny, but just wasn't unless you're of a vastly younger audience than what it was possibly made for. 

Gotti (2018)

Gotti might be the first movie in Hollywood history to call critics "trolls" to combat the negative reception to the film. What John Travolta would believe to be an awards contender ended up being called a dud of a movie accused of glorifying a crime boss and painting him in a favorable light. 

The Disappointments Room (2016)

Making a horror movie based on an HGTV home-buying episode is probably not the way to make a quality movie, but that's not the worst offending part of the movie. Calling the movie The Disappointments Room really teed it up for critics in their reviews, which were scathing. 

National Lampoon's Gold Diggers (2003)

The 2000s were far removed from the prime era of National Lampoon movies, and Gold Diggers is evidence of that. Two young men set out to try and get rich quickly via small crimes and end up marrying two old women they intended to mug. Critics indicated the movie was painfully unfunny, and crass to the point it made other less acclaimed shows and movies look better in comparison. 

Redline (2007)

Redline is a bad movie, but that's because the premise for making it was questionable. Per Autoblog , millionaire Daniel Sadek funded the movie and featured his own auto collection for the movie. Sadek even had greenlit, allowing his expensive Porsche Carrera GTs to be totaled, which may not have been worth it in hindsight, given the audience's reception. 

Stolen (2009)

Josh Lucas and Jon Hamm are, unfortunately, put to waste in Stolen , a drama about a cop looking to solve his son's murder and ends up getting involved in the murder of another child that took place decades prior. It sounds interesting, but critics said the movie is weighed down by tired tropes of genres and lacks the amount of thrills one might expect from a story. 

Bolero (1984)

Bolero is a movie whose premise might cause a reader to shudder in the modern day. A young woman looking to find an ideal first lover to take her virginity after her sexual awakening is the plot. Critics likened it to a mainstream version of an adult movie, with the dialogue being just as painful as one might think. 

Hard Kill (2020)

Hard Kill is a bad action movie from an actor with a supremely solid body of work in the genre, Bruce Willis. The movie was panned for being bad, but also because many were confused as to why Willis signed onto it. Of course, the movie may get a pass in the modern day, with the knowledge the actor worked on this and others in light of his aphasia diagnosis . 

Problem Child (1990)

I think what readers most need to know about Problem Child is that it was originally pitched as a horror movie similar to The Omen , and then turned into a comedy. Critics really laid into this movie with a solid cast, and it was so poorly received the television version removed references to adoption that seemed too harsh. Strangely enough, it still spawned two sequels, despite panning from critics. 

John Henry (2020)

The Terry Crews-led John Henry follows a reformed man who takes justice to gang members with a sledgehammer, with the imagery clearly meant to draw to the American folk hero of the same name. Unfortunately, the movie itself borders between cartoonish and incredibly serious, without ever really picking a lane the entire time. 

Return To The Blue Lagoon (1991)

The Blue Lagoon didn't necessarily get glowing reviews, but it was well-received enough as a movie some might view as a guilty pleasure. Whatever audiences saw in that movie was not present in the sequel, as the movie was torn to shreds by critics. 

Beneath The Darkness (2011)

It seems the biggest sin any horror movie can commit is taking itself too seriously, and that seems to be the issue with Beneath The Darkness . Sometimes a horror movie can be so scary and ridiculous that it teeters into something comical, and despite a big performance from Dennis Quaid, this movie about a man dancing with his dead wife who he murdered is just that. 

Wagons East (1994)

Wagons East might be known as a poor attempt to make a western comedy in 1995, had it not been made infamous by a much darker headline. Comedy actor John Candy died on the set in the final days of filming, forcing the movie to finish with re-writes and CGI. The movie was panned upon release, with some expressing displeasure that it was the final movie of Candy's career. 

London Fields (2018)

Amber Heard plays a clairvoyant who knows one man will end her life, so naturally, she begins an affair with three to try and figure out which it will be. Critics noted the movie was exceptionally hard to follow, even when reading the book it was adapted from. If that's not a sign this movie is a dud, I'm not sure what is. 

