the worst vampire movies of the last 25 years<\/a>, and he most certainly seemed to know it. Kingsley sleepwalks his way through a performance that feels more like a glorified cosplay than an actual piece of acting. There’s no denying that this Oscar-winning actor is one of history’s greatest, but there’s also no denying that he showed next to zero interest in making the character of Kagan work. Not that the script ever gave him a chance.<\/p>\n 3 <\/p>\n
Jason Robards \u2014 ‘Julius Caesar’ (1970)<\/p>\n
![\"Jason](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/jason-robards-as-brutus-in-julius-caesar.jpg\"\/)
\n Image via American International Pictures<\/p>\n
There is perhaps no greater actorial crime than to phone in Shakespeare, but that’s precisely what the legendary Jason Robards decided to do when he starred as Brutus in Stuart Burge’s 1970 adaptation of Julius Caesar. Before he became the first and only actor ever to win two back-to-back Best Supporting Actor Academy Awards, Robards starred in this lackluster and forgotten Shakespeare adaptation, a film that in its entirety feels like it’s phoning in the material.<\/p>\n
No actor looks more bored to be part of the project, however, than Robards. There’s a stiff, wooden feel to the way Robards delivers each and every one of his lines, as well as a noticeable lack of chemistry with his co-stars\u2014some of whom, namely Charlton Heston and John Gielgud, act circles around him here. Robards had reportedly never read or seen a Shakespearean play prior to taking the role, which was originally envisioned for Orson Welles, and his unhappiness with the whole process is visible in every scene he’s in.<\/p>\n
Collider Exclusive \u00b7 Oscar Best Picture Quiz
\n Which Oscar Best Picture
Is Your Perfect Movie?
\n Parasite \u00b7 Everything Everywhere \u00b7 Oppenheimer \u00b7 Birdman \u00b7 No Country<\/p>\n
Five Oscar Best Picture winners. Five completely different visions of what cinema can be \u2014 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.<\/p>\n
\ud83e\ude9cParasite<\/p>\n
\ud83c\udf00Everything Everywhere<\/p>\n
\u2622\ufe0fOppenheimer<\/p>\n
\ud83d\udc26Birdman<\/p>\n
\ud83e\ude99No Country for Old Men<\/p>\n
\n FIND YOUR FILM \u2192\n <\/p>\n
01<\/p>\n
What kind of film experience do you actually want?
\n The best movies don’t just entertain \u2014 they leave something behind.<\/p>\n
\n ASomething that pulls the rug out \u2014 that makes me think I’m watching one kind of film and then reveals I’m watching another entirely.
\n BSomething overwhelming \u2014 funny, sad, absurd, and genuinely moving, all at once.
\n CSomething grand and weighty \u2014 a film that makes me feel the full scale of what I’m watching.
\n DSomething formally daring \u2014 a film that pushes what cinema can even do.
\n ESomething lean and relentless \u2014 pure tension with no wasted frame.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
02<\/p>\n
Which idea grabs you most in a film?
\n Great films are driven by a central obsession. What’s yours?<\/p>\n
\n AClass, inequality, and what people are willing to do when desperation meets opportunity.
\n BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart.
\n CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back.
\n DEgo, legacy, and the terror of becoming irrelevant while you’re still alive to watch it happen.
\n EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
03<\/p>\n
How do you like your story told?
\n Form is content. The way a story is shaped changes what it means.<\/p>\n
\n AGenre-twisting \u2014 I want it to start in one lane and migrate into something completely different.
\n BMaximalist and genre-blending \u2014 comedy, action, drama, sci-fi, all in one ride.
\n CEpic and non-linear \u2014 cutting between timelines, building a mosaic of cause and consequence.
\n DA single unbroken flow \u2014 I want to feel like I’m living it in real time, no cuts to safety.
\n ESpare and precise \u2014 every scene doing exactly what it needs to do and nothing more.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
04<\/p>\n
What makes a truly great antagonist?
\n The opposition defines the protagonist. What kind of opposition fascinates you?<\/p>\n
\n AA system \u2014 invisible, structural, and almost impossible to fight because it has no single face.
\n BThe self \u2014 the ways we sabotage, abandon, and fail the people we love most.
\n CHistory \u2014 the unstoppable momentum of events that no single person can stop or redirect.
\n DThe industry \u2014 the machinery of culture that chews up talent and spits out irrelevance.
\n EPure, implacable evil \u2014 a force so certain of itself it becomes almost philosophical.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
05<\/p>\n
What do you want from a film’s ending?
\n The final note is the one that lingers. What do you want it to sound like?<\/p>\n
\n AShock and inevitability \u2014 a conclusion that recontextualises everything that came before it.
