The history of cinema is dotted with instances where poor quality special effects, both digital and practical, have been used to substitute actors in certain scenes or shots. However, it’s the unexpected appearance of a poorly executed CGI model replacing a live actor that often captures our attention in an unsettling way. The artificial, overly smooth and unrealistic nature of bad CGI makes its use as a stand-in for real performers feel more than just eerie; typically, they don’t blend seamlessly with the scene’s environment, but rather, they seem inauthentic and less than human-like.
To honor blatantly questionable CGI doubles, showcasing their peculiar, sometimes amusing ineptitude, we’ve gathered 12 instances of CGI actor substitutions that left everyone unconvinced. Some are full-body CGI models with insufficient shading and overly rough movements; some are digital likenesses awkwardly superimposed over live performances; while one is a half-hearted effort to compensate for what would have been an even worse practical effect. Keep some eye drops handy!
Dwayne Johnson in The Mummy Returns
One of the most notorious instances when a CGI model replaced an actual actor, leading to a disastrous result, was The Scorpion King (Mathayus of Akkad) in “The Mummy Returns.” This 2001 sequel to “The Mummy” (1999) saw the return of Brendan Fraser, Rachel Weisz, John Hannah, Patricia Velásquez, among others from the original cast. Additionally, a new face was introduced in the form of Dwayne “The Rock” Johnson, who was just 29 years old at that time and making his debut in film acting.
In the film, Johnson makes a brief live-action appearance at the start. Later in the climax, the Scorpion King reappears, now a terrifying 100% CGI hybrid of man and scorpion, modeled after Johnson’s features – however, the human aspect, to put it mildly, leaves something to be desired in terms of realism.
Despite the decent holding up of the CGI effects in “The Mummy Returns,” released in 2001, the portrayal of The Scorpion King stands out awkwardly, causing a collapse in the film’s climactic action scenes. This over-the-top portrayal of The Scorpion King leaves Rick O’Connell’s (Fraser) confrontation with him feeling devoid of tension. The lackluster presentation was allegedly due to constraints on the CGI team, as they had limited interaction with Johnson because of his demanding WWE commitments, resulting in a model that barely resembles the actual Johnson, making it seem as though it were designed based on memory instead.
Ben Affleck in Daredevil
Prior to his recent resurgence in popular culture due to his Netflix and Disney+ series, Marvel’s Daredevil was given a controversial 2003 film adaptation. This film, penned and directed by Mark Steven Johnson, featured Ben Affleck portraying Matt Murdock (also known as Daredevil), Jon Favreau as Foggy Nelson, Jennifer Garner as Elektra Natchios, and Michael Clarke Duncan as Wilson Fisk, a particularly impressive choice for the casting.
financially struggling, Johnson’s movie adaptation of “Daredevil” faced harsh criticism from fans for not accurately portraying the essence of the comic book series, starting with a tone that was excessively whimsical and fanciful. This lightheartedness was evident in many aspects of the film, such as its technical elements, like the CGI used to depict Affleck’s Daredevil during intricate and acrobatic stunts.
This response maintains the original meaning while making it more accessible and easier for a wider audience to understand.
2003’s “Daredevil” movie often swaps out Ben Affleck for a digitally created version of the character in action scenes instead of focusing on live-action stunts, making these sequences look more like video game cutscenes than realistic or convincing. The transitions between Affleck and his digital counterpart are noticeable and awkward, creating an overall feeling that the action scenes lack authenticity.
Peter Cushing in Rogue One
The 2016 film titled “Rogue One: A Star Wars Story,” often referred to as a prequel to the original “Star Wars,” left a lasting impact in several ways. It was the first “Star Wars” movie to break away from the traditional storytelling style of the Skywalker Saga, presenting an unrelated narrative instead. Additionally, it marked the first time John Williams wasn’t the composer, and it laid the groundwork for one of the most successful “Star Wars” spin-offs yet, as seen in the Disney+ series “Andor.
One standout feature that sparked debate in the Star Wars saga and filmmaking industry as a whole, was the digital representation of the late Peter Cushing, who played Grand Moff Tarkin in the 1977 original Star Wars movie. Instead of recasting the role, the creators of Rogue One chose to digitally recreate Cushing and blend this model with actor Guy Henry during post-production, using approval from Cushing’s estate.
