It’s been four days since Netflix released ‘The Roast of Kevin Hart‘ and the internet is still sounding off about it! Tony Hinchcliffe, in particular, is catching heat for what many are calling a tasteless joke referencing the death of George Floyd. And the backlash is coming from more than just fans and viewers! Celebrities like Tamika D. Mallory and Sukihana are voicing their disappointment. Floyd’s family and friends, including his brother, Terrence Floyd, and close friend, Stephen Jackson, are also speaking out.

RELATED: George Floyd’s Brother Demands Lil Yachty Rewrite His Controversial Verse To Honor His Legacy

What Did Tony Hinchcliffe Say About George Floyd? 

During his set, Hinchcliffe reportedly referenced the brutal death George suffered on May 25, 2020. On that day, Chauvin knelt on Floyd’s neck for 9 minutes during an arrest in Minnesota, even as he repeatedly said he couldn’t breathe. In 2021, a state court convicted him of second-degree unintentional murder, third-degree murder and second-degree manslaughter. His sentence was 22.5 years in prison, which he is serving concurrently with an additional 21-year sentence for pleading guilty to violating Floyd’s constitutional rights. His death launched a movement against police brutality, dubbed ‘Black Lives Matter.’

Still, despite that context, Tony Hinchcliffe used the horrendous death as a punchline, live on Netflix and Kevin Hart was cackling in response.

“The Black community is so proud of you right now. George Floyd is looking up at us all, laughing so hard that he can’t breathe,” Tony Hinchcliffe said.

Tony Hinchcliffe made a WILD George Floyd joke while roasting Kevin Hart 💀

“The Black community is so proud of you… right now George Floyd is looking up at us all laughing so hard he can’t breathe.” pic.twitter.com/33T2anzhja

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— Killa 🌺 (@KillaKreww) May 11, 2026

The George Floyd joke isn’t the only reason Tony Hinchcliffe is catching heat. He and Shane Gillis both made jokes about Sheryl Underwood’s husband, who died by suicide in 1990. Additionally, ‘The Kevin Hart Roast’ is reportedly the second roast at which Tony has cracked a George Floyd joke. He did the same thing in 2024 during Tom Brady’s roast, saying that Rob Gronkowski looks like “the final boss in George Floyd: The Video Game,” per the Star Tribune. So far, it doesn’t appear that Hinchcliffe has addressed the backlash over his recent or past controversial jokes, leaving critics to question whether he has a pattern.

RELATED: ‘Human Traffic Cone’ Tou Thao Sentenced To 4+ Years In Prison For Contributing To The Killing Of George Floyd

Recap Of Family, Friend & Celeb Reactions To Joke

Speaking with ‘The Breakfast Club’s Loren Lorosa, Terrence Floyd slammed Tony for presenting his brother’s death as comedy. He said Kevin Hart should’ve shut down the joke, especially given that he attended George Floyd’s funeral in Minnesota. “A lot of it just felt argh…it wasn’t tasteful,” he said. Terrence also shared that George Floyd’s daughter often has to deal with the fallout from controversies involving her father’s name, especially near his death anniversary.

“This is crazy. We’re upset but I’m focusing more on the well-being of my niece,” Terrence said.

Meanwhile, George Floyd’s close friend, Stephen Jackson, also addressed the joke via social media. The second time, he insisted that no one can tell someone else what to be offended by. “Everybody laughing…until it’s their family member that gets murdered, then it ain’t funny,” he said in a video. He called the behavior “clown sh*t,” adding that he traveled to 29 states, marching in his brother’s name in real-time and won’t be told how to react. In his caption, Jackson added:

“Forever gone ride for my brother. If u don’t like me nor respect my brother Unfollow is all u gotta do. I don’t give a f*ck. Respect it or Check it and nobody ain’t checking sh*t here. Wallahi. Your opinion don’t matter to me. Keep it. Ciabatta still come 1st on the month regardless 😂.”

Additionally, Sukihana took to social media with a video, expressing her disbelief that “a group of white colonizers” disrespected George Floyd and made a joke of his death. “I’m more appalled at the Black people that sat there and watched it and laughed. Nobody got up? Nobody said…this is my cue, I’m leaving?” she said.

As mentioned, Tamika D. Mallory also released a statement slamming Tony Hinchcliffe’s jokes. She said there was “nothing funny” about George’s murder.

“Allowing that white man or any other man to stand up there and disrespect US, while laughing, is disgusting. Part of the reason Black folks continue to face SEVERE attacks against our rights, is because some of us think everything is sh*ts and giggles. It wasn’t funny AT ALL.”

SWIPE BELOW TO SEE THE VIDEOS & STATEMENTS DESCRIBED. 

Has Kevin Hart Spoken Out About The George Floyd Jab?

