Since “Deadpool” became a massive hit, people everywhere have been asking themselves what Ryan Reynolds can’t do. As it turns out, very little. He’s even good in some otherwise bad films, as this list will attest to. For several years, Hollywood had a hard time figuring out what to do with the handsome funnyman. He’s been in comedies, dramas, action movies, sci-fi epics, even horror flicks — and he’s done a great job in many of them. However, despite his best efforts, a number of his films have failed spectacularly.

We’ve taken a deep dive into Ryan Reynolds’ worst-rated movies so you don’t have to. There’s a little bit of everything in this pool, from the gross-out comedy “National Lampoon’s Van Wilder” to the vampire flick “Blade: Trinity,” from the family drama “Fireflies in the Garden” to the supernatural action film “R.I.P.D.” Reynolds has been in a surprising number of terrible films and has somehow come out the other side unscathed. But which of these movies are actually worth your time?

2004’s “Blade: Trinity,” the third entry in the “Blade” film series, has all the great fight scenes of the first two films. However, it suffers from a distinct lack of Wesley Snipes’ Blade, the human-vampire hybrid these films revolve around. Apparently, Snipes and director David S. Goyer fell out, and this led to an awkward shoot. According to Patton Oswalt (who played Hedges, a member of the Nightstalkers), Snipes filmed “Blade: Trinity” in a bizarre way, only coming out of his trailer for close-ups. Snipe has denied that this was the case, pointing out that he helped get Goyer hired in the first place.

Whatever the reason for the lack of Blade, the winner in this situation was Ryan Reynolds, who is said to have bee given more lines as a result. His character — the vampire hunter Hannibal King — is one of the best parts of this otherwise forgettable threequel. “Reynolds is in excellent form as his cock-sure demeanor and unwelcomed perfectly timed banter bounce against Blade’s unflappable and ill-tempered stoicism,” Collider said in a review. Despite Reynolds’ best efforts, the film didn’t do well with critics. It holds a 24% rating on Rotten Tomatoes, though viewers were kinder — “Blade: Trinity” has an audience score of 58%, and we’re siding with the majority of regular moviegoers on this one.

2005’s “Waiting…” stars Ryan Reynolds and Justin Long as a pair of waiters working at a chain restaurant called Shenaniganz. It’s an apt name given the behavior of the staff at this particular branch, but the mischief they get up to is neither clever nor funny. Monty (Reynolds), Dean (Long), and the other male staff are constantly playing something called the Penis Showing Game, which is exactly what it sounds like: Immature men showing other men their privates and calling them a pejorative for gay because of it.

This kind of humor was widespread in Hollywood comedies in the mid-00s, but, even at the time, critics found it tiresome. “To me it seems more like a catalyst for desperate shock value from a filmmaker who is trying to pump energy into a dead scenario,” Roger Ebert wrote. Debuting writer-director Rob McKittrick set out to make a slacker comedy in the same vein as Kevin Smith’s “Clerks,” which is a far better option if this is the kind of vibe you’re after.

Needless to say, this is one Ryan Reynolds film that hasn’t aged well. After revisiting the movie in 2023, film critic Nathan Rabin wrote: “It’s essentially a gay panic film whose humor is rooted in the intense horror and disgust heterosexual men are supposed to experience when faced with things they consider gay.” While it has a cult following among people who work in the service industry, the majority of viewers will hate this unfunny and offensive flick.

“Fireflies in the Garden” boasts an impressive cast, but, even with all the talent involved, it’s still a complete snooze fest. Ryan Reynolds plays another bearded and bespectacled author here. This time around, he’s a romance novelist, one who has a complicated relationship with his English professor father (Willem Dafoe). Old wounds are reopened after a sudden death in the family, though, as tragic as this particular moment is, it’s hard to care about the Taylors and their drama, because none of them are the least bit interesting.

What attracted the likes of Dafoe, Julia Roberts, Carrie-Anne Moss, and Emily Watson to this project is a mystery that critics puzzled over. “This histrionic family drama must have looked good on paper to attract such a big-name cast, but on the screen it comes off as glib, rushed, and underdeveloped,” wrote J.R. Jones of the Chicago Reader, one of many reviewers to trash the film (it has a measly 21% rating on Rotten Tomatoes). “Fireflies in the Garden” actually premiered at Sundance four years before it hit theaters in 2008, so producers clearly knew this wasn’t a winner. The New York Post called its eventual release “a token theatrical burial.”

“The Change-Up” is like “Freaky Friday” in that it’s about two people who swap bodies, but that’s where the similarities start and end — “Freaky Friday” is funny and charming, and “The Change-Up” is anything but. It follows two guys named Mitch Planko and Dave Lockwood (played by Ryan Reynolds and Jason Bateman) who magically end up in each other’s skin after peeing in a fountain while wishing that they had the other’s lives. With a set-up like that, is it any wonder the movie scored just 26% on Rotten Tomatoes?

This flat comedy flick comes from the director of “Wedding Crashers” and the writers of “The Hangover,” both of which did considerably better with the critics. Those two films knew exactly what they were aiming to be and were unapologetic in their approaches. “The Change-Up” comes with a lesson: It’s supposed to be endearing in a frank sort of way, with both men learning what they appreciate about their lives. That’s all well and good, but the lack of laughs leading up to this moment means it fails as a comedy. As Will Leitch wrote in a review for Yahoo! Entertainment, this film is “cynical, tone-deaf junk.”

“Self/less” is another body swap movie starring Ryan Reynolds. In this one, Ben Kingsley’s Damian Hale jumps into a younger body (that of Reynolds), which he’s assured was grown in a lab. Of course, this isn’t true, and soon the younger Damian is having flashbacks to the family and military service of his body’s original owner. One of the biggest issues here is that the whole body swap thing isn’t pulled off by the actors, with Reynolds apparently making little effort to match Hale’s accent and mannerisms.

This is a movie that would like you to question the morality of changing your body, but the plot is so vapid and cliched that it doesn’t make you want to ruminate on it. Reviewing the film, Kathi Maio of Fantasy & Science Fiction magazine wrote, “I do wonder what [the filmmakers] might have done if they had avoided the trite, explosive tropes of an action film for something that actually touched upon the many issues raised by their basic body swap plot.” In the end, “Self/less” reveals itself to be a dumb movie masquerading as a clever one.

2021’s “Hitman’s Wife’s Bodyguard” is a follow-up to “Hitman’s Bodyguard.” Like the first film, the sequel didn’t score well with critics on Rotten Tomatoes, but (also like the first film) it did better with regular moviegoers, notching an audience score of 79%. We’re siding with the viewers on this one — though the plot has some holes, seeing Ryan Reynolds share the screen with Samuel L. Jackson and Salma Hayek is a joy, and you’ll be happy to go along for the ride if, like us, you appreciate these actors.

Let’s get this straight: “Hitman’s Wife’s Bodyguard” is not an Oscar-worthy movie by any stretch. However, it’s certainly an entertaining one. It’s packed full of exciting action sequences and is very enjoyable if you’re willing to suspend your disbelief for 100 minutes. While the majority of critics were unable to do that (the film scored a disappointing 26% on the Tomatometer), Jeannette Catsoulis of The New York Times had a good time watching it. She wrote: “‘Hitman’s Wife’s Bodyguard’ is loud, lazy, profane, and well nigh incoherent. It’s also at times quite funny, with a goofy vulgarity that made me giggle.”