In the world of cinema, some films achieve the rare feat of being massively criticized by viewers, leaving a lasting negative mark. We present here a ranking of the 10 most poorly received films according to Allociné ratings, where each work shows exceptionally low audience scores. These films, some of which benefited from substantial budgets, suffer from negative reviews for various reasons ranging from a shaky script to unconvincing special effects, as well as often criticized performances. The analysis is based on several essential criteria:
- Ratings given by viewers on Allociné
- Main causes of artistic and commercial failures
- Numerical examples to illustrate their reception
- Impacts on the box office and the career of the films
- Lessons that can be drawn in 2026 from the gap between ambition and execution
Let us continue our exploration of these cinematic disappointments to better understand what causes such disengagement in critical and audience evaluation.
- 1 Dragonball Evolution : A failed adaptation in the world of cinema
- 2 Cosmic Sin and disappointing post-pandemic productions
- 3 Bad Buzz: modern ambitions and execution errors
- 4 Son of the Mask: when the sequel disappoints fans of the first film
- 5 Vercingétorix: the legend of the druid king, a historical epic sacrificed
Dragonball Evolution : A failed adaptation in the world of cinema
Dragonball Evolution holds the first place in the ranking of the most poorly received films with a viewer rating of 0.802 out of 5. This live-action adaptation of Akira Toriyama’s famous manga, released in 2009 under the direction of James Marwick, perfectly symbolizes the difficulties encountered when the original material is betrayed. With a budget of around 30 million dollars, one could have expected a quality product, especially given the worldwide popularity of the franchise.
However, very quickly, the film disappoints the public. Critics highlight special effects deemed mediocre, far from the finesse expected in this type of adaptation. According to feedback, the script strays too far from the very essence of the manga, thus losing fans in a confusing and poorly exploited plot. The performance, notably that of Justin Chatwin as Goku, also lacks credibility, generating an overall unconvincing impression.
Despite worldwide revenues approaching 58 million dollars, this result remains well below expectations for a film with such a budget. Looking at this specific case, we notice that the money invested does not necessarily guarantee success. The gap between ambition and aesthetic or narrative execution results in immediate rejection by viewers, who express their dissatisfaction through ratings and reviews. This dynamic largely explains the position of Dragonball Evolution at the top of our ranking.
This film perfectly illustrates that an adaptation, even highly anticipated, must imperatively remain faithful to its original universe while bringing quality innovation, otherwise, the audience will turn against it. From the producers’ perspective, this kind of failure underscores the importance of a solid script and an artistic direction respectful of the source material to avoid a new flop of this magnitude.
Commercial and critical consequences
The extremely negative reception also results in a sharp drop in box office over the weeks, confirming that word-of-mouth can quickly tip a production. Allociné ratings crystallize this disappointment by becoming an accessible reference for the public to choose or avoid a film. The failure of Dragonball Evolution thus reminds us that even with a solid fandom, cinematic quality must never be neglected.
Cosmic Sin and disappointing post-pandemic productions
Following closely in this ranking, Cosmic Sin obtains a very low average rating of 0.852 out of 5. This 2021 science fiction film, directed by Edward Drake, highlights several issues encountered by some hybrid productions of the post-pandemic era. With Bruce Willis and Frank Grillo starring, one might have expected a solid spectacle, but the VOD release and mixed reception show that the challenge was far from won.
Film criticism mainly points out an incoherent script, unable to capture attention or impose dramatic tension. The dialogues are perceived as weak, even uninteresting, and the low-budget visual effects reinforce this impression of a makeshift product. This low-budget production clearly illustrates the difficulty of standing out loudly in a saturated landscape, where viewer expectations have increased since the rise of online platforms.
In an industry where profitability is paramount, Cosmic Sin stands as an example of what can go wrong when priority is given to a quick release rather than thorough work on the script and special effects. This film also marks a stage in the evolution of consumption modes: even with known names, streaming release does not guarantee audience adhesion, especially if the content does not follow.
Analysis of figures and fallout
Although precise revenue figures are not always public for this type of release, critical reception and viewer ratings provide a clear indication of failure. This trend alerts producers to the importance of narrative and visual quality even in low-cost production contexts. Observing Cosmic Sin, we understand that in contemporary cinema, a film must imperatively convince through its substance and form, whatever its mode of distribution.
