10 Truly Terrible Movies From The Game Of Thrones Cast

It's one of the most popular and acclaimed TV series of recent years and has made stars of its young cast, whether newly discovered actors like Emilia Clarke and Kit Harington or previously jobbing supporting players like Peter Dinklage and Nikolaj Coster-Waldau. Game Of Thrones is frequently admired for the cinematic quality of its scope and style, so it comes as no surprise to see those newly minted stars making the step up to the big screen. Why, then, have these attempts been almost universally disastrous?

Sure, there's been the occasional highly regarded example like Maisie Williams' intriguing indie The Falling, but that was made for less than the budget of a single episode of the show and didn't even make that money back. On the whole, however, the sight of a Game Of Thrones star on a movie cast list is as ominous a sign as when your wedding band breaks into The Rains Of Castamere.

With a new season of HBO's blockbuster show about to begin, just in time for more of the cast's movie adventures - like Richard Madden in Bastille Day (because now is definitely the appropriate time for a light hearted Paris terrorism buddy movie)-  it's time to take a look back at some of the worst offenders.

Note: The likes of Charles Dance and Lena Headey would probably have appeared in rubbish like Pride And Prejudice And Zombies regardless of the career boost of Game Of Thrones, so they're not included here.

Rotten Tomatoes score: 9%

Westeros' much-married Queen Margaery seemed like one of the better bets for movie stardom from the Game Of Thrones cast, but that's not going to come from her dual role as sisters in this horror dud, released and then quickly forgotten in the studios' January dumping ground. Well known as the release date where bad horror goes to die, The Forest's reviews suggested a movie that was a failure even by the standards expected of a film in that slot.

Conceived by Batman V Superman writer David S. Goyer, who wondered why the real-life tragedies of a Japanese suicide hotspot hadn't yet inspired a culturally insensitive fiction film with white people, The Forest went through three more writers without finding any originality, narrative thrust, or, crucially, scares.

Dormer herself, at least, emerged relatively unscathed, managing to do her best with some pretty thin material, and at least making her two characters feel like discernibly different people.

They said: "It quickly devolves into convoluted hokum that produces more laughs than scares." (LA Times)