6 Worst Kids’ Movies of the ’80s



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Hey kids, let’s get radical! That was the promise of many an 80s kids’ flick, and, to be fair, a bunch did deliver a high quotient of tubular awesomeness. Then, on the other side of the family-friendly cinematic spectrum, there was a repugnant collection of unforgettably stinky stinkers…just stinking it up.

While the 80s were known for rampant consumerism and Reaganomics, the Me Decade spawned a slew of family films, all trying to cash in big time on popular kids’ goods. A lot of these mind-numbing movies featured laughably blatant product placement sequences disguised as business as usual, while others were simply a vehicle to sell kids toys without a hint of subtlety. And then, there were movies that were marketed as child-appropriate, but were anything but. Here’s the corrosive collection of unwatchable kids’ flicks, in all their corny, cinematically awful glory.

6

‘The Wizard’ (1989)

Jackey Vinson as Lucas with a group of friends in The Wizard
Jackey Vinson as Lucas with a group of friends in The Wizard
Image via Universal pictures

Kicking this list off is a “film” that’s truly impressive for the amount of product placement shoved into it. It’s actually more like a strangely toned, live-action infomercial for Nintendo — which culminates in the much-anticipated release of the game “Super Mario Bros. 3.” In a cinematic sense, there are little to no redeeming qualities in this convoluted mess of a movie, but as far as video game presentation goes, director Todd Holland’s The Wizard is kinda rad.

The story starts off tonally bizarre, as the main character, Jimmy Woods (Luke Edwards), is an introverted kid who’s been traumatized by his twin sister’s drowning. But, buck up, kids, Jimmy’s plucky older brother, Corey (Fred Savage), rescues Jimmy before he’s locked up in a mental institution, and whisks him off to California for…a video game competition. They link up with a random girl, Haley Brooks (Jenny Lewis), and, utilizing Jimmy’s natural ability to slay video games, they hustle and hitchhike to the big tourney. The dialogue supplied to the kids is beyond weird, as they discuss topics way too mature for them. It’s a right old mess — but at least they get to play with the Power Glove.

5

‘Felix the Cat: The Movie’ (1988)

Felix the Cat: The Movie, the cat smiles dumbly
Felix the Cat: The Movie, the cat smiles dumbly
Image via Universal Pictures

It’s true, kids: some animated movies are actually bad. Such is the case with the much-maligned Felix the Cat: The Movie. It was presented as a throwback to the old-timey cartoon, but the filmmakers went a little haywire with the execution. Director Tibor Hernádi’s messy movie is a sloppy, slapdash attempt at kids’ entertainment, that went off the rails in all the wrong ways.

The titular cat, Felix (voiced by David Kolin), goes on a mission to rescue a princess, namely, Princess Oriana of…Oriana. She’s being held captive by the nefarious Duke of Zill (voiced by Chris Phillips) for some reason, and Felix, through the art of song, and armed with his magic bag of “tricks,” is the only one who can save her. There’s also a sequence where he travels to another dimension to perform in a circus. Aside from the nonsensical story (it’s a kids’ movie after all, some concessions need to be made), the other problematic elements to this cartoon are the disjointed, poorly presented animation, non-synced voices, and excruciatingly cloying sing-a-longs. Luckily, this version of the magical cat didn’t have nine lives.

4

‘Cry Wilderness’ (1987)

Cry Wilderness, the fake Bigfoot is nice, and looks down in the woods
Cry Wilderness, the fake Bigfoot is nice, and looks down in the woods
Image via Visto International Inc.

The most amazing thing about Cry Wilderness is that it is not a shoddy rip-off of Harry and the Hendersons, since the two Bigfoot-centric films came out in the same year. Regardless, this astoundingly strange movie (that somehow garnered a PG rating) is one of the weirdest, worst attempts at bridging the gap between children and Sasquatches.

One fine day, the hero of the tale, a young boy named Paul Cooper (Eric Foster) who lives in a remote wilderness setting with his pop, Will Cooper (Maurice Grandmaison, later made internet-famous from that meme of him smiling), finds a Bigfoot. He cleverly saves the creature from some evil hunters, and the Yeti gifts Paul a magical pendant that acts as a kind of walkie-talkie to Big…feet? Things become further complicated when Will has to go on a hunt of his own…for a missing tiger. Uh, okay, sure. Again, this was billed as a children’s movie, but it’s laden with inappropriate comments and visuals, atrocious dialogue, and one of the worst Bigfoot costumes committed to celluloid. This movie isn’t further down on this list because it has achieved cult status for its utterly ridiculous awfulness. Honestly, it is pretty (unintentionally) entertaining.































































Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

🐦Birdman

🪙No Country for Old Men

01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

3

‘Howard the Duck’ (1986)

Howard the Duck and Lea Thompson in the 1986 movie, Howard the Duck.
Howard the Duck and Lea Thompson in the 1986 movie, Howard the Duck.
Image via Universal Pictures

Sometimes filmmakers’ hands become tied. Their goal is to create a movie that can entertain kids while simultaneously providing the adults that brought them to the cinema with a little bit of humor and a somewhat interesting plot. Director and co-writer Willard Huyck certainly didn’t set out to make one of the weirdest, most deplorable movies ever, but, well, here we are.