As mentioned, Kevin Hart was one of many at the roast who laughed when Tony Hinchcliffe used George Floyd and his death as punchlines. After the event, Hart took to Instagram to applaud all the comedians who popped out. He claimed the event went exactly as planned. Roasts, per Kevin, should be “hard-hitting, relentless jokes with no consequence. That’s the concept of a roast, you go hard or you go home.” Of Tony Hinchcliffe specifically, Hart said:

“Tony Hinchcliffe f*cking understood the assignment. Relentless as he always is, but funny. You can’t have emotions. You gotta understand what the f**king assignment is. Everybody came out there and did their f**king thing.”

Since that video on Monday (May 11), Kevin Hart has made seven additional Instagram feed posts promoting the roast. He has not directly addressed the backlash concerning the George Floyd jokes. Still, his comment sections are being flooded with mentions of it.

RELATED: Play Too Much! Four Times Kai Cenat & Kevin Hart Had Us In TEARS During Their Viral Livestream

Bold and the Beautiful suggests Steffy Forrester (Jacqueline MacInnes Wood) is being shoved out of her job if Brooke Logan (Katherine Kelly Lang) and Hope Logan (Annika Noelle) get their way.

But some tidbits were dropped on a recent episode that tease an epic twist that could be coming when Steffy has had enough of all of this.

So, we’re going to talk about what insane shakeup might happen that could change Forrester Creations forever. All because Hope is playing these little games.

Steffy Has Been Unpleasant But The Business Decision Makes Sense on Bold and the Beautiful

So, to be clear, I absolutely agree that Steffy has been unpleasant in the way that she talked to Hope about shelving her line. However, focusing on Eric Forrester‘s (John McCook) new collection makes sense for the company. Back in 2024, when Hope for the Future was shelved, even Carter Walton (Lawrence Saint-Victor) agreed that it makes sense and everybody else agreed.

But Hope freaked out back then and she manipulated Carter into the coup. And now, because of Eric’s new collection, Hope for the Future is on the back burner again. And even Brooke agrees with that decision. However, Hope is ticked off again and refuses to accept it. And she’s pulling almost the same stunt with Brooke. A coup slightly more legal this time, but still.

Steffy Appalled on B&B

Steffy, of course, didn’t react well when Ridge Forrester (Thorsten Kaye) trotted over to Forrester Creations this week and suggested that Steffy give her job to Brooke after she guilted Ridge and seduced him and told them they would be the new Stephanie Forrester (Susan Flannery) and Eric. In the end, it’s Hope who is selfishly manipulating things again. And that sets the stage for this possible twist that I want to talk about.

So, Ridge has to go home and tell Brooke that Steffy will not step aside. And Ridge probably thinks, “Okay, that’s the end of it.” But Bold and the Beautiful spoilers for later this week say Hope and Brooke make a new path forward. The only path really is to get Eric on their side.

I expect Brooke to go play on her history with Eric and convince him to agree to make Brooke co-CEO. And with Eric on her side with his shares, basically Ridge can’t refuse. And Brooke wouldn’t let him. So, I suspect Ridge and Eric have to tell Steffy to step aside. And I suspect that she’ll ask Eric and Ridge, don’t do this to me. She’ll probably trash talk Brooke. But I think Eric and Ridge are thoroughly under Brooke’s control and won’t back down. So, now we get to the point of the epic twist that I anticipate could happen.

Steffy Foreshadowed What Could Happen on Bold and the Beautiful

So, it was actually Steffy who foreshadowed what could happen. When Ridge admitted that if not for Steffy, Forrester Creations wouldn’t be where it is and would have been absorbed by a big conglomerate, she agreed. She told Ridge, “Yeah, like Spencer.” Steffy reminded Ridge that if not for her, Bill Spencer (Don Diamont) would own Forrester Creations. And Steffy said she saved the family business and made sure it stayed in their hands, which is true.

Then she also told Ridge she’s the one with relationships with influencers and buyers and vendors while Ridge focuses primarily on design. And then Steffy said that he needs to show her respect as co-CEO. Now, that was a valid argument because it was about business, not about being Ridge’s daughter or trying to guilt him, you know, put me first. The problem is Brooke is in Ridge’s bed and also in his head. And Brooke’s got a lock on Eric, too.

Bold and the Beautiful: Steffy Makes Huge Move

So, here’s the twist. Steffy was talking about how Spencer almost owned Forrester Creations. So, I could see her making a huge move to undo what Brooke did and regain control and make sure Ridge and Eric can never push her aside again. Remember, while Steffy and Ridge were debating, there was a lot of stress over at Spencer/Logan. Liam Spencer (Scott Clifton) told Katie Logan (Heather Tom) and Bill about Brooke’s move.

