Joaquin Phoenix returned to Gotham in Joker: Folie à Deux, a sequel that critics and audiences alike could not stop discussing, though not always for reasons the studio hoped for. Somewhere on Reddit, a much larger debate had already begun about which films across the last two and a half decades manage to test patience like nothing else. A community of movie lovers on the platform decided to settle the question once and for all, ranking the era's most notorious slow burns from merely sluggish to nearly unwatchable.

While everyone expected one particular sequel to claim the top spot, the community had other, far duller ideas in mind.

Francis Ford Coppola's long-gestating passion project Megalopolis arrived with an impressive cast led by Adam Driver and decades of anticipation behind it. The film presents a sprawling, freewheeling vision of a futuristic New Rome filled with philosophical speeches, experimental visuals, and moments of pure oddity. Yet the ambitious scope often collapses into incoherence, leaving many viewers adrift in a nearly three-hour runtime that rarely builds momentum or emotional stakes.

What should have felt visionary instead comes across as self-indulgent and disjointed. Members of Reddit's movie community described theaters emptying out mid-screening, with viewers walking out one by one until barely anyone remained by the credits. The strange tonal shifts and lack of narrative drive turned the experience into one of the platform's most cited examples of high-profile boredom.

As Coppola's epic tested patience in one direction, an entirely different kind of dullness was waiting in a horror comedy stacked with star power.

Jim Jarmusch's zombie comedy The Dead Don't Die assembled a stacked cast including Bill Murray, Adam Driver, Tilda Swinton, and Steve Buscemi for what looked like a promising genre hybrid. On paper, the mix of deadpan humor and apocalyptic chaos seemed ideal. In execution, the film remains almost entirely flat, with characters drifting through events in a state of permanent detachment and little escalation or payoff.

The result is a plotless, low-energy exercise that never quite justifies its own existence. Viewers expecting sharp comedy or effective horror instead sit through a deliberately anti-climactic experience that withholds payoff at every turn. Even loyal admirers of the cast found themselves checking the time long before the credits rolled.

While Jarmusch's zombies shuffled without urgency, an entirely different film chose silence and shadow as its main characters.

This experimental Canadian horror film, Skinamarink, leans heavily into liminal spaces and childhood dread, relying on long, nearly silent frames of dark hallways, empty rooms, and ceilings. The atmosphere occasionally generates genuine unease, but the approach quickly becomes repetitive. What might have worked as a tight short film is stretched to feature length with almost no variation or progression.

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The endless static imagery and minimal narrative leave many feeling more exhausted than frightened. Some compared the experience to staring at a paused screen rather than watching an actual story unfold. The film's commitment to emptiness turns an intriguing concept into an endurance test that prioritizes duration over impact.

As Skinamarink tested how little a film could show, a sweeping historical epic proved that too much can feel just as empty.

Ridley Scott's historical epic Napoleon, starring Joaquin Phoenix, promised a grand portrait of one of history's most brilliant military strategists. Instead, large portions focus on domestic struggles and the emperor's difficult marriage, while major campaigns and tactical achievements receive surprisingly little dramatic weight. Key accomplishments are often reduced to text in the end credits rather than shown on screen.

The handsome production values cannot compensate for the lack of momentum or insight into Napoleon's genius. Even the battle sequences, typically one of Scott's strengths, pass by without leaving much impression. What should have been a sweeping biopic ends up feeling oddly small and inert, leaving audiences waiting for excitement that never fully arrives.

While Napoleon struggled to make history feel urgent, a sword-and-sorcery reboot managed to make bloodshed and magic feel routine.

Marcus Nispel's reboot of Conan the Barbarian gave Jason Momoa the iconic sword-and-sorcery role and filled the frame with the expected mix of brutal combat, sensuality, and dark magic. The ingredients for a pulpy, energetic adventure were all present. Yet the film moves with surprising listlessness, delivering action that feels routine and a story that fails to generate any lasting impression.

Many who sat through it later struggled to recall specific scenes or even the overall plot. Multiple viewers admitted they had genuinely forgotten they ever watched it until being reminded. A movie designed around spectacle and excess somehow became forgettable and sluggish, turning potential guilty-pleasure entertainment into one of the more unexpectedly tedious entries of its decade.

As Conan the Barbarian failed to leave a lasting mark, a long-anticipated sequel arrived determined to leave one anyway, for all the wrong reasons.

Todd Phillips' sequel to the acclaimed Joker reunited Joaquin Phoenix with a new co-star in Lady Gaga for Joker: Folie à Deux, a musical courtroom drama that went on to win the Razzie for Worst Screen Combo and Worst Sequel. The film deliberately undercuts the tone and expectations set by its predecessor, shifting into a jukebox-musical format while stripping away much of the intensity that made the original compelling. The shift left many longtime admirers of the first film unsure what they were even watching.

The result feels less like a natural continuation and more like a response working against the first film's success. Audiences who entered with high hopes often left frustrated by the slow pacing, repetitive structure, and a sense that the story was intentionally withholding the very elements they came to see. Several called it among the most disappointing theater visits they could remember.

While Joker: Folie à Deux drew plenty of frustration, one documentary pushed patience so far that it claimed the top spot outright.

This three-and-a-half-hour French documentary observes a radical environmental activist farming community through fixed-camera, real-time segments. Everyday tasks, including repairing equipment, planting crops, baking bread, and delivering produce, are shown in unbroken five-minute blocks with no narration or traditional dramatic structure. The camera simply stays in place and watches life unfold at its own unhurried pace.

After the initial curiosity fades, the film becomes an unbroken sequence of mundane activity stretched to extreme length. Some viewers compared the final stretch to a meditation session rather than a trip to the movies. The complete absence of story, conflict, or variation turns the viewing experience into pure observational endurance, securing its place as the most relentlessly dull film of the century so far.

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What is the most boring movie you have ever sat through? Let us know in the comments.