| 1 | Sometimes, [[CriticalDissonance critics and the public don't see eye to eye.]] |
| 2 | ---- |
| 3 | [[foldercontrol]] |
| 4 | |
| 5 | [[folder:Directors and Actors]] |
| 6 | * Creator/WesAnderson is a rare example of being this among ''both'' critics and audience members. Many consider his style too artsy, eccentric, and hipster-ish, while others flock to his movies for the very same reason. He is a very polarizing taste. Some, like ''Film/TheLifeAquatic'', are loved by many Anderson fans, but more mixed among critics. Others, like ''Film/MoonriseKingdom'', are loved by critics but generally mixed among Wes Anderson fans. Still others, like ''WesternAnimation/FantasticMrFox'', have gotten almost no attention, either negative or positive, from audience members and critics, and become [[SugarWiki/NeedsMoreLove ignored masterpieces]]. However, fans and critics alike seem to enjoy ''Film/TheGrandBudapestHotel'', ''Film/{{Rushmore}}'', ''Film/TheRoyalTenenbaums'' and ''WesternAnimation/IsleOfDogs''. |
| 7 | * Creator/AriAster's first two movies ''Film/{{Hereditary}}'' and ''Film/{{Midsommar}}'' were showered with critical praise finding them fresh new takes on horror (90% and 83% on Rotten Tomatoes), but found many more detractors among viewers (D+ and C+ on Cinemascore, while the RT audience scores for both were on the 60s) who found the approach [[TooBleakStoppedCaring dark enough to not be fun to watch]]. |
| 8 | * The entire career of Creator/MichaelBay is built upon this. The only films of his to get any respect from critics are ''Film/TheRock'' and ''Film/{{Ambulance}}'', but even those two get somewhat DamnedByFaintPraise in critical circles. Yet of them, only ''Film/PearlHarbor'' and ''Film/TheIsland2005'' were considered outright flops, and perhaps not coincidentally, both of them saw Bay venture outside his comfort zone (a UsefulNotes/WorldWarII EpicMovie with ''Pearl Harbor'', a "thinking man's" ScienceFiction film with ''The Island''). |
| 9 | ** ''Film/Armageddon1998'' is notorious as a symbol of the bloated excesses of blockbuster filmmaking in the late '90s, and remains mocked to this day among astronomers and NASA scientists for its staggering levels of multilayered HollywoodScience. It was also the highest-grossing film of 1998. |
| 10 | ** Bay's ''Film/TransformersFilmSeries'' is the exemplar of this trope for him. While the [[Film/Transformers2007 first one]] has its defenders, critical reception of the sequels was scathing, and fans of [[WesternAnimation/TheTransformers the original cartoon]] and [[Franchise/{{Transformers}} the broader franchise]] likewise despise them for the [[AdaptationDecay many liberties taken]] with the material. Only with ''Film/{{Bumblebee}}'', which Bay wasn't involved in, did any film in the franchise get positive reviews -- and that was the lowest-grossing film in the series (though its smaller budget helped to soften the blow). They were also among the biggest box-office successes of the 21st century, with the third and fourth films, ''[[Film/TransformersDarkOfTheMoon Dark of the Moon]]'' and ''[[Film/TransformersAgeOfExtinction Age of Extinction]]'', each making over a billion dollars worldwide and the latter being the highest-grossing film of 2014 (the second time a Bay film scored that honor, after ''Armageddon''). However, by the fifth film, ''[[Film/TransformersTheLastKnight The Last Knight]]'', popular opinion fell more in line with that of critics. Although far from a flop, it made the least money of any film in the series, with even the usually lucrative Chinese market drying up unusually quickly. The blame can be pinned on a failed attempt at PanderingToTheBase by including copious ProductPlacement for Chinese products and services that even Chinese audiences knew weren't sold or marketed in the United States. |
| 11 | * Creator/KathrynBigelow was on both ends of this trope with the two movies she made about UsefulNotes/TheWarOnTerror, ''Film/TheHurtLocker'' and ''Film/ZeroDarkThirty''. |
| 12 | ** Critics lauded ''The Hurt Locker'' for being a realistic war movie, but ‘ordinary' viewers were less enthusiastic about it. In fact, some current and former U.S. military personnel who saw it, especially Iraq veterans, felt that it was unrealistic to the point where it was almost insulting. It became the lowest-grossing Best Picture UsefulNotes/AcademyAward winner of all time — and some moviegoers have argued that [[AwardSnub the award should have gone to]] ''Film/InglouriousBasterds'' or ''Film/{{Avatar}}''. |
| 13 | ** ''Zero Dark Thirty'' received critical praise, yet it was criticized not by soldiers, but by ''anti''-war activists due to what they saw as a positive depiction of the UsefulNotes/{{CIA}}'s EnhancedInterrogationTechniques, especially given that, according to most sources, torture didn't assist in finding Bin Laden in real life. |
| 14 | * Creator/MelBrooks has always been far more popular among average moviegoers than among critics, who usually only single out ''Film/TheProducers'', ''Film/BlazingSaddles'', and ''Film/YoungFrankenstein'' as his career highlights. |
| 15 | * Creator/TimBurton provides an interesting subversion. His early films managed to be wildly popular despite being ‘artistic', and in fact he was hailed as one of the few ''auteur''-style filmmakers to thrive amidst the blockbuster mentality that prevailed in Hollywood (and in American pop culture generally) throughout the 1980s and most of the '90s (one critic remarked that Burton was adept at "filtering junk culture through an art-school sensibility"). The critics' opinions on him were mixed; however, he seemed to find favor more with elitist critics (such as Creator/PaulineKael) than with populist or at least middlebrow critics (such as Creator/RogerEbert). This despite the fact that Burton himself is no snob, and in his spare time gleefully consumes some of the trashiest entertainments imaginable. Played straight, however, with 1994's ''Film/EdWood'': while it was beloved by critics (though ironically having as its biographical subject [[Creator/EdWood one of the most reviled film directors of all time]]), it failed miserably at the domestic box office. |