The movie “Rogue One” frequently features an unnatural, eerie portrayal of Tarkin that resembles Cushing somewhat but is not him. This choice, which some consider questionable both ethically and cinematically, has paved the way for the increasing acceptance of using digital effects to resurrect deceased actors. Instead, they could have simply cast another actor for this role.
Paul Walker in Furious 7
In some cases, using computer-generated imagery (CGI) to resurrect deceased actors isn’t just a random decision driven by moral laxity; it can be a practical solution, like when an actor dies during filming. For instance, the movie “Gladiator” from the year 2000 faced this challenge when Oliver Reed passed away before completing his scenes as Proximo. Director Ridley Scott found a clever workaround by overlaying Reed’s face onto a body double, creating an illusion so subtle that viewers may not have even noticed it.
In contrast to “Gladiator,” which subtly integrated digital effects into Proximo’s scenes, giving them a shadowy and visually consistent appearance with earlier performances by Reed, “Furious 7” made a more noticeable effort in using CGI to complete Paul Walker’s performance. Rather than blending the CGI recreation seamlessly into the film, as was done in “Gladiator,” “Furious 7” drew attention to its digital representation of Walker in several significant scenes.
As a gamer, let me say that many of those shots were flawlessly done, no doubt about it. However, Director James Wan took a bold step by positioning the digitally crafted Brian O’Conner (a blend of Walker’s face and his brothers Caleb and Cody, or actor John Brotherton) right smack in the heart of the movie’s emotional crux – the bittersweet goodbye between Brian and Dominic Toretto (Vin Diesel) on the open road. The idea behind this tribute to Walker’s memory is commendable, but the execution felt a bit off-timing, dipping into that unsettling zone known as the uncanny valley, which unfortunately took away from the intended emotional impact.
Chadwick Boseman and Michael B. Jordan in Black Panther
1) “Black Panther” remains one of Marvel’s top films even years after its premiere, boasting not only an impressive technical achievement but also a comprehensive and awe-inspiring storyline within the Marvel Cinematic Universe (MCU). The movie excels in various aspects such as costume design, art direction, vibrant cinematography, intricate stunt choreography, enchanting music score, and more. Directed by Ryan Coogler, this 2018 Afrofuturist epic showcases a stunning blend of precision and creativity that outshines many Hollywood blockbusters. It’s no surprise that it made Oscar history with numerous groundbreaking nominations and even won several Academy Awards, making it the first MCU film to do so.
It’s no shock, given that “Black Panther” was technically flawed in its visual effects, that they weren’t nominated for an award. The film’s CGI often appeared rubbery and weightless, which somewhat detracted from its otherwise stunning design. However, it’s during the climactic fight between T’Challa (Chadwick Boseman) and Killmonger (Michael B. Jordan) in the Wakanda vibranium mines where these technical issues most significantly impacted the storytelling.
In this film, when both characters are dressed in full-body costumes, they temporarily swap human performers with digital models to create flexible, gravity-ignoring action scenes. However, due to poor CGI execution, the final product seems less like a poignant resolution to a deep personal struggle and more akin to watching two characters fight, as if on a PlayStation 3 game console.
Pierce Brosnan in Die Another Day
During Pierce Brosnan’s tenure as James Bond, spanning four movies, there was an energetic and sometimes disorderly shift from the franchise’s classic Cold War spy era, characterized by sleek, campy thrillers, to the era of ’90s and 2000s Hollywood blockbusters. As action sequences grew more extravagant and flashy, they also increasingly leaned on computer-generated imagery (CGI) of varying quality. The worst instance of this technological overreach can be seen in Pierce Brosnan’s last Bond film, “Die Another Day” from 2002.