And Katie and Bill realized with Brooke in the co-CEO seat, she may bring back Hope’s line, so she would have no reason to come over to Logan. Katie’s frustrated and was telling Bill about another bad portfolio from a designer. And Katie definitely needs a designer. And remember, Hope isn’t a designer. Now, neither is Steffy, but she knows a lot of designers across the industry. She is extremely well-respected.

Steffy Could Convince Zende To Follow Her To Logan on Bold

Plus, Zende Forrester (Delon de Metz) is ticked off this week and ranting to Carter about designing a line that is on the shelf. Because even with Brooke as co-CEO, I think Hope for the Future will stay on the back burner for a while because of Eric’s new couture line. Brooke agrees with Ridge on that point. So, Brooke may tell Hope she has to be patient and wait, and she probably will because she knows her mom won’t leave it on the back burner forever.

But Steffy might be able to convince Zende to follow her over to Logan and be a lead designer there. He’s never had a lead designer gig. I think he’d love it. He’s certainly talented and he respects Steffy. Also, honestly, it’d be nice to see more of Zende. And from there, Steffy could bring in other designers. She could use her influence to get Logan the best materials. And she’d be in a position to sabotage Forrester Creations because of all of her contacts.

Bold and the Beautiful: Steffy Could Get Bill on Board

Now, I don’t think Steffy would destroy Forrester Creations, but I could see her aligning with Bill and conspiring to cause a lot of problems with Forrester Creations to destabilize it so that Spencer could take it over with the promise that Steffy could be the sole CEO and that Forrester Creations would remain under the Spencer umbrella, but with her running it. If she dangled to Bill a way to permanently crush Ridge, I know for a fact he would jump at the chance.

And Katie might be hesitant at first, but honestly, she might be secretly thrilled because it wasn’t Steffy who sidelined her at Forrester Creations. It was Brooke and Ridge who went and hired that outside PR firm that basically made her obsolete. So, I could actually see Katie agreeing to be co-CEO with Steffy at Logan with the long-term goal of taking over Forrester Creations and Steffy being the sole CEO there while Katie then resumes being the sole CEO at Logan and Steffy could really help her make it happen. And her walking away from Forrester Creations would cause a huge issue.

Forrester Creations Can’t Function Without Steffy on B&B

So, if this happens, I’m sure Brooke would tell Ridge, “Look, it’s fine. We can do this without Steffy,” but I kind of don’t think they can. As she reminded Ridge, he’s primarily a designer and Steffy makes all the deals and she keeps the wheels turning. Now, Carter admittedly does some of that, but Steffy is a huge part of the company’s ongoing success, and Brooke doesn’t have any clue how to do what Steffy does. As Ridge was saying, Brooke is more of the face of Forrester Creations for the bedroom line primarily at this point.

And yes, it would get a lot of PR if they announced Ridge and Brooke Forrester are running Forrester Creations together. But if Steffy walks out because Brooke got Ridge to push her out of her position, the negative PR might outweigh the positive, especially since Brooke and Ridge pushed Eric out and that was a PR nightmare, and Bill made sure that the fashion press knew that they had forcibly retired Eric. And Hope pushing Brooke to push Ridge honestly could be the end of Forrester Creations as we know it.

There is no way that Steffy’s going to take a backseat and answer to Brooke and let her take her job with no consequences. And I could see a world where she and Bill conspire with Steffy and make sure that long-term it’s better for Forrester Creations to be in her hands rather than Ridge and Brooke’s hands. So, we’ll see what happens, but I think this would be a really cool twist.

Former NFL player Jaire Alexander is pulling back the curtain on his decision to step back from football at age 28.

In an emotional essay for The Players’ Tribune, published on Wednesday, May 13, Alexander, now 29, recalled being traded from the Green Bay Packers to the Baltimore Ravens and facing off against Josh Allen and the Buffalo Bills while recovering from a knee injury. That game, Alexander said, was “brutal.”

“Following that Bills game opening weekend, that was the first time in my life where it’s ever crossed my mind like, I don’t know if I can continue to play football anymore,” he wrote. “I’d been looking forward to that game for so long. Been telling myself I was gonna go out there and dominate. And then … it just didn’t happen.”

Alexander recalled losing “trust” in himself as a player after the game, sharing that he “lost faith in everything and everybody.” While dealing with the aftermath of his performance against the Bills, Alexander was traded to the Philadelphia Eagles and felt the need to “prove something.” At the time, the Eagles were gearing up to play the Packers and Alexander recalled “freaking out” about his knee “getting worse.”