| 16 | * [[Creator/TheDardennes The Dardenne brothers]] have made plenty of films in their career that get very high ratings from critics and every movie they put out won the Golden Palm at the Cannes Film Festival, but on average their films make an average loss of $1 million at the box office. The Walloon government keeps financing their films, however, since they make Wallonia look good. |
| 17 | * Creator/CecilBDeMille has been called the Creator/MichaelBay of UsefulNotes/TheGoldenAgeOfHollywood for this reason. His movies were among the biggest blockbusters of the first half of the century, but critics remember only ''{{Film/The Ten Commandments|1956}}'' as actually good cinema. |
| 18 | * Creator/JohnnyDepp's faced this in UsefulNotes/TheNewTens. It started with the ''Franchise/PiratesOfTheCaribbean'' [[{{Sequelitis}} sequels]], as [[Film/PiratesOfTheCaribbeanTheCurseOfTheBlackPearl the original]] was critically acclaimed, and ''Film/AliceInWonderland2010''. Critics pilloried them, despairing that he was squandering his gifts by sticking with such LargeHam, {{Spectacle}}-driven fare instead of the smaller, ‘serious' films on which he built his artistic reputation. Nevertheless, audiences flocked to them; the [[Film/PiratesOfTheCaribbeanDeadMansChest second]] and [[Film/PiratesOfTheCaribbeanOnStrangerTides fourth]] ''Pirates'' films and ''Alice'' grossed over a billion dollars ''each'' worldwide. When ''Film/TheLoneRanger'', patterned after the ''Pirates'' films, became a BoxOfficeBomb, critics were effectively given free rein to beat up on Depp and his later career choices — never mind that, beyond these ‘wacky' roles paying him well, he ''enjoys'' playing them. Given that Depp wasn't an A-lister until the first ''Pirates'' caused his popularity to skyrocket, there's an undercurrent of ItsPopularNowItSucks to this dissonance. ''The Website/AVClub'' [[http://www.avclub.com/article/why-johnny-depp-backlash-nonsense-203646 spoke up for his choices in a 2014 opinion piece.]] |
| 19 | * Creator/WaltDisney: While many people acknowledge Disney's contributions to animation, film and the fine technical craftsmanship of the drawings, special effects and narratives, many art snobs see him as a prime example of horrible kitsch. His works from UsefulNotes/TheGoldenAgeOfAnimation tend to get some recognition, though, but even back then he was criticized for downgrading the artistic achievements by including fluffy FunnyAnimal characters, a lot of CutenessOverload, [[SweetnessAversion cloying storylines]] and happy, safe, romanticized fairy tale worlds. Literature fans despise Disney for taking many of the world's most famous novels and fairy tales and turning them into sugar-coated kiddie entertainment which [[AdaptationDisplacement/{{Disney}} even replaced the original literary masterpieces in the public consciousness]]. The introduction of the Ride/DisneyThemeParks did this reputation no good. Many critics feel Disneyland and the likes are the work of a megalomaniac trying to create a kitsch paradise and get rich off it. As the Disney brand became more corporate-controlled, many feel his cartoons and films became risk-free, formulaic, and devoid of any artistic depth or vision. Worse, these MerchandiseDriven marketing techniques [[FollowTheLeader have spread to countless other cartoons, TV shows, and films]]. Yet, despite all that, the general public still loves Disney with a passion, especially parents with children. |
| 20 | -->'''Walt Disney:''' To hell with the critics! It's the audience I'm going for. |
| 21 | ** A very odd example is ''WesternAnimation/{{Fantasia}}''. At the time it was Disney's riskiest project and it failed to appeal to both the general audience as well as art fans. Regular viewers felt the cartoon was pretentious, devoid of a story and didn't like the fact that ClassicalMusic and no dialogue were its prime gimmicks. Fans of ClassicalMusic felt Disney downgraded these artistic masterpieces by adding preposterous cartoonish images to them, with the ''Pastorale'' segment as a prime example. The outbreak of UsefulNotes/WorldWarII, which had cut off Disney's very lucrative foreign markets, only made things worse. By the 1960s, however, ''Fantasia'' was VindicatedByHistory as a CultClassic. Many film and animation fans see it now as a highlight of Disney's artistic vision and feel it is his most artistically interesting picture, because of the experimental nature, ArtShift in some sequences and sometimes controversial imagery. Yet, even so, most general audiences prefer Disney features with an actual story, and even among the people who recognize the artistic value, there are some who dismiss it as the same old Disney kitsch. Some animation historians say the failure of ''Fantasia'' was responsible for the aforementioned relatively safe, low-risk storytelling approach that would define his works and his studio for the coming decades, as Walt had taken a lot of pride in making ''Fantasia'' with the intent to make more cinema like it, and he suffered a CreatorBreakdown when it bombed in theaters. |
| 22 | * Much like Michael Bay, Creator/RolandEmmerich is one of the most lucrative directors of today, yet none of his box-office blockbusters has gotten particularly positive reviews from critics. Although he's had a rather notable string of huge critical ''and'' financial bombs for his more recent films, suggesting audiences too are beginning to tire of his works. |
| 23 | * Creator/DavidLynch is very popular among film critics and intellectuals for making innovative cinema that at least tries to do something different. Other moviegoers ''hate'' his pictures for being bizarre and arty. |
| 24 | * As shown by the page image, the works of Creator/TylerPerry get consistently negative reviews from critics, but fan response (more specifically the ''actual'' target demographic) is positive. As with Michael Bay and ''The Rock'', ''I Can Do Bad All by Myself'' is the only film of his to get a critically favorable reception. |
