12. THE EVIL DEAD
Sam Raimi not only pushed the limits of camera-induced nausea, he owns a patent on it. The "Raimi Cam"—the nickname for his trademark technique of having his camera run really fast at ground level—was born on The Evil Dead, and its effect was memorable. Imagine if you had the picture quality of Blair Witch, but at 100 mph. Those empty popcorn containers come in handy, don't they?
Vom-Meter: ½ out of 5 bags. When Raimi first did it, it was disorienting. These days, it's pretty tame by comparison.

 

11. 28 DAYS LATER
The film started out fine. Creepy, uninhabited London. Confused Cillian Murphy. Long shots of nothing. But as soon as the good stuff starts happening (zombie attacks), the movie starts stuttering and flailing like Rain Man in the bathtub.
Vom-Meter: 1 out of 5 bags. The attacks are quick and unsettling, but at least the whole film isn't a two-hour seizure.

 

10. SAVING PRIVATE RYAN
Where other filmmakers turn to camcorders because their films are financed by credit card debt and double shifts at Chili's, Steven Spielberg applied their technique to million-dollar cameras and huge historical epics. The opening of Private Ryan was so head-spinning, we were glad Spielberg gave us a good hour and a half to recover.
Vom-Meter: 1 out of 5 bags. That hour-and-a-half padding is great for a Dramamine run.

 

9. CLERKS
For most of the movie, Kevin Smith just plopped his camera on a tripod and filmed people talking, and it worked perfectly. That's why it's so hard to understand the move to "handheld" during Dante and Randal's drive to the funeral. The camera jerks so quickly between them as they talk, we not only got nauseous, we got a sympathy neck sprain.
Vom-Meter: 1 out of 5 bags. The scene is a momentary lapse in Smith's judgment.

 

8. TRANSFORMERS
You know what, Michael Bay? When you have ILM crafting and giant, almost-tangible CG robots, you might want to let the camera linger on them for a few minutes. That final battle is so overedited, we could barely focus. What just flew by? Was that a cube? A taxi? A Decepticon? John Turturro's credibility? What?
Vom-Meter: 1 ½ out of 5 bags. For every confusing shaky-cam moment, there were 2 kick-ass robot fights and 100 shots of Megan Fox in a miniskirt.

 

7. THE KINGDOM
Peter Berg had to do something. If he didn't shoot everything as if he were on a tilt-a-whirl, the audience might have caught on that he was attempting to pass off Arrested Development's Michael Bluth as America's best defense against terrorism. The final battle at the bombers' hideout is more confusing than the film's political message.
Vom-Meter: 1 ½ out of 5 bags. Despite the blurriness, we can still make out who lives and dies, so it's not a complete jumble.