Related: Everything Jason Kelce Said About Retiring from the NFL

Jason Kelce has been a fixture of the Philadelphia Eagles offense for more than a decade, but he was realistic about the idea of retirement prior to officially stepping down in March 2024. Kelce was drafted in 2011, becoming the first rookie in Eagles history to start all 16 regular season games at center. He […]

“I went home the night before we were supposed to be flying out to Green Bay in the morning, and I didn’t sleep a wink. I’m tossing and turning in bed nonstop. I’m worried and anxious and unable to stop all the negative thoughts from creeping in,” he wrote. “I couldn’t do it anymore.”

He continued, “At like 3 or 4 a.m., I sat up in bed and texted everyone with the Eagles. It was like…. ‘I’m sorry, but I don’t think I’m going to do this. I can’t keep playing like this.’ Then, a few hours later, I went down to the facility and told them all in person. I was done.”

Alexander went on to have a “very emotional heart-to-heart talk” with Eagles defensive backs coach Christian Parker, recalling that he was “basically crying [his] eyes out.”

“I remember telling Coach Parker in that moment: ‘My head’s messed up right now. My head is truly messed up. I don’t know what to do anymore,’” he wrote. “Deciding to step away from the game was one of the toughest things I’ve ever had to do. But I absolutely did have to do it.”

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Jason Kelce isn’t afraid to show his emotional side, on and off the field. During the Wednesday, January 17, episode of his and Travis Kelce‘s “New Heights” podcast, Jason, 36, opened up about playing in what was likely his final game with the Philadelphia Eagles after 13 years. Jason’s team faced the Tampa Bay Buccaneers […]

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When news broke that Alexander would be stepping away from football, he shared that it felt like “the weight of the world had been lifted off [his] shoulders.” He added that there were “no regrets,” and he has since been able to recover his knee, sharing that it “actually feels great.”

“People still sometimes ask me if I’m ever gonna come back and play. And, you know what … I’ll never say never — I still work out, and the knee’s fine now, so I’m in good shape. But for me, right now, the most important thing really is just to be in a good place overall. To be happy,” he wrote.

He concluded, “If there’s anything I’ve learned over this past year, it’s that life isn’t always gonna go perfect. There will always be ups and downs. And sometimes just being able to say that you’re in a good place, and just being happy overall ….That really is good enough.”

A leaked song from Drake’s upcoming album seemingly has several Hollywood A-listers in the crosshairs.

Clips of Drake’s new song “1 a.m. in Albany” surfaced on social media on Wednesday, May 13, leading fans to attempt to piece together the lyrics.

“Muggsy Bogues dunked for once, even I’m a bit amazed, someone give the kid a raise,” one lyric read, referring to the retired point guard that had fans believing was a dig at Kendrick Lamar. (Bogues was famously the shortest player in NBA history at 5-foot-3, while Lamar stands at 5-foot-5.)

While Drake, 39, and Lamar, 38, were once friendly peers, they’ve been embroiled in a back-and-forth rap battle for years.

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“I don’t ever want to get into responses,” Drake told Vibe in 2013 when asked whether he had written “The Language” about the drama. “ It’s just me talking my s***. I never once felt the need to respond to [Lamar’s ‘Control’]. The sentiment he was putting forth is what he should have.”

He continued, “Of course you wanna be the best. Where it became an issue is that I was rolling out an album while that verse was still bubbling, so my album rollout became about this thing. What am I supposed to say? ‘Nah, we’ll be buddy-buddy?’ Mind you, I never once said he’s a bad guy [or] I don’t like him. I think he’s a f***ing genius in his own right, but I also stood my ground as I should.”

Lamar, for his part, released a song called “6:16 in L.A.” in 2024 that has parallels to Drake’s “Albany” title. (However, Drake has dropped several tracks with times in the titles, including “5 a.m. in Toronto” and “4 p.m. in Calabasas.”) The next year, Lamar headlined the 2025 Super Bowl halftime show and invited Drake’s ex Serena Williams to join his performance of “Not Like Us,” which was also about the feud.

Drake seemingly slammed the song in his 2025 track “What Did I Miss?”

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“I don’t give a f*** if you love me, I don’t give a f*** if you like me / Askin’ me, ‘How did it feel?’ Can’t say it didn’t surprise me,” he began, appearing to reference peers who took sides. Later in the song, he rapped, “It’s love for my brothers and death to a traitor, let’s go / She might decide to say no to me now, but say yеs to me later, let’s go.”

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In another “1 a.m. in Albany” lyric, Drake appears to call out J. Cole as a “married rapper” before going after LeBron James for siding with Lamar in their now-viral beef.

“I shouldn’t even be shocked to see you in that arena, because you always made your career off of switching teams up,” the lyrics read. “Please stop asking what’s going on with 23 & me, I’m a real n****, and he’s not, it’s in my DNA.”

Drake’s album Iceman will be released on Friday, May 15.

