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The way movies have been made has evolved since the dawn of the picture. From silent films to talkies. Black and white to Technicolor. From 2-D animation to computer-animated. As technology advances and new opportunities emerge, cinema has gotten even better. A main reason: computer-generated imagery. Using visual effects to enhance the viewing experience, movies truly bring audiences to a place beyond their wildest imaginations.
CGI is not for amateurs. And yet, even some of the greatest professionals have their off projects. There have been countless big-budget, box office blockbusters that one might have thought would have visuals, but watching them on the big screen, well, they were botched. From distorted faces to the fakest-looking sea creatures meant to scare, these 10 otherwise promising movies were ruined by terrible CGI.
1
‘Ant-Man and the Wasp: Quantumania’ (2023)
Listen, we have great reverence for the behemoth that is the MCU, but with dozens of films and series under its belt, some projects have fallen by the wayside. Meaning the visual effects helped the movie bomb. One of the biggest recipients of terrible CGI was the third Ant-Man movie, Ant-Man and the Wasp: Quantumania. Best known as the film that helped introduce us to that pesky multiverse, the film follows Scott Lang (Paul Rudd) and Hope van Dyne (Evangeline Lilly) as they explore the Quantum Realm with their family, encountering strange new creatures and battling the time-traveling villain, Kang the Conqueror (Jonathan Majors). Officially launching Phase Five, Ant-Man and the Wasp: Quantumania gave us the nightmare that was Corey Stoll as the oversized head known as M.O.D.O.K. And yet, that was only one of the many weak CGI effects.
After critics dumped on the film for its terrible CGI, so did anonymous VFX technicians. Having spoken to Vulture, some artists admitted that certain “shortcuts” were taken, including budget constraints due to diverted funds to other projects. This, in turn, led to poor working conditions for the artists, resulting in an unsatisfactory outcome. Nevertheless, despite the behind-the-scenes drama, the multiverse was awoken and ended up being less than impactful. The previous two films had whimsy and charm with Rudd in the lead, but the plot’s serious tone lost that charm. And yet, when M.OD.O.K. popped up, it was nothing short of a barrel of laughs. It was simply too silly and goofy. To be fair, as a ‘90s Marvel kid who had an action figure, there was an expectation of a CGI conglomerate. Instead, Stoll’s face was stretched like he was Zordon in the ‘90s iteration of the Power Rangers. One might think that by the 31st MCU entry, the CGI would be top-notch, but Phase Five had its litany of woes. And it all started here.
2
‘Cats’ (2019)
Every theater kid’s heart sings out when a beloved musical is announced to have a big-screen adaptation. We dreamcast the film, imagine what it might look like, and wait patiently on the message boards for any rumors that swirl. Upon learning that Andrew Lloyd Webber’s musical Cats would get a silver screen adaptation, there was some fear and hesitation. Never has a community been more right when they stepped inside the cinema to watch Cats. The infamous film lifted the Broadway show in shocking fashion. Gone was a cast of actors donning catsuits and detailed face paint. Instead, it was a CGI nightmare that managed to tarnish any semblance of positivity tied to the film. And yes, that includes the top-tier ensemble of stars who agreed to this mess.
Directed by Tom Hooper, who notoriously made questionable choices when directing the 2012 film adaptation of Les Misérables, Cats turned a book of poetry into a who’s who of felines attempting to get to the Heavy Side Layer. A well-meaning attempt to honor a classic resulted in a disaster. Before we get to the kitties, the first massive mistake came in the set pieces and rules of the world. The proportions were not only inconsistent but incorrect. Simply look at the production number of “Skimbleshanks: The Railway Cat,” in which the railroad tracks were massive compared to the dancing cats. What’s unfortunate is, you might have given this a pass had you not been distracted by the human-feline fusion.
As much as Hooper tried to defend his choices so as not to lose “facial performances,” they were not well received. The uncanny valley effect is what nightmares are made of. The horrific anthropomorphization of people-cats sparked a wild pre-release frenzy that left many wondering what the actual film would look like. With so much visual promise, the result was downright creepy, especially when you realized the likes of Jennifer Hudson, Judi Dench, and Ian McKellen were subject to this treatment. The campy nature of the stage production had always been a theatrical joke, but it looked like a work of fine art comparatively! It hurts to know that there was a point in time when Steven Spielberg was going to make an animated version of the musical. Can we return to that timeline? There is, however, one solution to satisfy our needs. Perhaps we would all be satisfied if the rumored “butthole cut” would be shared with the world. Release it, you cowards! If Sir Andrew Lloyd Webber did purchase a puppy as a result of this bomb, we understand why.
