Entertainment
10 Worst Movie Couples With No Chemistry, Ranked
When you watch a movie, the most important part about it is believing the actors. You could have a brilliant script and stunning cinematography, but if you don’t believe the people on screen, chances are something’s off. Now, when two characters are meant to be two characters in love, it is a must that the actors have chemistry. Nothing can kill a film, especially those in the romance genre, like actors with zero chemistry. While there could be 100 people in a room, and if 99 of them don’t believe in the characters, that one person likely has no taste or wasn’t paying attention.
The ten on-screen couples are prime examples of bad chemistry. Focusing on films where the two characters engage in a romantic entanglement, these examples nearly killed the film for good. Some just couldn’t tackle the material, others couldn’t put aside their ego to give their scene partner space, and then there are those whose off-screen woes made it to the big screen. Some of these actors could be on here multiple times; we’re keeping it to one entry per actor. We love love, but not when it turns out like these pairs.
10
Jennifer Lopez and Ralph Fiennes
‘Maid in Manhattan’ (2002)
Because of the one-film rule made for this list, we couldn’t put two Jennifer Lopez projects here. Sorry, Brett Goldstein. Rather, you’re welcome? While Netflix’s latest romcom, Office Romance, nearly stole this spot, there is no J.Lo romcom in which she had worse on-screen chemistry than in Maid in Manhattan. Lopez and Ralph Fiennes are great at what they do, respectively— Lopez in music and Fiennes in dramas— but as a romantic pair? Not so much. Based on a story by John Hughes under the pseudonym Edmond Dantés, the Wayne Wang-directed film follows Marisa Ventura (Lopez), a hardworking single mother and hotel maid in New York City. Her life changes when a handsome senatorial candidate, Christopher Marshall (Fiennes), mistakes her for a wealthy socialite after she is caught trying on a guest’s designer coat. A charade in class, Maid in Manhattan is a story about two people who are meant to form a genuine relationship, but everything on screen was all a facade.
There must be something about British men that Lopez has difficulty acting across from. The premise of the film stems from two individuals coming together from two different worlds. And Maid in Manhattan went full throttle on the premise. It was a mismatch of acting styles. Lopez was intended to play a woman of a considerably lower social class, yet the superstar pop star still shone through. As Marisa, she’s meant to present a pristine polish, but it was still J.Lo. Then, Fiennes, who is classically trained, brought that aura to the screen. While he’s notorious for playing romantic leads, such as in The English Patient, romcoms are a different beast. Another major hiccup in the filming was the off-camera drama. At the time of filming, Lopez was in the process of divorcing her former dancer, Cris Judd, while also having a secret romance with Ben Affleck. Acting is all about playing a part, but from those two to opposite Fiennes? It was never going to work. That said, Maid in Manhattan is a delightful guilty pleasure movie.
9
William Baldwin and Sharon Stone
‘Silver’ (1993)
The 1993 film Silver might be notorious for everything but the film itself. Based on Ira Levin‘s novel of the same name, Silver is an erotic thriller about a book editor, Carly Norris (Sharon Stone), who moves into a high-tech Manhattan apartment building only to discover it has a dark history of suspicious tenant deaths. She soon becomes entangled in a dangerous web of voyeurism and romance involving her mysterious neighbors: Zeke Hawkins (William Baldwin), a shy, handsome video game designer who is secretly the building’s owner and a hidden voyeur; and Jack Landsford (Tom Berenger), a burned-out, cynical crime novelist. Meant to be Stone’s highly anticipated follow-up to Basic Instinct, the film, amid significant rewrites, battled with the ratings board and a toxic off-screen dynamic, suffered greatly in its on-screen chemistry.