| 25 | * Creator/JuliaRoberts is one of the biggest and highest-paid actresses in Hollywood, but rarely receives any critical acclaim. A viewing of her filmography on Website/RottenTomatoes reveals that her movies usually score higher with the general public than highbrow critics, who typically dismiss them as pandering to the LowestCommonDenominator. This hasn't stopped them from making back their budgets several times over, with ''Film/PrettyWoman'' being a prominent case. |
| 26 | * Creator/DavidORussell has several films that critics just loved and audiences were more mixed about, but perhaps his most polarizing was ''Film/AmericanHustle''. While critics absolutely loved it, giving it a 94% on Rotten Tomatoes, audiences merely ''liked'' it. They argued that the [[WorldOfHam scenery chewing, over-the-top performances]] were a bit too much, and the accents were … [[OohMeAccentsSlipping not that accurate.]] |
| 27 | * Most of Creator/AdamSandler's career is built on this, and it goes both ways. He has [[https://variety.com/2022/film/news/adam-sandler-stopped-reading-reviews-critics-hated-billy-madison-1235448340/ said]] that he stopped reading the reviews of his films as early as ''Film/BillyMadison'', which got negative reviews from critics (he said that "90% of the papers [were] going 'this is garbage'") but became a box-office hit and his StarMakingRole in film. |
| 28 | ** Prior to the 2010s, only two of his star vehicles with an approval rating of at least 50% on Website/RottenTomatoes (''Film/TheWeddingSinger'' and ''Film/HappyGilmore'') made back their budgets, while ''all'' his sub-50% movies were successful with audiences. For example, while most critics panned ''Film/TheWaterboy'', it was one of 1998's highest-grossing movies, while 2002's ''Film/PunchDrunkLove'' ended up being his second most critically acclaimed movie, but also his least financially successful one. In 2019, Sandler received the best reviews of his career with ''Film/UncutGems'', with critics praising his PlayingAgainstType performance in a serious crime thriller and pegging him as an award-season contender, but audiences were much cooler on it, with those expecting Sandler's normal comedic stylings applied to a parody of a crime drama turned off once it became clear that the film was ''not'' a comedy. (No surprise in guessing that Creator/{{A24}} released the film.) [[https://www.youtube.com/watch?v=dSvrRLSdho8 This episode]] of ''[[Creator/BobChipman Really That Good]]'' goes into more detail on why audiences (especially kids) in TheNineties clicked with Sandler even as the critics dismissed him. |
| 29 | ** With that said, this only applies to his films from the 1990s and 2000s save ''Uncut Gems'', as everyone has since seemed to come into agreement about Sandler. In 2012, critics were especially unkind to ''Film/JackAndJill'' and ''Film/ThatsMyBoy'', and, significantly, both of them failed to make back their budgets (at least in America). Sandler initially experienced a brief comeback with the animated ''WesternAnimation/HotelTransylvania'' and live-action sequel ''Film/GrownUps 2'', but the trend returned with ''Blended'', ''Film/MenWomenAndChildren'', ''Film/TheCobbler'', and ''Film/{{Pixels}}''; none of which was reviewed fondly by critics and all of which were box-office underperformers that caused him to start releasing newer films straight to Creator/{{Netflix}}. |
| 30 | * This happens quite a bit to Creator/StevenSoderbergh. As a general rule, when he's working outside of big franchises like the ''[[Film/OceansEleven Ocean's]]'' films, he tends to get more experimental, in ways that critics and film geeks tend to appreciate but which aren't usually crowd-pleasing. |
| 31 | ** The [[Film/Solaris2002 2002 remake]] of ''Film/{{Solaris|1972}}'' received generally positive reviews from critics (66% on Website/RottenTomatoes), but audiences hated it. It received an F grade from audiences polled by [=CinemaScore=]. |
| 32 | ** ''Film/Contagion2011'', holds an 84% on Rotten Tomatoes but a C– on [=CinemaScore=]. However, it was at least profitable with over $135 million worldwide. |
| 33 | ** ''Film/{{Haywire}}'' was well-received by critics (80% on Rotten Tomatoes), who are usually familiar with Creator/StevenSoderbergh's films, but hated by audiences (a D– on [=CinemaScore=], 41% audience score on Rotten Tomatoes) who expected a more Hollywood-style action film (the film was even promoted as being like the director's ''Film/OceansEleven''). It barely recouped its budget as a result. |
| 34 | ** ''Film/MagicMike'', despite being BestKnownForTheFanservice (the movie is about male strippers), is actually liked more by critics than by the general public. Its Website/RottenTomatoes critics score is 80%, whereas its audience score is 62% and on Website/IMDb is 6.1/10. This may be because a lot of the general public found the {{fanservice}} off-putting (especially since it's FemaleGaze) and couldn't pay attention to the plot. |
| 35 | ** ''Film/{{Unsane}}'' was warmly received by critics but met a mixed reception from moviegoers, with an 80% critics' score vs. a 57% audience score on Rotten Tomatoes, and it went ignored at the box office, only making its budget back because it cost less than $2 million to make. |
| 36 | ** ''Film/{{Kimi}}'' received highly positive reviews from critics (93% on Rotten Tomatoes), but audience reception was more mixed (a 51% audience score on Rotten Tomatoes). |
| 37 | * The film adaptations of Creator/NicholasSparks' romance novels have never gotten good reviews, but all have been hits with his core audience. |
| 38 | ** ''Film/TheNotebook'' has considerable praise by the general public, but the major reaction from critics was mixed. A good example of this is the Website/IMDb rating (7.9 out of 10) compared to the Website/RottenTomatoes rating (52%). |
| 39 | ** ''Literature/SafeHaven'' was ravaged by critics, but it made back its budget at the box office three times over. |
| 40 | ** Rotten Tomatoes outright lampshaded this in the Critics' Consensus for ''The Best of Me'' (critics' score of 8%, audience score of 59%), noting that, by that point, Sparks' movies were CriticProof. |