We’re discussing the scene where James Bond performs surfing on a tidal wave, which takes place as he flees Gustav Graves’ (Toby Stephens) Iceland facility, being chased by the satellite Icarus that melts ice. This scene is a blend of real-life action featuring Pierce Brosnan and computer-generated imagery (CGI) of water, glaciers, and even Bond himself. However, some parts of this sequence look unrealistic due to the use of blue screen chroma keying. Nevertheless, at crucial moments, the sequence showcases Bond performing incredible stunts by swapping him with a CGI version of Brosnan. Regrettably, in those shots where you can see him from behind, the CGI model appears completely unconvincing.
One particularly infamous example of excessive computer-generated imagery disrupting an otherwise entertaining early-2000s action series is worth noting. It’s no surprise that the following Daniel Craig movies returned to a more realistic, hands-on approach after this occurrence.
Orlando Bloom in The Hobbit: The Desolation of Smaug
2013’s “The Hobbit: The Desolation of Smaug” stands out as the most enjoyable film in Peter Jackson’s extensive “The Hobbit” series, primarily because it functions effectively as a thrilling, enjoyable, and straightforward action-adventure story. The film’s numerous action scenes are grand, well-constructed, and engaging enough to come close to replicating the technical brilliance of the “Lord of the Rings” trilogy, although they may not quite match its depth in terms of drama and artistic impact.
A surprising standout moment is the chaotic three-way river fight involving Dwarves, Wood-elves, and Orcs, which switches from solemn to overtly animated, handled masterfully by Jackson and his tech crew. However, while this whimsical element enhances the scene, it’s clear that the CGI models used for actors in most wide shots lack a sense of realism. Moreover, Legolas’ (Orlando Bloom) numerous acrobatic fights with Orcs along the rocky riverbanks are particularly noticeable in their unrealistic portrayal.
As a devoted admirer, I must admit that while Jackson skillfully employs brief close-ups of Bloom and his swift arrow shots, it’s evident that he refrains from integrating realistic action for Legolas using CGI. In moments when the camera stabilizes to offer a clear view, Legolas appears more like an intimidating Orc than a living, breathing character.
Ryan Reynolds in Green Lantern
Martin Campbell’s 2011 “Green Lantern” film is frequently cited as one of the worst superhero movies due to its mishandling not just the Green Lantern comics, but also basic principles of action movie production, compelling storytelling, and good judgment. By now, discussing its subpar visual effects feels like repeating oneself, yet it’s important to note that the film’s digital representation of Hal Jordan (played by Ryan Reynolds) in his suit is a glaring example of this issue on many lists highlighting poorly executed CGI replacements for actors.
In the movie “Green Lantern,” the costumes worn by the characters weren’t physically present on set; instead, they were digitally created and added later. This peculiar choice results in an eerie visual experience where it appears that Ryan Reynolds’ real head is suspended above a shaky mass of green CGI. To make matters worse, certain scenes completely eliminate the actor altogether, replacing him with fully digital and strikingly unconvincing Green Lantern images generated by CGI.
A strong dislike for a movie’s excessive use of poor-quality, obvious CGI was so intense that it was humorously mentioned in “Deadpool.” In this film, Reynolds’ character Wade Wilson even asks for his suit not to be made green or computer-generated. Ironically, both “Deadpool” movies include fully CGI models of Deadpool in certain scenes, demonstrating that the issue lies more in the careless and low-quality application of CGI rather than its use itself.
Baby Renesmee in The Twilight Saga: Breaking Dawn – Part 2
Almost every second item on this list showcases situations where human characters in live-action films were portrayed using computer-generated imagery instead of real actors. Among the most glaring instances of poor CGI representation in cinematic history, there is one instance where no actual actors were involved at all. Instead, a puppet was used, but it’s important to note that this puppet was far from resembling a human in any way.
In essence, the main dilemma when observing baby Renesmee in the last “Twilight” film, “The Twilight Saga: Breaking Dawn – Part 2,” from 2012, lies in deciding if her final on-screen appearance surpassed or fell short of its initial practical concept. To clarify, the CGI baby in “Breaking Dawn – Part 2” was a disaster when it comes to digital human character design. Granted, Renesmee, the half-human, half-vampire child of Bella (Kristen Stewart) and Edward (Robert Pattinson), was intended to be somewhat strange and inhuman, but the CGI baby Renesmee seems absent from the scene – it appears as though neither Rosalie (Nikki Reed) nor Bella are holding any real baby or anything at all.
