MY 8 WORST ACTION MOVIES OF 2016!

The year of 2016 we had the privilege of seeing some fine action movies grace the big screen, but then on the other hand there have been some really terrible attempts, so therefore I have put together my top 8 terrible action films of 2016.

8) London has Fallen 

Anyone who was calling for a sequel to Olympus Has Fallen should've been careful what they wished for; this sequel borrows shamelessly from many action classics and ends up lifeless and dim. LONDON HAS FALLEN is interesting when it's showing the logistics of assembling so many world leaders in one place, but that order is quickly turned into brain-numbing chaos. And director Babak Najafi uses at least one impressive, 60-second tracking shot, but that still leaves about 90 dull minutes to slog through.

7) Mechanic: resurrection

Mechanic: Resurrection is the Donkey Kong of the cinematic world. There's not much of a plot, and what there is doesn't make a lot of sense. But there is a girl to save, a bad guy to beat … and a whole lot of obstacles to overcome in order to reach them.

Unfortunately, most of those obstacles are living, breathing people. And Bishop—the movie's frenetic Mario—isn't inclined to just leap over them and go on his way. No, he's gotta smash 'em. And by smash, I mean kill: with bullets, with knives, even with the occasional high-quality grill.

The result is a lot of sound and fury without reason or meaning—an excuse to see star Jason Statham do his thing for 100 minutes and go home. And maybe, like Donkey Kong, you'll marvel at how much time, and how many quarters, you just spent on the thing.

6)  Skiptrace

Director Renny Harlin (Die Hard 2, Deep Blue Sea) has declined since his early-’90s, while he does a professional job with the fight scenes, he doesn’t have the light touch required for the (endlessly) extended stretch of Hope-Crosby picaresque that serves as the movie’s middle (and peaks, if that’s the word, with Chan crooning Adele’s “Rolling In The Deep”).

Overproduced and underwritten, with editing that feels more like it’s filling gaps in the story than playing skillfully with space and time, Skiptrace is a movie made to serve a number of competing interests and markets, and in trying to offer the proverbial something for everybody—i.e., thriller twists side by side with slapstick comedy—it ends up possessing a very limited appeal.

5) Pride and Prejudice and Zombies

Perhaps not surprisingly, this is a poor zombie movie this Unfortunately probably comes down to the fact that Steers doesn't seem to even care about zombies. His creatures are fast-moving action-movie zombies (i.e. not scary). Plus, the film's fast, jerky cutting is clearly designed to minimize gore, and the remaining visual effects are third-rate.

Likewise, the martial arts fight scenes, while well-choreographed, are shot with an equal lack of care. Eventually, action takes over, and the movie suffers through too many dead spots. It's too bad that Steers couldn't have hired a good "B" movie co-director to boost the movie's zombie half.

4) Ben-Hur 

The 1959 “Ben-Hur” was directed, by William Wyler, with a kind of fake classicism, and that was part of its cardboard studio-system majesty. It didn’t need to be subtle; it worked as mythological machismo. But the new “Ben-Hur” tries to “humanize” everything, starting with Huston’s overly moist Judah, and the result is that this story seems a lot less human than it did 57 years ago. It’s become a chariot of mire.

3) Max Steel

Surprisingly unfunny and dull, this action figure-based superhero adventure is a waste of talented supporting actors Bello and Andy Garcia (who plays Max's dad's former business partner). Both are consummate thespians, but even though they do their best with the thin material, they can't save Max Steel from being forgettable. And although Winchell has performed well on TV shows like Finding Carter, he isn't charismatic in this uninspiring role.

But that's not (all) his fault, because while initially promising, the movie devolves into a snooze with predictable enemies and a plot that's got so many holes it seems desperate for a sequel it absolutely shouldn't indulge. Steel isn't half as funny as he should be -- but next to loner Max, at least he tries. Love interest Sophia (Ana Villafañe) is limited to playing the "cool girl" who knows how to fix a car and a bike; there's little chemistry between her and Winchell. Ultimately this is the kind of film you might stream for bored tweens, but that's not worth the price of admission.

2) 13 Hours

Known for big-budget explosions, fast edits, and anti-authority warriors (be they cops, self-sacrificing oil drillers, or Transformers), Bay once again glorifies big guns over big minds. Despite claims that 13 Hours isn't a political film, the movie clearly takes the position that the people in the ambassador's State Dept.-issued security detail were a bunch of amateurs with "less than a dozen years of military experience between them" and that "Bob" was antagonistic and, worse, an elitist who thought the ex-military crew was only good for working out, playing video games, and doing as they were told. Naturally, by the end of the film, a battered and resigned Bob sentimentally tells one of them, "I wish more Americans were like you."

Whether these men were really as eclectic a mix as they seem on screen is hard to know if you haven't read the book. Krasinski is a study in understated control as a father of three who just wants to bring home a better living, whereas Boon (Krasinki's long-ago Office co-star David Denman) is the intellectual of the group, reading Joseph Campbell in his downtime; Tanto (Pablo Schreiber) the loud-talking joker; and Tig (Dominic Fumusa) and Oz (Max Martini) are the serious-eyed guys with an unmistakable intensity. There's a little humor in the flick -- mostly courtesy of the Annex's Libyan interpreter, Amahl (Peyman Moaadi), who isn't quite ready to use a gun -- but this is definitely a "bring out the guns, the ammo, and the flag" kind of movie. If you want a nuanced approach, look elsewhere.

1) The Accountant

Ding Ding and the worst action of 2016 goes to The Accountant A noisy, disjointed financial thriller that sets up Affleck and Simmons as competitors but fails to unite their plot strands into anything resembling actual thrills. 

The story follows or trys to at least the story of Autistic maths wizard Christian Wolff (Ben Affleck) has a lucrative business as a freelance accountant for dangerous criminal organisations. But when the US treasury closes in, he takes on a legitimate client only to discover corruption and murder afoot. 

It really just doesn't make an awful lot of sense, it was rushed and just botched in the simplest of terms and In all fairness I just don't think Ben Affleck can really act, he's an ok Batman and didn't do to bad in Gone Girl but other than that he is crap and I personally don't like his work. Maybe directing might be his new port of call (Hopefully).