2016 brought us giant-screen 3-D spectacles, remakes and franchises, beautiful independent films -- and some really bad movies. Here, critic Steven Rea's picks for the five worst of the year.

Gods of Egypt

From Steven Rea: Gerard Butler more convincing as Secret Service agent in London Down than as Set the god of darkness in gold-plated, CG-crazy sphinxes-and-pharoahs snooze.

The movie rightfully took quite the public drubbing for its whitewashing of a story with roots ostensibly in North African history. But truthfully, it was so ridiculously outlandish that the film couldn't possibly be tied to anything in reality.
At its most basic, it's the story of sibling rivalry, but Gods of Egypt is both so wildly incoherent and extremely silly that one is tempted to simply try to describe some of the weirder moments in director Alex Proyas' movie: The gods have been digitally enhanced to three times human size. They bleed gold blood. At one point, there's a joust with a space-worm chaos monster.
None of its magical mumbo jumbo makes a lick of sense.

Independence Day: Resurgence 

From Steven Rea: Even Sela Ward — as the first female POTUS — can't save Roland Emmerich's 20-years-later sequel from stupefying audiences with barrage of alien invasion cliches.

Read the full review: 'Independence Day: Resurgence': Aliens attack earth, earth fights back (again)

The aliens that attacked the Earth 20 years ago in Independence Day return for a second go-round, this time minus Will Smith.

The movie is worse for his absence. This time around, the remaining characters spend much of their time explaining an unnecessarily complicated plot that's essentially in place to set up yet another sequel. Also, a lot of things blow up.

While the plot is dumb and the script is worse, watching aliens explode in spectacular fashion isn't the worst way to spend two hours.

Knight of Cups 

From Steven Rea: Terrence Malick says he needs to go back to working with real, structured screenplays. His elliptical and self-indulgent tale of a Hollywood screenwriter's empty life makes the case for him.

Terrence Malick has deployed a dreamy mix of voice-over, music, and spiraling camerawork in all of his films, starting with 1973's Badlands. But in Knight of Cups, which stars Christian Bale as a Los Angeles screenwriter in the throes of existential crisis, the voice-overs ricochet in a kind of self-parodic free-for-all.
Knight of Cups - which takes its title from the Tarot and which takes a terribly long time to show us that being rich and successful doesn't necessarily mean being happy - has the elliptical, jump-cutty, across-the-universe feel.
It offers an incredible amount of thought-balloon babble, but you don't hear anything approaching the sublime.

Mother's Day 

From Steven Rea: When the hairpiece sported by one of the leads is the most memorable thing in the movie, you know you're in trouble. Interconnected lives, interconnecting in the phoniest of ways.

Mother's Day boasts an impressive cast -- one Oscar winner, one Oscar nominee, two Emmy winners, a Tony nominee, and a number of Golden Globes awardees -- but it's just another piece of schlock from Garry Marshall, who used to be a great romantic-comedy director, but has favored these vignette-style movies based around Hallmark holidays as of late.

These movies have vaguely the same formula: Pretty white people connected by a theme -- guess this one! -- experience relatively minor problems that bring them into each other's orbits.

The problem with this type of movie is ingrained in the structure: There's so much going on that there's no time to build characters that make sense or any sort of meaningful relationships.

It's even sadder to think that these women - so talented, so naturally effervescent on screen - aren't starring in superhero movies or toplining dramas by themselves.

Rogue One: A Star Wars Story

From Steven Rea: As soulless as a moon rock on Jedha, the Lucasfilm franchise spinoff spins off into realms of mind-numbing back story and far-far-away-galaxy hooey. A great cast (Riz Ahmed, Felicity Jones, Diego Luna, Ben Mendelsohn, Forest Whitaker) wasted.

Rogue One: A Star Wars Story, is a tepid if fairly competent prequel of sorts to the first film in the series, 1977's Star Wars: Episode IV – A New Hope.

Rogue One is a minor little story with a likable cast and familiar Star Wars themes. But it tries so hard to be an epic masterpiece — with self-important speeches and an insanely outsize orchestral score — that it ends up a laughable parody of itself.

Rogue One would have made for a good movie if it didn’t take itself so awfully and relentlessly seriously.