The story of the wisecracking waterfowl, Howard (voiced by Chip Zien), is that he is actually an alien life form from the planet Duckworld (where anthropomorphic duck creatures have their own feathery society). A “cosmic beam” zaps him and magically transports him to Ohio. Here he meets a fledgling rock and roll singer, Beverly Switzler (Lea Thompson, in a role she probably would like to forget — especially seeing as how this film debuted only one year after Back to the Future). He saves her from some goons, because, obviously, Howard knows martial arts. Luckily, Beverly happens to be chums with a scientist, Phil Blumburtt (Tim Robbins — um, why??), who has a laser that he can reverse-zap Howard back to wherever the duck he came from. The main issue with this film is that it’s so tonally odd. In an attempt to be funny, it’s wildly inappropriate for kids (there’s a scene with topless lady ducks — don’t ask), and nary a single “joke” lands with adults. Overall, the quacky disaster that is Howard the Duck should be avoided like the plague (unless you like those cult-status so-atrocious-its-awful movies). Even the poster tagline, “Trapped in a world he never made,” is baffling. What does that mean??

2

‘The Garbage Pail Kids Movie’ (1987)

 A group of Garbage Pail Kids stand in a semi-circle in The Garbage Pail Kids Movie.
A group of Garbage Pail Kids stand in a semi-circle in The Garbage Pail Kids Movie.
Image via Atlantic Releasing

There aren’t a lot of films inspired by trading cards…for good reason. Manufacturing a story around classic Topps’ card characters, like Valerie Vomit and Foul Phil, must’ve been a daunting task for director Rod Amateau (and his co-writers Linda Palmer and John Pound). But, luckily for them, and the viewing public, someone got the brilliant idea to make the “kids” a race of aliens that have been magically zapped to earth (just like Howard! …but through a garbage can), with the goal of flatulating, vomiting, urinating, oozing other unspeakable fluids, and generally grossing out every human in sight. Hence, The Garbage Pail Kids Movie (0% critic score on RT) was born, and it is…truly…trash.

The “story” begins with a lonely loser, Dodger (Mackenzie Astin), who has grand artistic ambitions. He’s viciously bullied, but, have no fear, the Pail Kids emerge and help Dodger…create designs for, and then actually sew, fashionable clothing. Uh, ok. The action climaxes in a massive 80s fashion show (maybe the unspoken commentary was “fashion is trash?”). Aside from the abject absurdity of the plot, the Kids are revolting beyond belief. Small stature humans wore costumes (which, to the art designers and effects people’s credit, really looked just like the vile drawings in the cards) to depict the notorious Garbage characters, and they are sublimely horrifying. The only reason this kids’ movie isn’t rated as the worst of all time, is because it definitely delighted a bunch of booger-eating little boys.

1

‘Mac and Me’ (1988)

Two children with an alien in Mac and Me
Two children with an alien in Mac and Me
Image via MGM

To be fair, while this may subjectively be the worst kids’ movie of all time, it is highly entertaining. So much so, that it has inspired some truly sick memes. That being said, oh boy, this 99-minute-long commercial for McDonald’s/E.T. rip-off is one of the worst cinematic abominations ever captured on film. It’s hard to even know where to begin with this one…but we’ll start with the director/co-writer Stewart Raffill — who would, inexplicably, later go on to be one of the writers of Passenger 57. The assumption is that the studio told him something along the lines of “Hey, want a bag of money? McDonald’s is paying” when he took on this project. Or, who knows, maybe he had such an affinity for McNuggets that he was fully onboard from the get-go.

The plot of Mac and Me (let’s just call it a “respectful homage to E.T.”) revolves around a little dude who is in a wheelchair, Eric Cruise (Jade Calegory). His life is turned upside-down when a family of doofy-looking aliens crash-land in his town (after getting sucked through a space probe, brought to you by NASA, naturally). Instead of having magical powers, like the aforementioned “extraterrestrial,” they come off as rather, well, dumb as moon rocks. Their faces are supposed to be comical, but are more off-putting than anything. Of course, the “government” is determined to find these aliens and do unspeakable things to them, so it’s up to Eric and his brother, Michael (Jonathan Ward), to protect them until the critters can find a way home (although with their IQ level it seems rather impossible that their race conquered space travel). As discussed, there are countless product placement stretches in this film, for Coke (which “refuels” the “Mysterious Alien Creatures”) and McDonald’s, and the crown jewel of this movie actually takes place in one of the famed fast food joints. Eric brings “Mac” to the eatery, wearing a bear costume to disguise him. And then, out of NOWHERE, every kid and customer in the place breaks into a highly choreographed dance — that culminates with Mac doing some gravity-defying flips and Pee-Wee Herman-esque moves on a counter that betray any chance at explanation. This scene is so resplendent in its idiocy that it actually makes the whole movie somehow worthwhile (…or just watch the clip on YouTube).


mac-and-me-1988-film-poster.jpg


Mac and Me


Release Date

August 12, 1988

Runtime

95 Minutes


  • Cast Placeholder Image

  • Cast Placeholder Image


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Joe Leone
Almontather Rassoul

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