| 41 | -->"At nine films and counting, the line between Nicholas Sparks film fans and detractors is clear, and ''The Best of Me'' will change few minds on either side of the divide." |
| 42 | * Creator/StevenSpielberg is the most successful film director of all time, with myriad blockbusters and box office hits. Critical reception is more mixed. Few will question the entertainment values of ''Film/{{Jaws}}'', ''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Franchise/IndianaJones'' and ''Franchise/JurassicPark''; most critics, however, will prefer his more serious mature stuff like ''Film/SchindlersList'', ''Film/SavingPrivateRyan'' and ''Film/{{Munich}}'' (which is also an individual case of this; reviewers loved ''Munich'', put it on year-end lists and the film had six Oscar noms... and it was only a mild box office hit - $131 million, when the other two listed gathered at least $300 million - and doesn't get the universal praise of the other two, which are among the top 30 in [=IMDb's=] top 250, while ''Munich'' [[https://www.imdb.com/title/tt0408306/ratings?ref_=tt_ov_rt has lesser votes and grades]]). And still, others will heap on Spielberg's movies nothing but scorn for the often infantile themes, sappy moments and obligatory happy endings. The general opinion of this school can be summed up as ‘He is closer to being [[Creator/WaltDisney Disney]]'s successor than [[Creator/AlfredHitchcock Hitchcock]]'s.' |
| 43 | * Creator/SylvesterStallone, Creator/ArnoldSchwarzenegger, Creator/ChuckNorris, Creator/StevenSeagal, Creator/BruceWillis, and Creator/JeanClaudeVanDamme are all among the most recognizable Hollywood stars of UsefulNotes/TheEighties and UsefulNotes/TheNineties, yet most of their pictures are much more popular with average movie watchers than with critics who dismiss these pictures for putting action before substance. Only a few pictures have gotten some kind of critical praise over the years, like ''Film/FirstBlood'' (which wasn't even an action film), ''Film/TheTerminator'', ''Film/Terminator2JudgmentDay'', and the first ''Film/DieHard''. |
| 44 | * Creator/ShirleyTemple's popularity in the 1930s was so enormous that she made many average moviegoers forget their troubles for a while — no mean feat in the days of TheGreatDepression. Yet critics hated her cutesy, namby-pamby family films with a passion. |
| 45 | * Film/TheThreeStooges were more popular among children and common people than among critics, who consider their slapstick far too lowbrow and formulaic. It wasn't until TheEighties when they finally got their due, as later comedy filmmakers who grew up with the Stooges' short films took influence from them while home video releases made them accessible for a new generation. Ted Okuda and Edward Watz, in their book ''The Columbia Comedy Shorts'', put it thusly: |
| 46 | -->"Many scholarly studies of motion picture comedy have overlooked the Three Stooges entirely -- and not without valid reasoning. Aesthetically, the Stooges violated every rule that constitutes "good" comedic style. Their characters lacked the emotional depth of Creator/CharlieChaplin and Harry Langdon; they were never as witty or subtle as Creator/BusterKeaton. They were not disciplined enough to sustain lengthy comic sequences; far too often, they were willing to suspend what little narrative structure their pictures possessed in order to [[RuleOfFunny insert a number of gratuitous jokes]]. Nearly every premise they have employed (spoofs of westerns, horror films, costume melodramas) has been [[OnceOriginalNowCommon done to better effect by other comedians]]. And yet, in spite of the overwhelming artistic odds against them, they were responsible for some of the finest comedies ever made. Their humor was the most undistilled form of low comedy; they were not great innovators, but as quick laugh practitioners, they place second to none. If public taste is any criterion, the Stooges have been the reigning kings of comedy for over fifty years." |
| 47 | * Creator/RudolphValentino was a hugely popular movie star among female viewers in TheRoaringTwenties, yet his pictures have always been dismissed as quaint and ludicrous {{fanservice}} stories for {{fangirl}}s. It says a lot that, when his biggest hits ''Film/TheSheik'' and ''Film/TheFourHorsemenOfTheApocalypse'' do get a mention in cinematic history books, it's more for their historic value than their artistic merit. |
| 48 | * Creator/MNightShyamalan could be the trope codifier. Ever since the movie ''Film/TheSixthSense'' put him on the map for being a director who can throw a good PlotTwist into a story, he hasn't had a good relationship with the critics. Almost every film that has come out by him since then, ''Film/TheVillage2004'', ''Film/LadyInTheWater'', ''Film/TheHappening'', and others have been bashed by the critics. However, this hasn't stopped many of his films from making an average of over 100 million dollars per release. |
| 49 | [[/folder]] |
| 50 | |
| 51 | [[folder:Films — Animation]] |
| 52 | * Audiences' opinions were divided about ''WesternAnimation/{{Antz}}'', largely for being perceived as a DarkerAndEdgier ripoff of ''WesternAnimation/ABugsLife'', but critics liked it. |
| 53 | * Most critics either hated or didn't understand the ''WesternAnimation/AquaTeenHungerForce'' [[TheMovie movie]], but it was well-received by fans, though some of them criticized it for pacing issues. |
| 54 | * Creator/{{Pixar}}: The studio has garnered a couple of examples over the years. |
| 55 | ** ''WesternAnimation/ABugsLife'' received critical acclaim from critics when it came out, scoring a 92% score on Rotten Tomatoes. The audience score however, is a more lukewarm 72%, with many regarding it as one of Pixar's weaker films. |
| 56 | ** ''WesternAnimation/{{Cars 2}}'' was not well-received by critics (38% on Rotten Tomatoes) but audiences flocked to see it as they did with the first (although not to the same extent as previous Creator/{{Pixar}} movies). |
