“War of the Worlds” Film Criticized as Both Poor Entertainment and Tech Industry Propaganda

In one of the most critically panned films of the year, Amazon Prime’s 2025 release “War of the Worlds” has managed to climb from a 0 percent to a 3 percent rating on Rotten Tomatoes—a minimal improvement that still places it among the worst-reviewed films in recent memory.

Directed by Rich Lee, this modern reimagining of H.G. Wells’ classic science fiction story abandons traditional cinematography in favor of a narrative told entirely through online calls and surveillance footage. The film stars Ice Cube as William Radford, a domestic terror analyst desperately trying to save his family and country from alien cyborgs with an unusual appetite for human data.

The experimental filmmaking approach might have been innovative on paper, but critics and audiences alike have found the execution deeply flawed. The choice to frame an action film primarily through Microsoft Teams meetings and surveillance feeds has proven particularly divisive, with many viewers finding it distracting rather than immersive.

Technical issues plague the production throughout, with inexplicable blurred faces and questionable CGI drawing viewers out of the experience. One industry analyst noted, “When remaking a classic that holds an 89 percent rating like the 1953 version, the bar is already high. This interpretation doesn’t just miss the bar—it seems unaware the bar exists.”

Perhaps more troubling than the technical shortcomings are the film’s numerous plot inconsistencies, particularly regarding technology. After aliens destroy Earth’s satellites, the film shows military systems, vehicle GPS, and social media platforms failing. Yet inexplicably, news networks, Starlink satellites, X (formerly Twitter) feeds, and Amazon services continue functioning without explanation.

The film has drawn significant criticism for what many reviewers describe as blatant product placement masquerading as plot points. In one scene, a Prime Air drone navigates through apocalyptic destruction to deliver a critical thumb drive. In another, an Amazon delivery driver boyfriend fashions a life-saving tourniquet from packaging tape, describing himself as a “pro.” Perhaps most on-the-nose, a homeless character helps repair a downed delivery drone only after receiving a $1,000 Amazon gift card.

“The product placement is so heavy-handed it borders on parody,” wrote one prominent critic. “If the film had leaned into this absurdity as intentional comedy, it might have worked, but it presents these moments with complete sincerity.”

The film’s political messaging has also raised eyebrows. Throughout the narrative, government surveillance is portrayed as the primary threat to privacy and freedom. The plot revolves around “Goliath,” a secret government program that steals private data from citizens, ultimately attracting the alien invasion. Meanwhile, tech corporations are positioned as innocent bystanders or even saviors in this scenario.

Media analysts have pointed out the conspicuous absence of any critique regarding Big Tech’s real-world role in data collection and privacy issues. “For a film centered on data privacy, there’s zero acknowledgment of how companies like Amazon and others have been implicated in controversial data collection practices,” noted one technology journalist. “The one-sided portrayal feels particularly disingenuous given the film’s distribution platform.”

While director Rich Lee deserves some credit for attempting an innovative approach to remaking a classic, the critical consensus suggests the risk failed to pay off. The unusual filming technique, combined with questionable plotting and what many perceive as corporate propaganda, has resulted in a film that feels more like an extended commercial than thoughtful science fiction.

“War of the Worlds” joins a small but notorious club of major studio releases with Rotten Tomatoes scores below 5 percent. Industry observers note that such poorly received films can sometimes develop cult followings years later, though typically only when they demonstrate a genuine creative vision, however flawed—something many critics argue this film lacks entirely.

As one reviewer summed up: “The film’s attempts to comment on human connection are buried under product placement and technological inconsistencies. The aliens may eat our data in the movie, but it’s the audience’s time and goodwill that are truly consumed.”