3
‘Die Another Day’ (2002)
The history of James Bond films has such a wide array of results. Some were brilliant while others were hokey. But what they all had in common was an adoration of the central character. In the early days of the franchise, the practical effects were a product of their time. But when you move into the 21st century, and technical advancements are available, there should be no excuses for poor CGI. And yet Die Another Day, the first film of the new millennium, relied heavily on unconvincing, cartoonish digital effects that felt outdated compared to the brilliant films it was up against. In the 2002 entry, James Bond (Pierce Brosnan) is on a mission to identify a mole within British intelligence after he is betrayed, tortured, and released from a North Korean prison, eventually exposing a scheme involving a space weapon. Though Madonna did provide the title track, the film’s imagery is what it’s remembered for.
It’s quite common that green screens are heavily used in film, and one would think for a film of this magnitude, it would be flawless. It was anything but. From a poorly rendered CGI Bond surfing an ice wave to the subpar visuals for the invisible car, Die Another Day felt like a bad cartoon or a bootleg video game. With such dismal effects, any semblance of serious moments was overshadowed by the bad visuals. There was a time when the tones of James Bond films matched their hokiness. Not here. Between Daniel Craig‘s new casting and the CGI disaster, many fans felt that Die Another Day was going to kill the franchise. Instead, it pushed the new era into a much more positive direction. It’s just unfortunate that this is now the end of Brosnan’s reign.
4
‘Jaws 3-D’ (1983)
After Steven Spielberg made us terrified of the ocean with Jaws, it was the second sequel that made us chuckle that we ever had that fear. At a time when 3-D films were all the rage, director Joe Alves opted to give his audience 3-D glasses to create the illusion that elements penetrated the screen. Unfortunately, it turned the horror film into a farce. Jaws 3-D follows as a 35-foot great white shark infiltrates a Florida SeaWorld marine park, terrorizing employees and visitors in a new “Undersea Kingdom”. Mike Brody (Dennis Quaid), son of Chief Brody, tries to save the park guests while a second, larger shark emerges as the true threat. Between the locale and the filming style, Jaws 3-D tarnished the franchise’s legacy.
To the film’s credit, viewers of the first film had to suspend disbelief to realize that the animatronic known as Bruce was actually a deadly, man-eating shark. But then, through a cheaper compositing process that created a “superimposed” look, the shark appeared as a flat, disconnected image that was anything but terrifying. Pair this with a campy script and over-the-top acting, and there was no saving this Spielberg-less flop. Audiences couldn’t wait to toss out their plastic glasses after that infamous, slow-motion glass-breaking finale. There’s never been a worse shark movie made until, well, the next one.
5
‘Sharknado’ (2013)
This entry could be the entire franchise, but after the first film, Sharknado owned its visual disasters. But on that very first pass, oh, we were in for a monstrous treat. Kicking off the campiest horror franchise of all time comes the made-for-TV sci-fi comedy horror disaster from director Anthony C. Ferrante. The film tells the story of a massive storm that floods Los Angeles and floods the city with man-eating sharks, including tornadoes. Surfer and bar owner Fin Shepard (Ian Ziering) battles flying sharks with chainsaws to rescue his estranged wife and daughter. An absurd so-bad-it ’s-good satire, nothing could get past the ridiculous CGI.
Even with cameos galore, the low-budget execution spawned cheap knockoffs and similarly inspired films that matched its visual effects. Logic was not part of the film’s objective, as a shark could harshly land on a car with nothing but a quiet thud. The sharks did not match the actors’ lighting or motion. While we can give credit to the actors who are used to acting whenever they are not quite there, there was no excuse for what happened in post. The static editing and daft writing just made Sharknado an actual disaster.
6
‘Son of the Mask’ (2005)
Many fans of the original film had a strong desire for Jim Carrey to reprise his role in a Mask sequel, but after seeing Son of the Mask, they made the right call. In the horrendous sequel, aspiring cartoonist Tim Avery’s (Jamie Kennedy) dog finds Loki’s magical mask. After Tim wears it and conceives a child, the baby is born with chaotic, reality-bending powers, prompting Loki (Alan Cumming) to try and retrieve his mask. A hokey premise at its core, Son of the Mask relied on poor ‘00s CGI that replaced the charm and wit of the original. The result was a cartoonish, disturbing, and cringeworthy aesthetic.
The original film was notorious for wacky imagery that matched the spirit of the story. That was present here, but when the animated mask was relegated to an infant and a dog, the result was destined to look like a disastrous cartoon. Watching the baby’s head inflate, and the dog’s eyes bulge out, it was more of a horror nightmare than a family-friendly comedy. Son of the Mask was by no means meant to be a serious film, but the execution was everything that can go wrong with a poorly executed sequel.
7
‘Star Wars: Episode 1—The Phantom Menace’ (1999)
The hype surrounding a new set of Star Wars films was astronomically high. A new generation of fans was about to experience what it would be like seeing George Lucas’ mesmerizing vision on the big screen for the first time. And then Jar Jar Binks (Ahmed Best) arrived, and some fans sought a do-over. No shade to the iconic creature, but what were they thinking?! In Star Wars: Episode 1— The Phantom Menace, the first chapter of the Skywalker Saga, Jedi Knights Qui-Gon Jinn (Liam Neeson) and Obi-Wan Kenobi (Ewan McGregor) protect Queen Padmé Amidala (Natalie Portman) of Naboo, aiming to resolve a trade blockade. They discover a young, Force-sensitive boy named Anakin Skywalker (Jake Lloyd) on Tatooine, while battling the unexpected return of the Sith. Jump-starting a new era of the Star Wars franchise, The Phantom Menace utilized the full range of its digital technology for a less gritty, more sterile aesthetic that seemed like it was in a galaxy far, far away from its own.