| 57 | ** While ''WesternAnimation/TurningRed'' has received critical acclaim and high scores across the board by critics, it has quickly become one of Pixar's most polarizing films amongst audiences, with many either agreeing with the critics and finding it to be great film or disliking it due to its art-style, on top of finding the surprisingly adult humor and the puberty subject matter to be too "inappropriate" for a Pixar film. Just for comparison, the film's critical rating on Rotten Tomatoes is an incredibly high 95%, whereas the audience rating is a still positive, but noticeably lower 71%. |
| 58 | * The Franchise/DisneyAnimatedCanon has a few examples, especially during its two "Dark Ages" (c. 1970–88 and c. 2000–08): |
| 59 | ** ''WesternAnimation/RobinHood1973'' received lukewarm reviews upon release, and has a barely-passable 55% on Rotten Tomatoes. Audiences then and today, however, love it. The movie has an 81% audience rating on Rotten Tomatoes, and it also has one of the highest Website/IMDb ratings of the pre-Renaissance movies (7.5/10, which is also higher than several later and seemingly more popular movies).[[note]]One of the reasons for this was it was the first "Untouchable" released under Creator/WaltDisneyHomeVideo's ''Walt Disney Classics'' brand, in 1984, making it immediately accessible for home audiences.[[/note]] It also helped kickstart a generation of [[UsefulNotes/FurryFandom furry artists]]. |
| 60 | ** ''WesternAnimation/TheBlackCauldron'' was apparently only released on VHS because of fan protest.[[note]]It wasn't spoken of after its terrible run in theaters in 1985; Disney was finally convinced to release it in a shiny clamshell as one of the later installments in North America and Canada through the Walt Disney Masterpiece Collection label in 1998, and internationally through the international Walt Disney Classics label.[[/note]] Yet, it has always had very lukewarm critical reception, and for the record, is barely remembered. |
| 61 | ** ''WesternAnimation/TheRescuers'' has an impressive 85% on RT, while its sequel, ''WesternAnimation/TheRescuersDownUnder'', has a merely passable 68%. Disney aficionados tend to switch the two, with the original being seen as middling and dull and the sequel a vast improvement with beautiful animation. |
| 62 | ** ''WesternAnimation/{{Pocahontas}}'' was viewed as ‘pretentious' and hated for being historically inaccurate. Despite this, it still ranks among Disney's most popular films, the main character is still a Franchise/DisneyPrincess, and people still have a great love for it. |
| 63 | ** ''WesternAnimation/AtlantisTheLostEmpire'' is the biggest CultClassic in the Disney canon, despite being generally ignored by critics and a disappointing gross. |
| 64 | ** ''WesternAnimation/BrotherBear'' has been fairly well-received by the Disney fanbase, while ''WesternAnimation/HomeOnTheRange'' has been considered to be one of the worst Disney movies of all time, with some saying that it's just as bad as ''WesternAnimation/ChickenLittle''. Critics, on the other hand, are the complete opposite. ''Home on the Range'' got scores that are mostly around 50%, while ''Brother Bear'' currently has the second-lowest score of any movie in the Franchise/DisneyAnimatedCanon on Website/RottenTomatoes (Only behind ''Chicken Little''), and is also tied with, again, ''Chicken Little'' as the lowest scoring Disney animated movie on Metacritic. |
| 65 | ** ''WesternAnimation/RalphBreaksTheInternet'' received glowing reviews from critics and was regarded as an EvenBetterSequel to ''WesternAnimation/WreckItRalph'', but among audiences and Disney fans it is [[BrokenBase one of the most contentious entries in the entire Disney Animated Canon]] and a big-time ContestedSequel for a multitude of reasons (particularly in its overall depiction of the internet, how it handled Ralph and Vanellope's respective character arcs, and [[MassiveMultiplayerCrossover the use of cameos from other Disney movies and properties]]). Compare Rotten Tomatoes' 88% critical score to the not bad but still considerably more lukewarm 65% rating from audiences. |
| 66 | ** ''WesternAnimation/StrangeWorld'' got mostly positive revews from critics with its score at 72% on Rotten Tomatoes. Audiences had mixed opinions about it; verified audiences have it at a slightly lower 66% compared to the total audience rating of 39%. |
| 67 | ** ''WesternAnimation/Wish2023'' received mixed reviews from critics with a score of 48% on Rotten Tomatoes. And while audiences still seem mixed on the film, it's audience score is much more positive, getting an 81%, and it has an A- on Cinemascore. |
| 68 | |
| 69 | * Creator/DreamWorksAnimation's offerings in the mid-2010s also landed in this. |
| 70 | ** ''WesternAnimation/Home2015'' received generally mixed reviews from critics (47% on Website/RottenTomatoes, the lowest for a [=DreamWorks=] movie since ''WesternAnimation/ShrekTheThird''), but was successful at the box office, with an opening weekend of $52 million (the highest opening weekend for a [=DreamWorks=] movie since ''WesternAnimation/Madagascar3EuropesMostWanted'') and had generally positive audience feedback (an A grade from [=CinemaScore=]). |
| 71 | ** Reviews for ''WesternAnimation/TheBossBaby'' were very mixed, with a 53% on RT and many unflattering memes making fun of the film's premise. Audiences were much more enthusiastic about the film when it opened at number one and bumped off the live-action version of ''Film/{{Beauty and the Beast|2017}}'' to No. 2. |
| 72 | ** Critic reviews for ''WesternAnimation/TheCroodsANewAge'' skewed toward the mixed side, while most audiences regarded the movie as an EvenBetterSequel to [[WesternAnimation/TheCroods the first movie]]. On RT for example, the film has a modest 75% critical rating while the audience rating is a much more impressive 95%. |
| 73 | * ''WesternAnimation/EarlyMan'' did much better with critics than with audiences; it has an 81% approval rating from critics on Rotten Tomatoes, but it has a 55% approval rating from audiences on the same site. Its commercial bombing in the United States is easily attributed to the fact that it was released the same weekend as ''Film/BlackPanther2018''. |