By Chris Sawin
| Published 22 seconds ago

The Gundam franchise is weird, and that’s mostly due to the fact that it seems to distance itself from the very thing that would make it awesome. Trained humans pilot skyscraper-sized giant mobile suits called Gundams, so naturally, what you’d want to see in a new Gundam film is a bunch of Gundam action: flying around, destroying stuff, and possibly doing battle with other mobile suits.

What hinders a lot of these newer Mobile Suit Gundam films is that they are supposed to be about some sort of ongoing war, but you typically don’t see it. Instead, the films are going to be spending more time on the political portion of it, which means a whole lot of lengthy-ass dialogue sequences you couldn’t give two craps about.

2021’s Mobile Suit Gundam: Hathway is currently streaming on Netflix, and it’s decent. It’s still way more verbose than it needs to be, and you generally don’t care that much about any of the characters, but there are at least a handful of action sequences that make it worthwhile. Hathaway opens fantastically to an airplane heist. There’s a sequence of people trying to run and find cover while mobile suits battle nearby, it’s destructively amazing, and the flying sequences are killer. The Gundam pilots can see everything in front of them with nothing blocking their vision. Everything feels open like an IMAX screen, with every explosion or incoming enemy as visible to you as it is to them.

It’s intriguing that Mobile Suit Gundam Hathway: The Sorcery of Nymph Circe is made by all the same people as the previous film because it’s somehow even slower and more boring by comparison, and the character arcs are all over the place. The Sorcery of Nymph Circe is directed by Shuko Murase, who directed the entirety of the anime series Witch Hunter Robin and Ergo Proxy, as well as single episodes of Samurai Champloo and Michiko & Hatchin.

Complimenting Contrasts Were Better Done In The Past

The film is written by Yoshiyuki Tomino, who has been writing for the Gundam franchise since its inception in 1970. Before that, Tomino was also a writer for the original Astro Boy in the 1960s. The Sorcery of Nymph Circe is also written by Yasuyuki Muto, who helped write the adult animation series Bible Black, Afro Samurai, Afro Samurai: Resurrection, and Mobile Suit Gundam Unicorn.

The involvement of Murase, Tomino, and Muto is notable because, by now, these guys seem to know what makes an interesting Gundam film. In The Sorcery of Nymph Circe, the animation blends traditional and computer animation. Sometimes the CGI is so realistic that you think you’re looking at actual footage. Most of the water in the film looks real, and the title sequence featuring a white curtain appears genuine for a moment. The contrast also seemed to work better in Hathway, with the traditional animated sequences looking incredible and the CGI complementing them. The mobile suit battles were CGI during intense action, but hand-drawn when they were idle.

Embracing The Darkness In All The Wrong Ways

More often than not, though, the CGI sequences are pure trash in The Sorcery of Nymph Circe. Most of the ships look flat, blocky, and unfinished. There are also at least two instances in this film where major sequences take place in almost complete darkness. It’s just voices in the dark in an animated film for up to five minutes at a time, and it’s during crucial times where it seems like they’d want to show something.

Maybe it was meant to be realistic if you were standing there with no light source, trying to decipher people blobs in the dark. Or maybe it’s an instance of censorship where they’re trying to mask whatever blood or violence we may have seen with the lights on. Honestly, we’ll never know, and the dialogue doesn’t help much despite taking up 90 minutes of the 105-minute duration.

A Disjointed Continuation

Chronologically, Hathaway follows Mobile Suit Gundam Narrative and is the second work in the UC Next 0100 Project. Both come after Mobile Suit Gundam Unicorn in the Universal Century timeline. Hathaway and The Sorcery of Nymph Circe are two-thirds of a new Gundam film trilogy, which is connected to the 1988 film Mobile Suit Gundam: Char’s Counterattack. Hathaway introduced us to Hathaway Noa. He pretends to be a plant inspector while traveling to Earth to retrieve the new Gundam.

On the plane, he meets Gigi Andalusia, a young 20-something mistress who has the gift of intuition, and Federation Colonel Kenneth Sleg. Kenneth’s defining quality is that he’s a womanizer. Hathway spends the most time with Gigi; he shares a room with her, sees her naked, and saves her life. But she still runs off with Kenneth at the end. The most important thing to happen is that Hathaway gets his Gundam.

Despite the five-year gap between Hathway and The Sorcery of Nymph Circe, not much happens in the film. Hathway is pulled between three women in the film: his actual girlfriend, who he’s been having issues with, a mechanic who likes to wear overalls and nothing else underneath (he compliments her breasts), and Gigi, whom he now suddenly can’t stop thinking about despite the two of them bitching at each other whenever they were on screen together in the last film.