Instead, using a digital version of Renesmee could have been a better choice than the initial idea to use an animatronic puppet in the movie. Although the CGI baby might not look completely real, she is at least adorable; however, glimpses of the abandoned puppet Renesmee are downright frightening behind the scenes.
Paul Rudd in Ant-Man and the Wasp: Quantumania
The deteriorating CGI in Marvel Cinematic Universe films after 2019 has sparked a lot of debate among fans and critics, with many suggesting that the decline is due to challenging working environments for visual effects artists and a lack of attention to detail on the part of directors and producers. At its worst, the MCU’s visual effects may have reached their lowest point in 2023’s “Ant-Man and the Wasp: Quantumania,” reflecting a sense of complacency and creative fatigue.
The film “Quantumania” is generally dull, lacking engagement, and heavily bureaucratic from start to finish. Regarding the quality of its CGI, it appears some of the worst in recent comic book cinema is found in scenes involving Scott Lang (Paul Rudd) in his Ant-Man suit. For instance, during the power core scene, the purpose of the probability storm antics was to give viewers a sense that Scott was surrounded by multiple versions of himself. However, the special effects used in this scene seem far older than they actually are, making it hard for us to believe that what we’re seeing on screen is truly real and tangible, often reducing Rudd’s central figure — or even just his head — to mere illusions.
Apart from “Quantumania,” the movie isn’t limited to just one scene with issues. In fact, we’ve encountered a few Marvel Cinatic Universe (MCU) films that didn’t quite meet our expectations. However, it seems as though the creators of “Quantumania” were more focused on other aspects, rather than making the movie visually appealing.
Arnold Schwarzenegger in Terminator Salvation
The main reason why “Terminator Salvation” from 2009 isn’t widely talked about or remembered among franchise fans is because it’s not very well-regarded. Another significant factor is that it’s the only movie of the six in existence without Arnold Schwarzenegger, who was serving as California’s governor at the time and couldn’t be part of the film, which seems like a crucial condition for a “Terminator” movie.
Despite the absence of Schwarzenegger, the movie “Terminator Salvation” manages to function effectively. This is achieved by digitally recreating Schwarzenegger’s likeness where his face isn’t clearly visible in many scenes. However, in shots where the T-800’s face is more discernible, the character is played by Austrian actor and bodybuilder Roland Kickinger, who previously portrayed Schwarzenegger in the 2005 TV biopic “See Arnold Run.
In a significant fight scene where multiple close-ups of the T-800’s face were showcased, Arnold Schwarzenegger’s visage was digitally merged onto Kickinger’s physical form. The outcome of this intricate and advanced CGI technique, as one might anticipate in a 2009 film directed by McG, was far from satisfactory – it was not good at all.
Ezra Miller in The Flash
2023’s “The Flash” movie is widely known as a poorly made film, even to those who aren’t fans of it, such as James Gunn. Despite our repeated criticisms about its script, performances, direction, camera work, special effects, and more, it seems that we’ve barely touched the tip of the iceberg. Each time you watch “The Flash,” if you can bring yourself to do so multiple times, you’ll uncover fresh instances of confounding poor quality.
Initially viewing this film, you might get overwhelmed by the muddled action sequences that are overly confusing and potentially give you a headache, making it hard to spot instances where “The Flash” excessively uses CGI instead of real actors, even during quiet scenes. For example, you might be drawn to the awkward staging and subpar special effects in the scene depicting Supergirl (Sasha Calle) battling Siberian guards, a scene that has its fair share of poor CGI replacement as well.
Instead of focusing on the heroes’ rescue by Batman’s plane (Michael Keaton) in the final scene, pay attention to the unnatural, almost lifeless appearance of Barry Allen aka The Flash (Ezra Miller). Despite being in both his suit and civilian clothes, the digital models look rigid and underdeveloped, lacking detail. It’s understandable for CGI to struggle with fast-paced action and stunts, but it seems odd that they couldn’t even use stand-ins for Barry for such a brief 15-second shot.
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2025-05-29 04:40