| 74 | * ''WesternAnimation/HotelTransylvania'' received generally mixed critical reception; it currently holds a critics score of 45% ("Rotten") on Website/RottenTomatoes. Audiences, however, view it quite differently; the audience score on the aforementioned Rotten Tomatoes is currently at 72% ("Fresh"), it set a box-office record for the largest September film opening ever (previously held by ''Film/SweetHomeAlabama''), was the highest-grossing film for Sony Pictures Animation up to that point (previously a record held by ''Film/TheSmurfs''), and was an overall box-office success, taking in $358 million worldwide against a modest $85 million budget. Its sequels were similar affairs, albeit with warmer critical reception for each installment. The second was 56% on RT and in fact lower-ranked than the first on Metacritic, but broke the $400 million barrier; the third was the first Fresh on RT, with 62%, and grossed over $500 million. |
| 75 | * Critics were mixed to ''WesternAnimation/MyLittlePonyTheMovie2017'', general opinion being [[SoOkayItsAverage passable without anything noteworthy]], getting only 44% on Website/RottenTomatoes. But it also got an 86% positive audience score, Cinescore gave it an "A-", and it grossed over $60 million from a $6.5 million budget. In particular were the musical sequences done by Daniel Ingram, which many critics ''really'' did not like and compared unfavorably to Creator/LinManuelMiranda, but the fans loved and largely believe no one else is better suited for the job. |
| 76 | * ''WesternAnimation/TheNutJob'' was very poorly received by critics (11% on Website/RottenTomatoes), but it was successful at the box office (due in part to being released in [[DumpMonths January]] and had decent marketing of an indie film) and has down-the-middle audience ratings on Rotten Tomatoes and Website/IMDb. |
| 77 | * ''Anime/PokemonTheSeries'' |
| 78 | ** ''Anime/Pokemon2000'' was roundly panned by critics, but made quite a bit of money during the summer 2000 season and is among the more well-regarded films among fans. |
| 79 | ** ''Anime/Pokemon3: Spell of the Unown'' did poorly with critics on its release. However, fans, such as WebVideo/ThatDudeInTheSuede and [[WebVideo/AtopTheFourthWall Linkara]], praised it. They say the battles are some of the best to come out of the movies, has the best story, and love its [[DarkerAndEdgier dark]] themes. |
| 80 | ** ''Anime/PokemonKyuremVsTheSwordOfJustice'' is considered to be one of the better Pokémon movies (certainly the best of the Unova movies) despite having [[https://www.imdb.com/search/title/?title=pokemon&title_type=feature&num_votes=100,&sort=user_rating,desc one of the lowest]] Website/IMDb ratings of the series, 5.5/10. |
| 81 | ** Conversely, ''Anime/PokemonTheRiseOfDarkrai'' has one of the higher scores, 6.5/10, but is generally criticized as SoOkayItsAverage for [[ItsTheSameSoItSucks how many plot devices had been recycled]] from the previous movies. |
| 82 | * The Mexican animated film ''WesternAnimation/ElSantosVsLaTetonaMendoza''. It received more or less good reviews from critics, an opinion which Mexican audiences did not share. And with very good reason: The whole thing is a giant [[TakeThatAudience middle finger against Mexican culture]]. |
| 83 | * ''WesternAnimation/TheRugratsMovie'' was a box office success and was well-received by audiences, but most critics either dismissed the film as being childish or thought it would work better as a MadeForTVMovie. |
| 84 | * A minor case with ''WesternAnimation/SausageParty''. From critics on Website/RottenTomatoes, it got an 83% "Certified Fresh" rating. From audiences, it got a much less impressive 52%, a 6.1 on Website/{{IMDb}}, and usually a 3-star rating on many retailers like Amazon, namely from [[AnimationAgeGhetto those who believe animation is only for children]]. |
| 85 | * ''WesternAnimation/TheSuperMarioBrosMovie'', a 2023 movie produced by {{Creator/Illumination}} in conjunction with {{Creator/Nintendo}}, received mixed critical reception (currently a barely Rotten 59% on Website/RottenTomatoes), but was massively praised by the majority of audiences who saw it in theaters (95% on Rotten Tomatoes, 8.3 on Metacritic, and a [=CinemaScore=] rating of A). It received particular praise from ''[[Franchise/SuperMarioBros Mario]]'' fans, who had previously been burned by [[Film/SuperMarioBros1993 the infamous 1993 film]] and were delighted to have an adaptation that fully embraced the spirit of the games. |
| 86 | * The ''WesternAnimation/TeachersPet'' movie received mainly positive reviews by critics, getting a 76% rating on Website/RottenTomatoes. Audiences, however, had mixed opinions with it garnering a 48% approval. The backlash mainly came from moviegoers who were unfamiliar with the series it was based on. Even fans of the series weren't too impressed, citing its short runtime and rushed plot as factors. |
| 87 | * ''WesternAnimation/TheTransformersTheMovie'' was trashed by critics for being [[MerchandiseDriven a 90-minute film about toys]], and was not a big hit due to the mass slaughter [[AnyoneCanDie of beloved characters]] in favor of [[ReplacementScrappy new ones]]. Once the backlash hit Hasbro and they were forced to bring most of the characters back to life, however, it became a [[CultClassic cult favorite]], even among fans who came into the franchise from newer adaptations. |
| 88 | * ''Franchise/WinnieThePooh'' |
| 89 | ** ''WesternAnimation/PoohsGrandAdventure'' got a mixed-to-negative critical reception upon its initial release, with critics particularly citing that the [[DarkerAndEdgier darker themes]] that it explored, the complex ways that the film explores the characters of Pooh and his friends, and the overall more somber tone were things that had no place in a ''Winnie-the-Pooh'' movie. However, these very things are among the things that make the ''Pooh'' fanbase consider ''Pooh's Grand Adventure'' one of Pooh's best movies. |
| 90 | ** ''WesternAnimation/TheTiggerMovie'' likewise received a mixed critical reception, but is also very well-regarded among the ''Pooh'' fanbase for its extraordinary exploration of Tigger's character and great songs. |