Gigi is still under Kenneth’s protection throughout most of the film, but she goes back to the count’s place briefly. She’s been seeing an old man who’s wheelchair bound and is probably the reason she’s wealthy. She redecorates his house, then leaves him to return to Kenneth, but spends the entire film obsessing over Hathaway. Her intuition proves useful upon her return to Kenneth, but she’s passed around like a hot potato so often that you don’t care.

A Wordy, Self-Absorbed Drama

Meanwhile, Kenneth has become the commander of The Federation. He was seeing a woman closer to his age, but Gigi ruins that, and he’s into it. The anti-Earth Federation group Mafty is what Kenneth has been chasing in these two films. Hathaway was secretly working with them the entire time during the previous film, and now Kenneth is attempting to find Hathaway, his Gundam, and whatever Mafty hideout he can get his hands on.

There is one flying sequence about half an hour into the film, and about ten minutes of the finale are a Gundam/mobile suit battle, but that’s it. The rest of the film is literally just people talking. It’s also weird that The Sorcery of Nymph Circe features two montages: Gigi’s interior decorating montage and Hathway’s broken relationship montage. Then the end credits play over “Sweet Child O’ Mine” by Guns ‘N Roses.

Mobile Suit Gundam: Hathaway has some hiccups, but ultimately shows promise with its action sequences. But Mobile Suit Gundam: The Sorcery of Nymph Circe is so dull, feels tortuously long, and all of the characters are selfish a-holes. The sequel feels uneventful, and its strange use of almost absolute darkness and bizarre montages only sours the fact that you could be watching mobile suits pound each other stupid in the sky instead.

Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe SCORE

You literally don’t care about anything they’re talking about. Unless the third film is somehow able to distance itself from being a wordy, self-absorbed drama, then these new Hathaway films are only worth putting on if you’re in need of a good nap.

Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe arrives in US theaters on May 15.

This article covers a developing story. Continue to check back with us as we will be adding more information as it becomes available.

This article covers a developing story. Continue to check back with us as we will be adding more information as it becomes available.

Superhero movies are not a product of the 21st century, by any means, but they have become particularly popular over the past couple of decades. X-Men (2000) and Spider-Man (2002) were big in that regard, for helping elevate the genre, and then both those movies had sequels that were even better. And that’s before getting to 2008, which saw the release of The Dark Knight (maybe one of the best movies, superhero or otherwise, of the past few decades) and Iron Man, which kicked off the entire Marvel Cinematic Universe.

But enough about good superhero movies. What about the bad ones? Actually, not the bad ones, but the genuinely terrible ones? Here are eight that are all-out awful. They are not the only awful ones, and they might not even technically be the eight worst, but they are eight that are consistently very bad, and most don’t even have the decency to be bad in fun ways, either.

8

‘Supergirl’ (1984)

Image via Cantharus Productions

At the time of writing, 2026’s Supergirl movie is not yet out, but even if it’s bad, it’s unlikely to be as bad as the 1984 film of the same name. This one just does not work on any level, not at all doing justice to its titular character the way Superman (1978) and Superman II (1980) did justice to their titular character. It’s also probably a little worse than the divisive Superman III (1983), but as to how it stacks up against that fourth film… well, the fourth movie will be gotten to. You’re not off the hook yet, man who is super.

As for girl who is super, movie about girl who is super is anything but super. It wastes an impressive supporting cast that includes Faye Dunaway, Peter O’Toole, and Mia Farrow, while it’s hard not to feel bad for Helen Slater in the central role, because it was her first proper movie, and it was not good enough to kickstart a career the same way Christopher Reeve’s role in the first Superman movie did.

7

‘Blade: Trinity’ (2004)

Image via New Line Cinema

For a few pleasant years, the Blade series was going pretty well. The first movie was honestly somewhat groundbreaking, in hindsight, doing the whole R-rated superhero thing long before it was cool (unless you count The Crow, but that’s a little different), and then Blade II was arguably even better, or at least it felt a bit more cinematic and stylish, thanks to it being an early Guillermo del Toro movie.

All of it came crashing down, though, with the release of Blade: Trinity. The good times lasted from 1998 to 2004, as far as the Blade film series was concerned. 2004’s Blade: Trinity was bad enough to make the whole trilogy feel kind of shoddy, and not worth engaging with as a trilogy. You’re better off treating the first two movies like a duology, and then when Wesley Snipes shows up again in Deadpool & Wolverine… eh, do what you want with that movie. This writer can take or leave it, but at least it’s not as bad a third movie in an overall trilogy as Blade: Trinity.

6

‘Guardians’ (2017)

Image via Turbo Films

If you get Guardians (2017) mixed up with Guardians of the Galaxy Vol. 2 (2017) and pick the former to watch when you wanted the latter, you’re probably going to be disappointed, unless you really like schlock. Guardians is pure schlock, and schlock that looked like it cost about $500 to produce, being a very generic superhero team-up movie that’s not really anything more than a mockbuster.