Erotic thrillers were truly all the rage in the ’90s. Once Basic Instinct flourished, every studio wanted the next best thing. Levin’s source material was there for it to happen, but the production of Silver was anything but clean. The MPAA originally gave the film an NC-17 rating, which forced the filmmakers to make extensive reshoots. The original killer was changed from Zeke to Jack because, if Zeke were the killer, it would have led to an immoral revelation from Carly, which did not screen well. But the most egregious part of production was the allegations that producer Robert Evans pressured Stone into having sex with Baldwin, arguing it would improve his acting and “save the movie.” Baldwin has refuted this, claiming Stone came on to him and he rejected her advances. Nevertheless, the two actors quickly developed mutual animosity, which affected their performance. The result was a painfully uncomfortable result that lacked any sexual intrigue. The tension was forced by two underdeveloped characters trying to find any semblance of connection. If there is anything going for the film, it lost every category it was nominated in at the Razzies. Something had to be worse: Indecent Proposal, another erotic drama.
8
Kate Hudson and Matthew McConaughey
‘How to Lose a Guy in 10 Days’ (2003)
What’s funny is that nearly twenty years later, Matthew McConaughey recalled “easy chemistry” with Kate Hudson, having bonded on the set of How to Lose a Guy in 10 Days. Unfortunately, what he may have perceived as chemistry was far from what he saw on screen. Seen as one of the go-to romantic leads of the early aughts, McConaughey shared the screen with everyone, including Jennifer Lopez and Sarah Jessica Parker, but his least convincing scene partner was the daughter of Goldie Hawn. The guilty pleasure chick flick based o Michele Alexander and Jeannie Long’s picture book, advice columnist Andie Anderson (Hudson) is tasked with writing a first-hand article about the classic mistakes women make that drive men away. In order to enact the experiment, she needs to find a guy, date him, and get him to dump her in exactly 10 days. Meanwhile, her target, Benjamin Barry, is an ambitious advertising executive who bets his boss, Phillip Warren (Robert Klein), that he can make any woman fall in love with him within 10 days to win a highly coveted diamond account. Chaos ensues through two opposing objectives, only for the pair to realize they had feelings for one another all along. The epitome of a classic romcom, Hudson did extraordinarily well in driving McConaughey away, so that when the contrived conclusion arrived, it became laughable.
Don’t get me wrong, How to Lose a Guy in 10 Days is a delight. It’s a comfort watch when you need something mindless and nostalgic. With so much of their chemistry built on push-and-pull secret agendas and comical friction, the immediate, seamless romance was forced. They may have had an on-screen spark because of their natural charisma, but it didn’t mean it translated into the romance department. Both actors leaned into extremes for their characters to be triumphant. In the real world, chaotic and exaggerated behaviors would be massive red flags that would raise major concern. In a way, their easy, breezy demeanor to their agendas played out more as competitive siblings than swooning young lovers. How to Lose a Guy in 10 Days triumphs as a comedy, but falters as a genuine romance. Hudson and McConaughey forgot to make us believe in Andie and Ben.
7
Jimmy Fallon and Drew Barrymore
‘Fever Pitch’ (2005)
The pipeline from Saturday Night Live fan-favorite to Hollywood star is every cast member’s dream. There are some individuals who make that transition seamless— Mike Myers, Adam Sandler, Will Ferrell. Then there are those like Jimmy Fallon, who was never going to make it as an actor, proving through Weekend Update that he was always better suited for hosting. So, in regard to 2005’s Fever Pitch, the blame is not going to be on Drew Barrymore, who we know is a wonderful romantic lead. This one all falls on the shoulders of the future Tonight Show host. Now, to preface, I’m not knocking on Fever Pitch as a New York Yankees fan— Fallon’s love for the Boston Red Sox was greater than that of Barrymore’s character. Directed by Peter and Bobby Farrelly, Fever Pitch follows Ben Wrightman (Fallon), an obsessive Red Sox fan, whose life revolves around baseball. In the winter, he is the perfect, attentive boyfriend, but once spring training arrives, he’s all consumed by the Red Sox. Lindsey Meeks (Barrymore), a dedicated executive, is up for a career promotion and tries to understand Ben’s sports rituals. He refuses to miss a game to accommodate her professional and personal schedule. Friction and fracture emerge, but they eventually learn what it means to be “present” and how a die-hard superfan can make mutual sacrifices for their other love.