Bad Buzz: modern ambitions and execution errors
The French horror film Bad Buzz (2020) shows a rating of 0.861/5 and is another example of contemporary ambition that falls short. Directed by Quentin Dupieux, it attempts to capture current concerns by featuring an influencer victim of a bad buzz taking a supernatural turn. The idea seemed promising in a world where social networks now govern notoriety, yet the result leaves viewers wanting more.
The main criticism concerns a pace that is too slow, which dilutes the tension inherent in the horror genre. The plot appears predictable, with rather unoriginal narrative elements that fail to surprise or heighten the fear. The effects, for their part, are perceived as rudimentary, especially given the relative budget of 5 million euros invested.
At the box office, revenues do not exceed 500,000 admissions, a modest figure highlighting the lack of public enthusiasm. This is a typical case where an interesting idea is not enough: the quality of directing and editing is decisive to maintain attention and generate genuine engagement. This experience shows that even in a short format (1h25), work on dramatic tension directly influences overall reception.
Key elements of the rejection
- Poorly paced: a tempo that weakens fear and anxiety
- Classic plot: lack of surprise and shallow characters
- Limited effects: lacking the expected visual impact for a contemporary horror film
- Weak commercial fallouts: limited theater admissions despite the topical theme
Son of the Mask: when the sequel disappoints fans of the first film
With an average viewer rating of 0.928 / 5, Son of the Mask ranks among the most poorly received films and illustrates the difficulty sequels have in satisfying a demanding audience. Produced in 2005 by Lawrence Guterman, this follow-up to the cult classic The Mask (1994) had a very substantial budget, estimated at over 100 million dollars. However, many critics describe this film as childish, even completely disappointing compared to its predecessor.
The humor, often judged simplistic, fails to recreate the magic of the first installment, and the special effects, although significant, are perceived as outdated by 2005 standards. The cast, featuring Jamie Kennedy and Alan Cumming, did not manage to convince or bring the expected freshness. On the box office side, worldwide revenues of 59.9 million dollars translate into a real commercial failure.
This film falls within a broader issue: the difficult balance between paying homage to an original work and the necessary renewal to capture attention in an increasingly competitive environment. Son of the Mask demonstrates that sequels to major hits remain a risky bet, especially if the artistic promise is not met.
Contributing factors to the negative reception
| Aspect | Main criticism | Impact on rating |
|---|---|---|
| Humor | Too childish, heavy and unoriginal | Strong |
| Special effects | Outdated and uninnovative | Medium |
| Script | Lack of depth and originality | Strong |
| Performance | Lack of credibility and energy | Medium |
This analysis shows how each element of the film can contribute to a disastrous reception among viewers and film critics, as is visible in the Allociné ratings.
Vercingétorix: the legend of the druid king, a historical epic sacrificed
Vercingétorix: the legend of the druid king closes our top 10 with a rating of 0.952 / 5, which remains minimal but the best ranking in this selection gathering the worst films according to Allociné ratings. Released in 2001, this Franco-Canadian historical film directed by Jacques Dorfmann had a considerable budget of 45 million dollars, with a prestigious cast including Klaus Maria Brandauer and Inés Sastre.
The desire to offer a grand spectacle was hindered by several weaknesses, starting with historical inaccuracies that sparked sharp criticism, notably from history enthusiasts. The special effects, deemed unconvincing, accentuate this loss of credibility, while the cast is described as ill-suited to the grandeur of the epic.
The box office is a blunt indicator with around 1 million dollars in revenues, a figure totally disproportionate to the investment and which caused a real shock in the historical cinema world. This disappointment clearly illustrates the gap that sometimes exists between ambition, means, and execution, particularly in productions driven by a strong national or cultural discourse.
Repercussions and lessons
This film shows that even significant ambition combined with a substantial budget does not guarantee audience adhesion, even less so if the script and direction cannot accurately convey the depicted era. The feeling of inaccuracy and the lack of narrative breath prove prohibitive in a genre where every detail matters. Vercingétorix remains an emblematic case of these great missed opportunities in French and international cinema.