There was a major disconnect between the performance and the practicality of its characters’ acting in its world. Forced to work against CGI characters and green screens, many of its stars seemed to have trouble bringing anything but wooden performances. The first three films were beloved for Lucas’ use of practical effects, miniatures, and puppets to create a brilliant product. The new film opted for a CGI-heavy universe that felt fake and, at times, cartoonish. Toss in Jar Jar Binks, and that argument was further exacerbated. We still fondly care about this film and the two that followed. We just wish it were as magical as the first trilogy.
8
‘Teenage Mutant Ninja Turtles’ (2014)
If you’re a millennial, you likely have a great reverence for the media empire that is Teenage Mutant Ninja Turtles. From the brilliant cartoon to the ‘90s trilogy of films, they hold quite a special place in our hearts. When a reboot film came out in 2007, it felt like the logical reboot version. And then a new iteration came again in 2014, and those creatures were utterly terrifying and nothing like the heroes we once knew. Directed by Jonathan Liebesman, the reboot follows four mutated turtle brothers—Leonardo (Johnny Knoxville), Raphael (Alan Ritchson), Donatello (Jeremy Howard), and Michelangelo (Noel Fisher)—who emerge from the New York City sewers to save their city. Aided by reporter April O’Neil (Megan Fox), they battle the evil Shredder (Tohoru Masamune) and his Foot Clan to stop a plot to release a deadly virus. With all the elements in place to make the film good, the visuals and graphics ruined its long-lasting legacy.
The allure of the original characters was that they looked like cartoon characters. Here, they were becoming something inhuman yet trying to be human. These iconic turtles had features including broad, human-like lips and noses that were simply unsettling. Then, add in the fact that they were so massive and detached from their roots as stealthy, agile ninjas, which made the film far from its source material. Then, moving over to Master Splinter (Tony Shalhoub), you get a gross and ridiculous rat. Overengaged and ultimately soulless, this iteration of Teenage Mutant Ninja Turtles failed to capture the spirit of the characters we once loved.
9
‘The Lawnmower Man’ (1992)
When a product is inspired loosely by your own work, but the execution is so abysmal, you sue to make sure there is no attachment. That’s what Stephen King did after The Lawnmower Man was released. As he said in court documents, it “bore no meaningful resemblance” to his story. Directed by Brett Leonard, the 1992 film tells the story of scientist Dr. Angelo (Pierce Brosnan), who uses virtual reality and drugs to turn a mentally disabled gardener, Jobe (Jeff Fahey), into a genius, only for Jobe to develop dangerous psychic powers and become obsessed with becoming a digital being. A victim of its own making, The Lawnmower Man was meant to represent virtual reality but ended up as a corny visual that overshadowed the plot.
To call The Lawnmower Man groundbreaking is flat-out wrong. But that’s how the film was marketed. With such high expectations, the cyberspace scenes were meant to be awe-inspiring, but they came across as clunky and poorly managed. The Lawnmower Man, which didn’t mean to look like a ‘90s video game, made Tron look like a complete masterpiece. At least that film was intended to be a video game! A film that didn’t look good then and still doesn’t age well, The Lawnmower Man is a film that deserved to be lost to time. Instead, it’s remembered for all the wrong reasons.
10
‘The Mummy Returns’ (2001)
We could make this entry solely for The Scorpion King (Dwayne Johnson), but the team did learn from their mistakes during The Mummy Returns. The problem is, when that film is a prequel, you can actually find the time to fix the mistakes! In the sequel to the hit action-adventure film, Rick and Evelyn O’Connell (Brendan Fraser and Rachel Weisz) face the resurrected Imhotep (Arnold Vosloo) and a newly awakened Scorpion King. The couple must save their kidnapped son, Alex (Freddie Boath), who has triggered a race to the pyramid of Ahm Shere and control of Anbus’ army. A worthy follow-up, The Mummy Returns was destroyed the second the janky video game iteration of The Rock’s character stumbled on the screen.
All these years removed, Fraser has asked the world to be ‘kind” for the awful CGI. Though there’s always a reason, much of the blame for the wrestler’s characterization fell to time constraints and technological limitations, which resulted in a model of the actor that lacked texture and realism. As good a film as The Mummy Returns was, there’s simply no forgiving the disaster of The Scorpion King. At the end of the day, the overambitious effects fell short of the emerging CGI standards of the era. Luckily, there was enough time to fix the terrible characterization in the prequel, The Scorpion King, since the actor was actually present and able to perform the role.
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Michael Block
Almontather Rassoul