Originally based on the Nick Hornby book, which swapped out baseball for soccer, the love letter to sports. The film is best remembered for being filmed at Fenway Park in 2004, when the team broke their 86-year World Series drought. But as far as the product itself, Fallon really forgot he had a human scene partner. Perhaps taking too much inspiration from his Boston-loving SNL character, Fallon’s big-screen transition was weak. Especially compared to the famous child star who had made a name for herself in the romance genre. Fallon played affably well, but his goofy demeanor didn’t match what Barrymore was providing. The Farrelly Brothers had a history of dumb comedies, but this was a far stretch from Dumb and Dumber, There’s Something About Mary, and Shallow Hal. Fever Pitch was not a film for a silly guy to play opposite a steadfast romantic lead. Fever Pitch was mismanaged from all directions.
6
Robert Pattinson and Kristen Stewart (and Taylor Lautner)
The ‘Twilight’ Saga (2008-2012)
This one is going to be divisive. If you’re on a team that debates a team, you most certainly will take offense to this entry. For those who were not completely taken by the book-to-film adaptations, you likely could see through the poor performances. The chemistry in The Twilight Saga may be weak, but the box office numbers greatly disagree. Based on Stephanie Meyer‘s beloved novels, the film series chronicles teenager Bella Swan (Kristen Stewart), who moves to Forks, Washington, and falls in love with Edward Cullen (Robert Pattinson), a 108-year-old vampire. Their forbidden romance draws Bella into a supernatural world of vampires and werewolves, one of whom she finds comfort in, Jacob Black (Taylor Lautner). The frenzy of Team Edward vs. Team Jacob got pop culture flustered because the vampire and werewolf were deemed peak fantasy boyfriend material. But the material the actors were forced to perform proved that clunky dialogue and dry execution from its leads is simply awkward.
The Twilight Saga was built upon the moody tone. It was an emo’s guide to love and loss. But for an on-screen performance, it was completely restrictive. There was an intentional awkwardness in Stewart’s performance meant to reflect teenage emotions, but when it’s paired with the stoic nature of Pattinson’s Edward, they both come across as stiff and emotionless. How are we supposed to champion these two as a couple without a genuine semblance of human passion? OK, yes, one as technically a vampire, but even so. There is a fire coming out of Lautner as the werewolf, but when he’s up against Stewart, it’s as if he hits a brick wall, cowering like a puppy in order to reach her level. Unfortunately, this was all by design. They played what was on the page. Edward was a sullen, tragic individual. Bella was detached and guarded. Lautner was the best of the three, but he was meant to be the third wheel. Remember when Pattinson and Stewart were romantically linked? At least they found the chemistry we all continue to look for.
5
Katie Holmes and Christian Bale
‘Batman Begins’ (2005)
The resurgence of Batman through the vision of Christopher Nolan was not necessarily known for its romance. In fact, if there was one fatal flaw from the trilogy, it’s what audiences saw in Batman Begins between Christian Bale‘s Bruce Wayne and Katie Holmes‘ Rachel Dawes. In the trilogy’s first film, Bruce Wayne begins his transition into the notorious masked vigilante as he overcomes the trauma of his parents’ murder. Training in martial arts with the League of Shadows, Wayne returns as Batman to save a corrupt Gotham City from destruction. While the bad guys try to thwart his plans, his childhood friend and love interest stalls all character development. So much so that when she was recast for The Dark Knight, audiences noticed a genuine acting upgrade in Maggie Gyllenhaal. Now, to note, Holmes was not replaced because of her performance. It was strictly business on her end. But with another actress spending any time in the part, it was evident that something was amiss between her and Bale.
The script tried to prioritize a more platonic dynamic between Wayne and the assistant district attorney, but it caused a rigid character dynamic that felt forced. Rachel was meant to anchor Wayne’s moral compass, so as much as anyone tried to push for something romantic, it read as professional and friendly. What also didn’t help was Nolan’s narrative priorities, which were not romance. Viewing them more as a structural necessity, Dawes was original to the story, but given Batman’s history of romantic interests, fans were waiting for the shoe to drop. Oh, and we cannot forgive Bale as he wasn’t innocent either. He brought such an intense performance, it was a far cry from Holme’s more reserved and grounded acting choices. Bale’s brooding ultimately became the winning formula by the end of the trilogy; it was not entirely understood in Batman Begins.