| 91 | * ''WesternAnimation/{{Ballerina}}'' was not well liked by critics nor had strong marketing, but it ended up as a box office success regardless, mostly in its home country of France. |
| 92 | [[/folder]] |
| 93 | |
| 94 | |
| 95 | [[folder:Films — Live-Action]] |
| 96 | * ''Film/ActOfValor'' was poorly received by the critics who saw it (29% on Rotten Tomatoes) but most of its audience (mainly the ‘support-our-troops' crowd) tends to love it (84% on the same website). |
| 97 | * ''Film/AdAstra'': The film received very positive reviews from critics, but had a much colder reception from general audiences, with a 83% critic consensus versus only a low 40% audience score on Rotten Tomatoes, a relatively low B- grade from [=CinemaScore=], and it was a BoxOfficeBomb. |
| 98 | * ''Film/AlitaBattleAngel'' polarized critics, who praised [[SugarWiki/VisualEffectsOfAwesome its special effects]] and Creator/RosaSalazar's lead performance but found the story to be unwieldy. While it wasn't the box-office disaster that many had feared, it still depended on [[GermansLoveDavidHasselhoff overseas box office]] to turn the small profit that it did. Among moviegoers who ''did'' see it, however, it was widely praised, with fans of [[Manga/BattleAngelAlita the original manga and anime]] in particular hailing it as one of the best [[LiveActionAdaptation Hollywood film adaptations]] of manga in general. Its critics' score on Rotten Tomatoes sits just on the edge of Fresh at 61%, but its audience score is a towering 92%. |
| 99 | * ''Film/AmericanSniper'' attracted harsh criticism from antiwar activists like Creator/MichaelMoore and many news personalities, has been [[GodwinsLaw compared to Nazi recruitment films]], and generally has met with venom-spewing hatred from anyone who sees it as a glorification of the Iraq War. Others, including veterans of that war, said that Chris Kyle, the titular sniper, was no hero but a dangerously unbalanced man whose autobiography of the same name (on which the film is based) is a bunch of lies. Overall, critics seemed to like it, but many were also turned off by the premise and the potential lack of truth in it. As for the audience? It broke several box-office records, wound up being the highest-grossing film of 2014 (in the American market, anyway) and earned a rare A+ on [=CinemaScore=]. |
| 100 | * Mere days after the release of ''Film/Annie2014''[[note]](aside from the leak)[[/note]], the sharp contrast between negative reviews and overall positive reception from the public was already glaring. Four days following release, there was a 30% difference between the critic and audience numbers for the film on Rotten Tomatoes. |
| 101 | * ''Film/TheAssistant'', a film about a DayInTheLife of a BeleagueredAssistant on the sidelines of a BadBoss's CastingCouch behavior, was a hit with critics for its extremely subtle, nuanced and minimalist presentation, earning a 91% score. Mainstream audiences, however, largely rejected the film for the same reasons, describing it as a boring film where nothing happens and giving it a miserable 25% score. |
| 102 | * ''Film/AugustRush'', the story of an incredibly gifted musical child, got a 37% on Rotten Tomatoes from critics, but an 82% from fans. |
| 103 | * ''Film/{{Barbarian}}'' was utterly adored by critics, praising its unconventional narrative structure and masterful use of tension. But audiences were heavily polarized by it. A significant of general moviegoers found its sudden MoodWhiplash and slight GenreShift to feel off-putting and ruined the horror of the film. And many of said audiences questioned the film's numerous plot holes. |
| 104 | * ''Film/{{Because I Said So|2007}}'' was hated by critics for being a ClicheStorm and has an abysmal 4% from them on Rotten Tomatoes, but received a significantly kinder 65% from audiences. |
| 105 | * ''Film/Belle2013'' got good reviews, but the audience was not very excited about it. German critics described the film as good, solid "educational cinema" that "doesn't whip up feelings" … which may explain why it passed into oblivion, with hardly anyone having seen it, or even heard of it, in 2015, one year after release. Telling people that something is educational is a good way to keep them from wanting to see it, after all. |
| 106 | * The action film ''Film/BillyJack'' and its sequel, ''The Trial of Billy Jack'', were viewed as jokes by critics in UsefulNotes/TheSeventies, but they were so popular with audiences that star, director and co-writer Tom Laughlin organized an essay contest in which fans wrote rebuttals to the terrible reviews that ''Trial'' received. |
| 107 | * ''Film/BioDome'' is widely considered one of the worst comedies ever. Yet it seems to have found a few supporters, as its IMDB grade is a [[SoOkayItsAverage fairly average]] [[https://www.imdb.com/title/tt0115683/ratings?ref_=tt_ov_rt 4.5]] and the Rotten Tomatoes audience score is 51% (compared to a 4% approval by critics). |
| 108 | * ''Film/BohemianRhapsody'' met a reception from critics that, while more positive than not, was still [[SoOkayItsAverage rather lukewarm]], with them praising the concert scenes and Creator/RamiMalek's performance as Music/FreddieMercury but criticizing its [[ArtisticLicenseHistory historical inaccuracies]] and its [[StrictlyFormula strict adherence to the "rock star biopic" formula]]. Audiences were able to overlook the latter and embrace the formula, such that, while its critics' score on Rotten Tomatoes is just barely Fresh at 61%, its audience score is a rapturous 94%. The film also features an InUniverse example, with shots of (real life) contemporary music reviews being overlaid while the band is writing the titular song, before cutting to a chart showing the song's immense popularity; hilariously enough the sequence reflects the film's real-world reception pretty well (audiences love it, critics think it's mediocre). |
