Film fans are a temperamental crowd.  We can not even begin to deny this. Here at Audiences Everywhere, our passion for film stays turned up to eleven. So, even as we try to engage every movie in positive terms, the experience does not always turn out that way. With that in mind, it’s only fair that we concede that our version of the dreaded Worst of the Year list also serves as an illustration of our tendency to passionately over-react to bad movies, the same way we might with Great ones. Below the break, you can read excerpts from the most negative reviews AE published this year. Were the movies that bad or were we just a bit too passionate? You tell us:

Taken 3: “There was once a glimmer of hope in my eye for a fun, schlocky Taken trilogy. The universe failed me…” – Diego Crespo (Full Review)

Blackhat: “Mann makes half-hearted efforts to compensate for the lack of depth and connection by tossing in shallow friendships and romances without bothering to provide enough emotion for audience investment.” – Beth Reynolds (Full Review)

Mortdecai:Mortdecai is like the 2002 flop Master of Disguise, except there’s only one disguise, and Depp has about 1/1000th of the comedic skill of late-career Dana Carvey. If  the current, shitty season of Saturday Night Live ran for two hours longer, Mortdecai might be the skit that aired at 2:55 a.m. on Sunday.” – David Shreve, Jr. (Full Review)

The Boy Next Door: “While dealing with her cheating, estranged husband (John Corbett) and navigating single momhood to her weird, whiny teenage son (Ian Nelson – whose performance can best be described as “I’m related to some bigwig from Universal Studios…now watch me do the talking!”), Claire is “seduced” by the next door neighbor “kid,” Noah (Ryan Guzman) who woos her with a “first edition” copy of The Iliad… And by “seduced” I mean she’s drunk and says no and he kinda doesn’t let her leave; it’s as steamy as it sounds. And by “kid,” I mean he’s “almost 20” (and says so almost 20 times). (20? The trailer said he’s a high schooler?) And by “first edition” of a story composed in 725 B.C. and first printed 400 years ago…seriously, I have no idea what that means.”- Grace Porter (Full Review)

Strange Magic: “Parents seeking a possible punishment can consider sitting through Strange Magic with their little humans.” – Tea Lacson (Full Review)

The Seventh Son: “The list of items that paint The Seventh Son in a favorable light is underwhelming, and I cannot pinpoint a single highlight.” – Tea Lacson (Full Review)

Still Life: “If you’re reading this review and thinking, “Wow. Great! I’ve been in the mood to hate-watch something!” slap yourself in the face, ignore that thought, and move on with your day. For your own good, watch something else.” – Schyler Martin (Full Review)

Pernicious: “Hampered by long boring scenes, a meandering plot, clichés aplenty, and three uninspiring protagonists, Pernicious is only good if you’re looking for some bargain basement horror, but don’t settle for less when there’s plenty of other, better horror trash out there.” – Sean Fallon (Full Review)

Serena: “…the performer fails to capitalize and thus shares the blame here.  In a way, that may end up being a blessing for Serena: If this movie isn’t remembered for being Lawrence’s worst performance, it won’t be remembered for anything.” -David Shreve, Jr (Full Review)

CHAPPiE: “I wanted Hugh Jackman to just kill everyone. This is already an ugly movie. I’d go as far as to call it “morally decrepit.” Blomkamp should have just gone all the way. But that would need to be intentional. I’m just not sure Blomkamp knows how to close off a story or thematic through line without resorting to “let’s blow it up.”” – Diego Crespo (Full Review)

Unfinished Business: “In an age where so few comedies hit the mark, Unfinished Business misses it by a mile. Audiences are better off doing paperwork than closing this deal.” – Anton Reyes (Full Review)

The Cobbler: “The film’s grotesque attempts at humor are found lacking, making the entire production akin to a neutered Adam Sandler vehicle, as opposed to the magical and surreal comedy that attempts to climb atop the moral high ground amid the fluff of a Happy Madison feature.” – Sean K. Cureton (Full Review)

The Longest Ride: “Not only is The Longest Ride a bad Nicholas Sparks movie, it’s also an outright bad movie in its own right. It is just a dry, passionless chore to sit through.” – Ryan MacLean (Full Review)

Accidental Love:  “By the time you read this, I’ll already have forgotten about Accidental Love. Good riddance.” – Whit Denton (Full Review)

Bluebird: “Existential dread is made heavier through the laborious tone and aimless narrative of the film’s supported script, making it no small wonder why Edmands’ film took two years to find a distributor.” – Sean K. Cureton (Full Review)

Tomorrowland: “I didn’t leave the theater thinking of a better tomorrow. I left feeling drained, robbed, and ironically wishing I’d just seen Mad Max: Fury Road again. Never have jetpacks, robots, and alternate dimensions been so unimpressive.” – Richard Newby (Full Review)

Hot Pursuit: Hot Pursuit is bland, unfunny, and tonally confused. I probably would’ve been just as entertained and less confused watching an hour and a half of the screen turned off.” – Anton Reyes (Full Review)

Fantastic Four: “There are thousands of moving pieces working in tandem to form a mosaic of this magnitude, so apologies to everyone involved in this disaster. You all deserved better than this.” – Diego Crespo (Full Review)

Dark Places: “Neither good enough to recommend nor bad enough to waste energy on actively disliking, Dark Places is the very definition of mediocrity. It’s the worst thing any film could hope to be, one that merely exists.” – Ryan MacLean (Full Review)

Pixels:Pixels is a film made entirely for those self-entitled, immature people who think that the world owes them everything. Those who feel special, those who feel put upon. It is for people who desperately want validation for these attitudes and Pixels looks to give them this validation.” – Ryan MacLean (Full Review)

The Gallows: “All of these clumsy decisions have been made in a clear effort to kick-off a new series built around a recognizable killer with a trademark look, mask, and weapon. Think Mike Myers, Leatherface, Jason Vorhees, Freddy Krueger, and the like, and all of whom had legendary opening entries. There are about six minutes of film in The Gallows where such a comparison isn’t blasphemous, and the best of that stretch can be seen in the film’s first teaser (which, on its own, is a better film than this one).” – David Shreve, Jr. (Full Review)

Wild Horses: “Even horse fanatics will hate this film.” – Travis Losh (Full Review)

Featured Image: Mortdecai, Lionsgate; Fantastic Four (2015), 20th Century Fox; CHAPPiE, Columbia Pictures