4
Jason Momoa and Amber Heard
‘Aquaman’ (2018)
Casting Jason Momoa as Arthur Curry, aka Aquaman, was certainly a choice. No longer did the DCEU want a blonde-haired, blue-eyed all-American boy like the ones previously portrayed by Justin Hartley and Alan Ritchson. Instead, they opted for a darker, brooding iteration for Zack Snyder‘s Justice League. By the time the solo film arrived, the cinematic universe had made its choice, and Momoa was their guy. Now, the story needed to revolve around him, which meant the ensemble had to work for Momoa more than the character. And yet, Amber Heard as Mera just simply could not connect. Perhaps the fantasy element as a fantasy warrior was too hard to play. Aquaman follows the half-human, half-Atlantean who must journey to the underwater kingdom of Atlantis to stop his power-hungry half-brother, King Orm (Patrick Wilson), from uniting the seven oceanic kingdoms to wage war on the surface world. Perhaps Arthur was already too ingratiated with the people, but beneath the surface, Heard and Momoa were in two different films.
There was always going to be a tonal difference between Momoa’s Aquaman and every other character under the sea. There was a brightness to the Atlanteans that Momoa completely lacked. And yet, rather than making Mera a weak princess, Heard brought a more stoic, regal warrior to match the boisterous, rough-around-the-edges Momoa. Still, their styles contrasted far too much, making their romance forced. There was immense drama surrounding Heard and her involvement in the sequel, Aquaman and the Lost Kingdom. Many of her scenes were cut, with some believing it was due to the negative press surrounding the defamation trial controversy she had with Johnny Depp. But the studio stood strong on the allegations of a lack of chemistry. It was said that there was a lot of behind-the-scenes work in order to manufacture their romantic connection. Even still, it wasn’t right. It was an easy excuse to blame Heard rather than the actor in the titular role. But that’s where the blame may actually have fallen.
3
Jamie Dornan and Dakota Johnson
‘Fifty Shades of Grey’ (2015)
There have been countless books that fans have anxiously awaited the film adaptation. The hype surrounding the erotic romantic drama Fifty Shades of Grey was astronomical, but for a story that required perfect chemistry, it was anything but. Based on E.L. James‘ novel, the Sam Taylor-Johnson-directed film follows Anastasia Steele (Dakota Johnson), an inexperienced college student, whose life changes drastically after she interviews enigmatic billionaire Christian Grey (Jamie Dornan). What begins as a simple journalistic meeting quickly devolves into a passionate but unconventional romance as Ana discovers Christian’s secret BDSM lifestyle. The favorite book of housewives who pretended they never read it, the film had everything going for it, except a lead who couldn’t act her way out of a paper bag.
The thing with book adaptations is you can easily interpret a character, so tasking an actor to lift a character from the page to screen will likely be different than how you envisioned it. Dornan took an intentionally cold approach to portray Christian. Though some felt it was too empty, veering into the creepy, it was a logical direction he could go. Then there was Johnson. Anastasia Steele is meant to be naive, but Johnson took that to mean unresponsive. In turn, you had two walls of drying paint attempting to find a sexual dynamic that would get the audience feeling naughty about watching. There was no passion. It was not anywhere near close to how James envisioned her work.
Though both actors had their naysayers, it was Johnson who received the brunt of the pushback. Some tried to give credence to her work, blaming the script’s specificity, but if you saw Madame Web, that theory was out the window. Dornan and Johnson returned for both sequels, Fifty Shades Darker and Fifty Shades Freed, because, if it ain’t broke, don’t fix it. And by that, the audience was making it worthwhile at the box office. And by filming back-to-back, there was no off-ramp to reverse course. Fifty Shades of Grey was an important film for pop culture because we all needed the parodies to laugh at to make ourselves better for even watching it in the first place.