Despite the title, it feels most like a riff on The Avengers, just without anything very good. Still, even if it’s possibly technically even worse than Suicide Squad (2016), it is at least a lot more entertaining than Suicide Squad, because of how amateurish it is. In fact, if you’re going to subject yourself to any movie in this ranking, you’re best off making it Guardians. It’s the shortest of the bunch, the most chaotic, and possibly the one that comes closest to situating itself in that fabled “so-bad-it’s-good” territory.

5

‘Justice League’ (2017)

Image via Warner Bros. Pictures

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Since Zack Snyder’s Justice League (2021) exists, there is no reason to watch Justice League (2017) anymore. Basically, Zack Snyder was the original director, but stepped away from the project for personal reasons late in production, and there were extensive reshoots and re-editing that led to an absolutely butchered final product, which was devoid of pacing, fun, and anything even remotely engaging.

2017’s Justice League is one of the most baffling and shoddily put-together movies in recent memory, occupying the same award territory as The Mummy from that same year, in terms of movies that really tried to speed-run the process of establishing a Marvel-level cinematic universe. The DC movies before Justice League, though flawed, were doing a slightly better job of establishing things, but this one really tripped the whole thing up. Even if the Snyder cut is twice as long, and technically not perfect, it’s still so much more worthy of your time than the 2017 version.

4

‘Catwoman’ (2004)

Image via Warner Bros. Pictures

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Talking about Catwoman (2004) is like beating a dead cat, and people aren’t used to that saying, compared to the somehow more gentle-sounding “beating a dead horse,” so it feels bad drilling into it like that, but it deserves the scorn. Horse or cat, you have to beat it, and the thing’s dead, because there isn’t anything all that nice that can be said about Catwoman, beyond it maybe sometimes having laughable moments.

There aren’t as many funny-bad moments as there were in Guardians, though. Again, you should watch that, if you really have to watch a movie in this ranking. But if you somehow have to watch two movies in this ranking, make the second one Catwoman. It’s a hell of a time capsule for the mid-2000s, that’s for sure, for better or worse (mostly worse).

3

‘Venom: The Last Dance’ (2024)

Image via Sony

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Like with the Blade movies, you can sort of defend the first two Venom films if you’re feeling generous, but the trilogy ends with something beyond a whimper, with Venom: The Last Dance. This is a feeble, lazy, abysmally edited, and genuinely disrespectful movie. This movie thinks you’re an idiot. This movie does not like you. This movie nakedly wants your money and literally nothing else to an honestly ghastly extent.

And yeah, it’s the closest thing to a hot take this ranking has. People don’t detest Venom: The Last Dance enough, though there is some comfort to be taken from the fact that, in place of hatred, it has been forgotten. It’s basically dropped off the face of the Earth, in that no one really talks about it anymore. That’s saying quite a bit, actually, considering late October 2024 was not all that long ago, in the overall scheme of things. Still, a month to live on in infamy, as it marked the first time Tom Hardy looked genuinely checked out and not even remotely committed to a role (and you can usually rely on him to at least try, even in the overall less-than-great movies he’s appeared in).

2

‘Thor: Love and Thunder’ (2022)

Whatever the opposite of a magnum opus is, that’s what Thor: Love and Thunder stands as, within Taika Waititi’s filmography. An agnum mopus? Yeah. It’s his agnum mopus. It is the fourth of the Thor movies, and it’s somehow a good deal worse than the second one, because its crime was being perhaps the most forgettable movie in the Marvel Cinematic Universe, while Love and Thunder stands out as the franchise’s single most annoying movie.

It also sours Thor: Ragnarok, in hindsight, because that was also directed by Waititi and had a similarly anarchic tone, and was fun back in 2017, but now feels like a warning/omen for further escalation into nonsense, come 2022. If this one killed your interest in the MCU as a whole, that’s fair enough. Thor: Love and Thunder is that bad, and landed Waititi a very brief but deserved stint in director’s jail (2023’s Next Goal Wins was mostly filmed before, and he’s since been paroled for long enough to direct the upcoming Klara and the Sun, so we’ll see).

1

‘Superman IV: The Quest for Peace’ (1987)

Image via Warner Bros.

As promised/threatened before, when talking about Supergirl (1984), here’s Superman IV: The Quest for Peace, which could well be the most joyless, lazy, and generally disheartening superhero movie ever made. Everyone in this film looks some combination of tired and painfully aware of how bad the material is that they’ve been given, and it’s easy to feel empathetic, because you’ll feel like you want it to be over as soon as possible, too, just like all the people on-screen.