\n BEarned emotion \u2014 I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess.
\n CDevastation and grandeur \u2014 an ending that makes me sit in silence for a few minutes after.
\n DAmbiguity \u2014 something that leaves enough open that I’m still thinking about it days later.
\n EBleakness \u2014 an honest refusal to pretend the world is tidier than it actually is.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
06<\/p>\n
Which setting pulls you in most?
\n Where a film takes place shapes everything \u2014 mood, stakes, what’s even possible.<\/p>\n
\n AA gleaming modern city with a hidden underside \u2014 beauty masking rot, wealth masking desperation.
\n BA collapsing suburban life that opens onto something infinite \u2014 the multiverse of a single ordinary person.
\n CThe corridors of power and science at a world-historical turning point \u2014 where decisions echo for decades.
\n DThe grimy, alive chaos of New York and Hollywood \u2014 fame as both destination and trap.
\n EVast, indifferent landscape \u2014 desert and highway where violence arrives without warning or reason.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
07<\/p>\n
What cinematic craft impresses you most?
\n Every great film has a signature \u2014 a technical or artistic element that makes it unmistakable.<\/p>\n
\n AProduction design and mise-en-sc\u00e8ne \u2014 every frame composed to carry meaning beneath the surface.
\n BEditing and tonal control \u2014 the ability to move between registers without losing the audience.
\n CScore and sound design \u2014 music that becomes inseparable from the dread and awe of what you’re watching.
\n DCinematography as performance \u2014 the camera not recording events but participating in them.
\n ESilence and restraint \u2014 what’s left unsaid and unshown doing more work than any dialogue could.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
08<\/p>\n
What kind of main character do you root for?
\n The protagonist is the lens. Who you choose to follow says something about you.<\/p>\n
\n ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure.
\n BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary.
\n CA brilliant, tortured figure whose gifts and flaws are inseparable from each other.
\n DA self-destructive artist whose ego is both their superpower and their undoing.
\n EA quiet, principled person trying to make sense of a world that has stopped making sense.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
09<\/p>\n
How do you feel about a film that takes its time?
\n Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.<\/p>\n
\n AI love a slow build when I know the payoff is going to be seismic \u2014 patience for a devastating reveal.
\n BGive me relentless momentum \u2014 I want to feel breathless and emotionally spent by the end.
\n CEpic runtime doesn’t scare me \u2014 if the material demands three hours, give me three hours.
\n DI want it to feel propulsive even when nothing is technically happening \u2014 restless energy throughout.
\n EDeliberate and unhurried \u2014 I want dread to accumulate in the spaces between the action.\n <\/p>\n
NEXT QUESTION \u2192<\/p>\n
10<\/p>\n
What do you want to feel walking out of the cinema?
\n The best films leave a mark. What kind of mark do you want?<\/p>\n
\n AUnsettled \u2014 like I’ve just seen something I can’t fully explain but can’t stop thinking about.
\n BMoved and energised \u2014 like the film reminded me what actually matters and gave me something to hold onto.
\n CHumbled \u2014 like I’ve been in the presence of something genuinely important and overwhelming.
\n DExhilarated \u2014 like I’ve just seen cinema doing something it’s never quite done before.
\n EHaunted \u2014 like a cold, quiet dread that stays with me for days.\n <\/p>\n
REVEAL MY FILM \u2192<\/p>\n
The Academy Has Decided
\n Your Perfect Film Is\u2026<\/p>\n
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.<\/p>\n
Parasite<\/p>\n
You are drawn to films that operate on multiple levels simultaneously \u2014 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 \u2014 a film that rewards close attention and punishes assumptions, right up to its devastating final image.<\/p>\n
Everything Everywhere All at Once<\/p>\n
You want it all \u2014 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 \u2014 because the feeling of being crushed by infinite possibility is exactly what it’s about.<\/p>\n
Oppenheimer<\/p>\n
You are drawn to cinema on a grand scale \u2014 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 \u2014 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.<\/p>\n
Birdman<\/p>\n
You are drawn to films that foreground their own construction \u2014 that make the how of the filmmaking part of the what it’s about. Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu’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 \u2014 a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.<\/p>\n
No Country for Old Men<\/p>\n
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 \u2014 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.<\/p>\n
\n \u21bb RETAKE THE QUIZ\n <\/p>\n
2 <\/p>\n
Robert De Niro \u2014 ‘Righteous Kill’ (2008)<\/p>\n
![\"Righteous](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/righteous-kill-2008-1.jpg\"\/)
\n Image via\u00a0Overture Films<\/p>\n