2
Johnny Depp and Angelina Jolie
‘The Tourist’ (2010)
In the early aughts, there were no two bigger stars in Hollywood than Johnny Depp and Angelina Jolie. Combining the two powerhouses should have resulted in a cinematic masterpiece. Instead, they delivered The Tourist. The romantic thriller co-written and directed by Florian Henckel von Donnersmarck, a remake of the 2005 French film Anthony Zimmer, tells the story of Elise (Jolie), the girlfriend of an elusive international fugitive, who uses an unassuming American math teacher, Frank Tupelo (Depp), as a decoy on a train to Venice. This accidental romance soon entangles them with both the police and a ruthless mobster, who mistakenly believe Frank is Alexander Pearce, the fugitive in question. The Tourist watches a vacation turn into a life-or-death chase as the pair evade authorities and criminals across the canals of Venice. What should have worked, based on star power, became a flop because the duo simply could not get on the same page, both as characters and as actors.
The premise of The Tourist was already a difficult one for any actor to play. Because Elise used Frank as a decoy to evade the predators, Jolie deliberately kept Elise secret, leaving both Frank and the audience at arm’s length. Add in the script’s lack of emotional depth, as the director preferred the stunning Venice backdrop over an actual romantic connection. Then, with Jolie playing up the ultra-glamorous femme fatale against the clueless and coy character Depp brought, there was no way for them to be at the same level. There was an innate disconnect. Of course, for a story about deceit and a twist that was even more deceptive, it just came off as unbelievable given the lead-up. As good as they were before The Tourist, there was no hope for them to bring any chemistry to the screen. But to make matters worse, the duo reportedly showed some behind-the-scenes indifference. Some sources claimed that Jolie had difficulty working with her co-star. With so much going against them, the crime caper became a sad example that not every great movie star can act well with one another.
1
Natalie Portman and Hayden Christensen
‘Star Wars: Episode II— Attack of the Clones’ (2002)
Nearly two decades after the original Star Wars was released, George Lucas returned to the well and gave fans what they always wished for: a prequel trilogy. Taking the established narrative of the Skywalker Saga and providing new light into how we got to Star Wars: Episode IV— A New Hope was every fan’s dream. Finally, the origin story of Darth Vader! The first film introduced Anakin Skywalker as an adorable, hopeful kid through Jake Lloyd’s strong performance. But when Anakin needed to grow up for Star Wars: Episode II—Attack of the Clones, his replacement, Hayden Christensen, made us instantly hate the character nearly as much as we despised Jar Jar Binks. Why did we loathe Christensen’s take on the great villain? He could not compare to the divine Natalie Portman.
The second part of the space opera follows Jedi Knight Obi-Wan Kenobi (Ewan McGregor) and Padawan Anakin Skywalker (Christensen) as they protect Senator Padmé Amidala (Portman) from assassination. While investigating the threat, Obi-Wan discovers a clone army, as Anakin falls in love with Padmé, ultimately triggering the devastating Clone Wars. Perhaps the most important love story in Star Wars history, it was one of the most mismatched actor pairings, making some of us wish she could have found someone better. A major reason why fans turned on Christensen’s performance is that he was the new kid in town. We already had a film to get to know and love Portman. Christensen had great difficulty navigating the highly stylized script, unnatural dialogue, and the experimental directorial approach that isolated the pair. Yes, they filmed some of their crucial romantic scenes against green screens.
In retrospect, having the events of Star Wars: Episode III—Revenge of the Sith to enlighten where the character was heading may give him some freedom for his initial choices. But even emo Anni was painful to get through. Prior to the second film, the only love story in the galaxy we watched was the ultimately forbidden burgeoning romance between Luke Skywalker (Mark Hamill) and Princess Leia (Carrie Fisher)—who we learned were siblings. Anakin and Padmé’s to be specific. We needed this to be our redemption. Christensen portrayed Anakin as far too socially isolated and deeply repressed. Padmé, though reserved, had some warmth inside, but against her scene partner, you had to wonder what she even saw in him. Star Wars‘ first six films were never known as emotionally rich. Perhaps if there was some nuance to play, we wouldn’t have knocked the chemistry-less duo.
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