Probably. This was a movie that people probably hated working on. It has an abysmal reputation that it more than earns, and it’s saddening to watch nowadays, knowing it was the final Superman-related movie Christopher Reeve appeared in during his lifetime (though his likeness being used in 2023’s The Flash might not be much better). It’s just a miserable time all around, and anyone who’s not seen it is best off staying away, even if you’re making your way through all the Superman movies and want to be a completionist. Seriously, just rewatch the 1978 film, or its 1980 sequel, instead.

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Superman IV: The Quest for Peace

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Release Date

July 24, 1987

Runtime

90 minutes

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Director

Sidney J. Furie

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Writers

Lawrence Konner, Mark Rosenthal

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  Christopher Reeve

  Clark Kent / Superman

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By Robert Scucci
| Published 35 seconds ago

When it comes to movies, there are two things I love more than anything else: thrillers and short runtimes. While scrolling through Netflix for a quick late-night watch, I stumbled upon 2017’s Wheelman, which checks off both of those boxes. Some movies just don’t have a lot of story to them, but instead give you a quick glimpse into a day in the life of their characters. 

In Wheelman’s case, it’s about a getaway driver who finds himself in an increasingly sticky situation after the bank robbery he helps facilitate, almost as if he’s being set up as the fall guy or diversion for a much larger crime about to unfold. This doesn’t need to be a long, involved story, so it isn’t. The entire movie takes place almost entirely inside a car, with our protagonist trying to figure out in real time exactly what’s going on through frantic phone calls, most of which go straight to voicemail.

There’s no worldbuilding or deep lore in Wheelman. It’s just a guy in a car who knows he’s in trouble, and, even worse, knows he doesn’t have a lot of options, or time, to get out of it. Sometimes, that’s all a movie needs to be, and whenever that’s the case, I’m always here for it.

The Entire Plot In 4 Sentences 

Frank Grillo is a getaway driver for hire known only as Wheelman, and he’s instructed by his handler to ditch the bank robbers he’s supposed to help escape after they load the money into his trunk. Thinking that Clay (Garret Dillahunt), the partner who arranged the robbery, has something to do with this setup, Wheelman tries to reach him by cellphone but can’t get a hold of him, all while receiving menacing texts from an unknown sender. Wheelman worries about the safety of his 13-year-old daughter, Katie (Caitlin Carmichael), and, to a lesser degree, his ex-wife Jessica (Wendy Moniz), because they’re mentioned by name and he has no idea who he’s dealing with. As the night progresses, Wheelman learns that Clay is tangled up with competing crime families, putting him in the kind of situation that doesn’t come with a clear-cut exit strategy.

Like I said, Wheelman is a relentlessly tight thriller, mostly involving a guy on the phone trying to figure out his next move. In this case, there’s gunplay, dangerous people, and no obvious solution to our protagonist’s problems. As the film barrels into its second and third acts, the stakes continually rise because we learn more about who’s involved, what they want from Wheelman, and exactly how his family factors into all of it if he doesn’t do everything they say.

The film’s tagline is simply, “Drive Fast. Think Faster,” and there’s really no better way to sum it up. As an avid advocate for shorter runtimes and smaller budgets, I’m here to dispel a very important myth: short runtimes are not for short attention spans. Wheelman is one of those “blink and you miss it” films where every single second counts. Every turn signal, cryptic message, voice in the background of a phone call, and all 286 F-bombs carry weight and continually add to the tension. For $5 million, you really can’t beat a movie like this because it’s an exercise in constant escalation, but it still paces itself in a way that keeps everything grounded in reality.

The Perfect “Guy In A Car” Double Feature

While Wheelman earns its keep as a neo-noir action thriller, it shares a similar setup with 2013’s Locke starring Tom Hardy. In that film, which was also produced for around $2 million and clocks in at just 85 minutes, Hardy plays a construction foreman ditching work the night before the biggest concrete pour of his career because a woman he had an affair with is about to give birth. The entire movie is him driving, calling colleagues and city officials, and making increasingly desperate phone calls home as he breaks the news to his wife and sons.

As boring as Locke sounds on paper, it’s a captivating watch because it’s about a man trying to do the right thing after making a massive mistake. His life as he knows it is over, and he understands that, but he still keeps his composure while flying down the highway, determined to be present for the birth of his child for reasons that don’t initially make total sense, but become clearer as his late-night drive progresses.

Both films are cut from the same cloth, but operate on completely different frequencies. They’re also both streaming on Netflix, so my recommendation is to check them out the next time you want something a little different. Watch Locke for the emotional weight, then pivot over to Wheelman for the thrill of being on the run with a trunk full of money while your family waits on the sidelines, hoping you get to them before some unknown assailant does.