Breaking the fourth wall has always been a reliable source for timely humor and playful referencing. Most fourth-wall breaks work in films; take Fight Club, the Monty Python movies, Funny Games, Ferris Bueller’s Day Off, and Deadpool. And there are those that do not work and just end up as desperate.

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While there are countless lists online about effective uses of fourth-wall-breaking in movies, here is a list that highlights those attempts that do not work. Two of which are comic book movies. The most important aspect of these films is that they mistakably misuse the fourth-wall-breaking trope.

The Emperor’s New Groove 2: Kronk’s New Groove

The Emperor’s New Groove is an unusual Disney fare after its Disney Renaissance period. The film's humor is its strongest aspect, especially in David Spade’s execution of the fourth-wall-breaking moments. However, its direct-to-video sequel is another story. Aside from its dull quality and animation downgrade, its story is truly wonky in execution.

Patrick Warburton’s Kronk works as a breakout sidekick character. But as the lead in his own spin-off, his shtick gets tiring. As for the fourth-wall breaks, they are out of place since Kuzco had to pop up to halt the plot. Furthermore, he has no purpose plot-wise.

Vice

Adam McKay gained acclaim when he adapted the Michael Lewis book The Big Short as a cautionary comedy-drama about the 2008 financial crisis. The fourth-wall segments (i.e. the celebrity cameos of Margot Robbie, Selena Gomez, and late Anthony Bourdain) added an unusual yet effective angle to tackle complicated financial topics.

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So, McKay decided to implement the same tactic for Vice, his Dick Cheney biopic. The results are less effective this time since it was Jesse Plemons’ out-of-nowhere modern-day narrator who breaks the fourth wall and discusses the plot. This framing device is anarchic but gimmicky to swallow each detail.

Dino Time

Dino Time is a 2012 South Korean computer-animated film about three kids who suddenly travel back in time in the Jurassic period. Somehow, this was released in 2015 as a direct-to-video fare, featuring the voices of Melanie Griffith, Jane Lynch, William and Stephen Baldwin, and Rob Schneider (because, of course, he did).

This animated flick delivers what one would expect from a direct-to-video export destined for the Wal-Mart bargain bin shelf. But its most outrageous aspect is the main kid Ernie Fitzpatrick (Pamela Adlon) talking to the camera or to the audience to narrate the obvious. Show, don't tell.

Justin Bieber: Never Say Never

Justin Bieber singing in a concert

The 2011 Justin Bieber documentary Never Say Never is a product of its time. The teen pop sensation got the opportunity to talk about his roots from an ordinary Canadian boy to an international hit singer. So, this film is pretty much a 3D vanity project.

In the middle of the film, the documentary breaks its momentum when Bieber and “Never Say Never" featured singer Jaden Smith suddenly break the fourth wall to tell watchers to pay attention. He even calls out people for making out. This is a bad, unfunny attempt of a fourth-wall joke.

Bedtime Stories

Bedtime Stories

In this 2008 Happy Madison vehicle, Adam Sandler plays Sonny Bronson, a handyman who learns that the stories he told his nephew and his niece have manifested to reality. This concept of Bedtime Stories is already filled with inconsistencies, and that contends with Sandler’s potty-trained humor and manchild antics.

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One of the most baffling parts is Adam Sandler suddenly talking to the narrator (Jonathan Pryce, who also plays his late father). This is a head-scratching moment since Sandler recognizes the narrator’s presence but never realizes he sounds like his father. It is a failed fourth-wall moment.

Whatever Works

From the mind behind Mighty Aphrodite and Blue Jasmine comes the story of a recently divorced middle-aged college professor named Boris (Larry David) who improves his life after meeting and initiating a relationship with a younger Southern girl named Melody (Evan Rachel Wood). So original, ain’t it?

The repetitive plot and the contrived love story are not the film's only problems; the sudden fourth-wall breaks are too. While it worked for the director in the past with Annie Hall, it does not work here since bystanders question him, and the film starts and bookends with David’s acknowledgment of it. It is lame.

Mulan II

Back again in the Disney direct-to-video pantheon comes the complete downgrade of a true classic. While the humor has its moments, Mulan excels on its deeper philosophy, character progression, and beautiful animation. Mulan II does none of these things and just tries to be standard kid-friendly fare with a problematic story.

Its humor is so tired and desperate that no joke lands. One of those instances is when Yao (Harvey Fierstein) stumbles upon an arguing Mulan (Ming-Na Wen) and Shang (BD Wong). And when they leave him behind, he addresses the audience by saying “Who am I talking to?”

Inspector Gadget

Inspector Gadget is a charming Saturday morning cartoon series. So when the live-action film starring Matthew Broderick rolled out, it was critically panned for not being faithful.

One of its major criticisms is the reveal of the unseen villain Dr. Claw, who is now a tycoon villain named Sanford Scolex (Rupert Everett). His attempts at humor drop flat, especially on a face-palming bit when Gadget warned Claw, “you’ll never get away with it,” Claw replies, “Oh, how cliché, Inspector. I think somebody's been watching too many Saturday morning cartoons.” He then looks at the camera. This whole joke is painfully pandering.

X-Men Origins: Wolverine

Of all the X-Men movies, X-Men Origins: Wolverine is among the very worst. As a prequel to X-Men, the movie strips away any mystery about Logan (Hugh Jackman). While it would take an entire article to discuss the movie’s most serious mistakes, the gravest has to be the initial take of Deadpool.

Ryan Reynolds’ casting is already spot-on. But, the film’s interpretation of the Merc is an utter betrayal of the character. And to give more blows, the end credits show his severed head looking at the audience. Glad he killed this version in Deadpool 2.

The Spirit

After co-directing Sin City, Frank Miller is confident to direct his own with adapting Will Eisner’s The Spirit to the big screen. The end result is a vanity project with horrendous dialogue, inconsistent tones, unlikeable characters, and questionable filmmaking.

While Gabriel Macht is a good fit as The Spirit, his characterization ranges from bland outlaw to womanizing vigilante. One of his most head-scratching bits is frequently addressing the audience while narrating the obvious. It was the wrong direction to flesh out this noir superhero. Fourth-wall breaks feel out-of-place in a world with Sin City levels of crime. Please, no thanks.

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