Thomas Lennon is certainly not a horrible screenwriter.
Yes, he was credited as a screenwriter on a number of lousy films, but the same can be said of almost any working writer in Hollywood these days, because in Hollywood, no one ever trusts the writer -- no one ever just follows the screenplay and makes the movie as it's written. Instead, dozens of producers, distributors, agents, marketers, accountants, lawyers, focus group coordinators and studio executives all demand endless changes at every stage in the process, including once the movie has already started filming. Often times movies that start out with good screenplays wind up blatantly incomprehensible by the time they're done just because so many people are involved and making changes, all with different agendas. This is especially true with extremely commerical films like the ones you list, where there's no pretense that anyone's going to be making fine art.
By Hollywood standards, Lennon is still an unestablished writer. It's obvious to me he takes the projects he can get both to make money and to further his career. So if he applied for the job when Disney decided they wanted to remake a 1960s children's film about a talking car and then turned in the tame, by-the-numbers kiddie script they were looking for, it hardly makes him a bad writer. And if he was able to just write the bloody script and sign off on it, without really worrying about what was likely to be done to it after the fact, more power to him. Obviously, Lennon does a good job as a writer when he's given the opportunity to work on projects that he cares about, ie, the State, Reno 911, Viva Variety, Strangers with Candy and the like. It's sad that his name has to be on the stuff that's just about paying the rent, but that's life.
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