There are plenty of great actors who’ve been in a lot of bad movies<\/a>, and one of the greatest\u2014who has been in some of the worst\u2014is undoubtedly the legendary Robert De Niro. In masterpieces of the caliber of Taxi Driver and Raging Bull, De Niro has delivered some of the most universally acclaimed performances in the history of film acting. But at some point around the turn of the century, De Niro began taking on an increasing number of questionable roles and even-more-questionable projects. He starred alongside fellow legend Al Pacino in 2008’s Righteous Kill, and though it’s definitely not his worst project ever, it sure is his laziest work to date.<\/p>\nVery rarely, if ever, is De Niro actively bad; whenever he delivers a performance that’s widely deemed lackluster, it’s typically due to a clear lack of commitment and enthusiasm. Never has that been clearer than in Righteous Kill. De Niro is on autopilot here, showing none of the spark or emotional complexity that makes even his middle-of-the-road performances at least somewhat compelling. What’s worse is that Pacino, typically the master of hamming it up, is actually phoning it in here as well. The result is a painful lack of chemistry between two stars who had been electric together just 13 years prior in Michael Mann’s Heat.<\/p>\n
1 <\/p>\n
Marlon Brando \u2014 ‘Christopher Columbus: The Discovery’ (1992)<\/p>\n
![\"Marlon](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/marlon-brando-in-christopher-columbus-the-discovery-1.jpg\"\/)
\n Marlon Brando wearing a friar robe, looking pensively at something off screen, surrounded by dark and black decor.Image via Warner Bros. Pictures<\/p>\n
Even all these many years later, many cinephiles and film historians still think that Marlon Brando was the greatest and most influential actor in the history of Hollywood cinema. As revolutionary as his raw, psychologically intense approach to his characters was, however, he was also an actor that was notoriously difficult to work with. His unconventional methods (which included refusing to learn his lines and constantly ignoring directors’ instructions) caused too many budget and schedule disruptions to count over the course of his career.<\/p>\n
There’s no denying that he was the GOAT, but it’s also undeniable that Brando delivered not just one, but several terrible performances over the years, some of them awfully phoned-in. None were ever lazier or more dull, however, than his work as Tom\u00e1s de Torquemada in John Glen’s terrible period piece Christopher Columbus: The Discovery. Brando, who was fed his lines through an earpiece, reportedly phoned in his performance out of protest for a script that he disliked. He sleepwalks his way through The Discovery, speaking every line and delivering every gesture with the charm and energy of a rock.<\/p>\n
![\"0175326_poster_w780.jpg\"](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/0175326_poster_w780.jpg\"\/)
<\/p>\n
\t\t\t\t\t\tChristopher Columbus: The Discovery<\/p>\n
Release Date<\/p>\n
\t\t\t\t\t\t\t\t\tAugust 20, 1992<\/p>\n
Runtime<\/p>\n
\t\t\t\t120 minutes<\/p>\n
Director<\/p>\n
\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tJohn Glen<\/p>\n
Writers<\/p>\n
\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCary Bates<\/p>\n
\n Cast\n <\/p>\n
![\"Cast](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/1783302973_771_screen-hub-cast-placeholder-1.png\"\/)
<\/p>\n
Georges Corraface<\/p>\n
\n Christopher Columbus\n <\/p>\n
![\"instar29804389.jpg\"](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/instar29804389.jpg\"\/)
<\/p>\n
![\"instar49253565.jpg\"](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/instar49253565.jpg\"\/)
<\/p>\n
<\/p>\n
Rachel Ward<\/p>\n
\n Queen Isabella\n <\/p>\n","protected":false},"excerpt":{"rendered":"Even the greats falter, and cinema’s greatest thespians are no exception. No matter how exceptional they are, the…\n","protected":false},"author":2,"featured_media":527168,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[458,146,85,46],"class_list":["post-527167","post","type-post","status-publish","format-standard","has-post-thumbnail","category-celebrities","tag-celebrities","tag-entertainment","tag-il","tag-israel"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/527167","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=527167"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/527167\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/527168"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=527167"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=527167"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=527167"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"Jennifer](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/jennifer-lawrence-as-mystique-in-dark-phoenix.jpg\"\/)
![\"Channing](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/channing-tatum-pointing-gun-in-g-i-joe-rise-of-cobra.jpg\"\/)
![\"Rooney](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/rooney-mara-tiger-lily-pan-1.jpg\"\/)
![\"Lorraine](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/Lorraine-Gray-and-Michael-Caine-in-Jaws---The-Revenge-2.jpg\"\/)
![\"Sir](\"https:\/\/www.newsbeep.com\/il\/wp-content\/uploads\/2026\/07\/sir-ben-kingsley-as-kagan-in-bloodrayne.jpg\"\/)