Ballistic: Ecks vs. Sever (2002) 

Believe it or not, there is a worst of the worst even when it comes to 0% ratings on Rotten Tomatoes. Ballistic: Ecks vs. Sever holds the title for the worst-reviewed movie in the history of the site, with over 119 reviews panning this movie. There's no shortage of bad things to say about this action thriller, though it's humorously pointed out that Ecks and Sever actually work together to fight a common enemy in the movie and are not opposed to each other as well. Perhaps that tells you all you need to know. 

Precious Cargo (2016)

Precious Cargo is another Bruce Willis-led action film from his latter years that, I would imagine many now view in a different light given is aphasia diagnosis. The movie was ripped apart by critics for its "direct to video" type of vibe, and for just overall being an action film that's fairly light on thrills. 

Cabin Fever (2016)

Horror movies seem to get dumped on by critics more than other genres, but it's warranted in the case of Cabin Fever . This movie contains a scene in which a child yells "pancakes," proceeds to do a well-choreographed karate segment, and then bites a lead character on the hand. It's not done for laughs, and it doesn't really make sense even in the context of seeing the movie. To this day, I wonder if the whole movie was a joke setup for that scene. 

Derailed (2002)

Jean-Claude Van Damme had a magnificent run of mainstream success as an action star in Hollywood, but by the year 2002, it felt as though he had overstayed his welcome. Enter the movie Derailed , which is broadly considered one of the worst of the actor's career. Fortunately, he was able to bounce back years later with JCVD , which had high marks all around. 

Homecoming (2009)

There's definitely a type of movie that ends up on this list merely because critics seem worn out by the premise. Such is the case with Homecoming , an obsession-thriller type movie that seems to have a big problem of not being original to previous entries in any way. 

Superbabies: Baby Geniuses 2 (2004)

You know Superbabies: Baby Geniuses 2 has to be bad when critics are calling out the acting in a movie that primarily stars babies. The sequel didn't have a high bar to surpass the first movie, and it didn't clear it. There are some movies that are so bad they're good, but this is not it. 

Max Steel (2016)

Before there was Barbie , Mattel tried to make a franchise with a male action figure, Max Steel . Unfortunately, the character wasn't nearly as popular as the doll played by Margot Robbie and others, and neither was the movie. The movie was labeled as "bland" and certainly not something that would drive kids to run to toy stores. 

Check out these movies at your own risk, though I'd imagine those who made it this far and are still interested will not heed my warning. 

• Cast & crew

The Good Half

Renn Wheeland returns home to Cleveland for his mother's funeral. Once there, he forges new relationships while healing old ones, before confronting his problems and trying to face his grief... Read all Renn Wheeland returns home to Cleveland for his mother's funeral. Once there, he forges new relationships while healing old ones, before confronting his problems and trying to face his grief. Renn Wheeland returns home to Cleveland for his mother's funeral. Once there, he forges new relationships while healing old ones, before confronting his problems and trying to face his grief.

• Robert Schwartzman
• Brett Ryland
• David Arquette
• Dee Beasnael
• Ryan Bergara
• 5 Critic reviews

• Rick Barona

• Funeral Guy Bill

• Renn Wheeland
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• Lily Wheeland

• Leigh Wheeland

• Darren Wheeland

• Dinner Guest
• (uncredited)
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Liam Neeson stars in Retribution, an immersive ticking clock thriller that straps audiences in for a high-octane ride of redemption and revenge. When a mysterious caller puts a bomb under his car seat, Matt Turner (Neeson) begins a high-speed chase across the city to complete a specific series of tasks. With his kids trapped in the back seat and a bomb that will explode if they get out of the car, a normal commute becomes a twisted game of life or death as Matt follows the stranger’s increasingly dangerous instructions in a race against time to save his family.

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• MPAA rating ‏ : ‎ R (Restricted)
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• Run time ‏ : ‎ 1 hour and 31 minutes
• Release date ‏ : ‎ October 31, 2023
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