| 109 | * ''Film/BonnieAndClyde'' polarized critics on initial release, as much for its graphic content as for the quality itself. ''Newsweek'' critic Joe Morgenstern called it a "squalid shoot-'em-up for the moron trade", and ''New York Times'' critic Bosley Crowther was so horrified by the film's bloody violence and lighthearted treatment of its [[BasedOnATrueStory real-life]] {{Villain Protagonist}}s that it turned him into a {{Moral Guardian|s}}, spending the rest of his life campaigning against violence in film. Word of mouth, however, made the film a blockbuster among younger audiences, including some new-school film critics like Creator/RogerEbert and Creator/PaulineKael, and [[VindicatedByHistory its critical reputation would improve]] in the coming years as one of the foundational films of the UsefulNotes/NewHollywood movement. Notably, Morgenstern would change his mind upon rewatching the film, giving it a far more positive review that would be heavily promoted by Warner Bros., while Crowther (who never changed his poor opinion on the film) would lose his job at the ''Times'' and be replaced by Kael due to how out-of-touch his review was regarded as. |
| 110 | * ''Film/TheBoondockSaints'' was trashed by critics as a '[[PoorMansSubstitute poor man's]] [[Creator/QuentinTarantino Tarantino]],' holding a 19% rating on Website/RottenTomatoes from professional critics … and a 92% from fans on the same site (as well as a 7.9 on Website/IMDb), who have turned the film into a CultClassic and a St. Patrick's Day tradition. |
| 111 | * ''Film/{{Bright}}'' was panned by critics but liked by audiences. |
| 112 | * ''Film/{{Bug|2006}}'' did alright with critics, who mostly thought the ending was bad, but otherwise liked it. Audiences, however, almost collectively hated the film, with it receiving an F on Cinemascore. Though this is mostly because the film was advertised as a horror film when it was really a psychological drama/tragedy. |
| 113 | * ''Film/TheButterflyEffect'' got a 33% rating on Rotten Tomatoes but a 81% audience rating, and a 7.7/10 on Website/IMDb. It was also a box-office success. |
| 114 | * ''Film/CharlieAndTheChocolateFactory'' was well-liked by critics. Audiences, however, who were [[AdaptationDisplacement less likely to be familiar with]] [[Literature/CharlieAndTheChocolateFactory the original book]], instead considered it to be a badly-done remake of the classic [[Film/WillyWonkaAndTheChocolateFactory 1971 film version]], and gave it mediocre reviews. |
| 115 | * ''Film/CheaperByTheDozen2003'' received mixed reviews from critics (though Ebert and Roeper both liked it), but it did well with audiences. It was also lucky enough to get only ''one'' Golden Raspberry Award nomination. |
| 116 | * ''Christmas Eve'', a forgettable 2015 film starring Creator/PatrickStewart, has a rare 0% on Website/RottenTomatoes, but audiences gave it a barely-fresh 61%. |
| 117 | * ''Film/ChasingMavericks'' got a 31% rating on Rotten Tomatoes but was scored better with audiences. |
| 118 | * Creator/OrsonWelles' most famous film, ''Film/CitizenKane'', was received with critical acclaim and box-office indifference (mostly caused by being backlashed by none other than William Randolph Hearst). When it won the Oscar for Best Original Screenplay, the crowd tried to boo the announcer off the stage. Nowadays, it's a SacredCow beloved by both the public and critics. |
| 119 | * ''Film/CloudAtlas'' received polarizing but mostly positive reviews (Creator/RogerEbert gave it four out of four stars and called it one of the most ambitious films ever made) and was nominated for a number of awards. Audiences, however, roundly ignored the film, and it ended up becoming a BoxOfficeBomb. |
| 120 | * ''Film/{{Cuties}}'' suffered this big time. It was received very well by most critics with an 87% rating on Rotten Tomatoes, but audiences were far harsher, resulting in only 15% on the same metric. This divide is almost entirely to do with the risqué subject matter and [[OvershadowedByControversy the nigh-unavoidable controversy it invites]], that being how it depicts and handles the sexualization of its preteen characters -- critics were more inclined to accept it as part of a challenging ComingOfAgeStory in addressing a taboo, yet poignant challenge faced by its characters (with an understanding that [[FanDisservice the sexual presentation being uncomfortable is itself the point]]; not meant to be seen as an endorsement), but wider audiences were far more merciless, thrashing the presence of sexualizing young girls on principle, as well as [[DontShootTheMessage being far too close to what it criticizes to be acceptable]]. [[TaintedByThePreview Netflix's disastrously bad marketing campaign]] that seemed to [[DoNotDoThisCoolThing present the preteen sexualization at face value as a selling point]] likely didn't help in preventing audiences from going in with full expectation to be disgusted. |
| 121 | * TheFilmOfTheBook of ''Literature/DaisyMiller'' received a rare 100% rating on Rotten Tomatoes from 6 critics, but a measly ''23%'' from audiences. |
| 122 | * This was a trend for the Franchise/DCExtendedUniverse: |
| 123 | ** Downplayed with ''Film/ManOfSteel'', which has a rating of 55% with critics and a 75% with audiences on Rotten Tomatoes. That said, it really polarized hardcore ComicBook/{{Superman}} fans due to the [[TheyChangedItNowItSucks liberties taken with the source material]] ([[MovieSuperheroesWearBlack not just the costume, either]]). Despite this, it had very positive audience reactions and word of mouth, and collected the highest-grossing June opening weekend ''of all time''. |
| 124 | ** ''Film/BatmanVSupermanDawnOfJustice'' is incredibly polarizing. The vast majority of critics ''panned'' the film, with one memorable headline calling it "A Crime Against Comic Book Fans." Audiences were harder to pin down. Many sites were review-bombed with perfect scores about a day before the film came out, but the voices and user reviews ''since then'' haven't been anywhere near as vitriolic as the critics, finding it [[SoOkayItsAverage a flawed but entertaining film]]. This has been reflected in the box office with a start with a solid $166 million opening weekend only to be followed with a ''68%'' second weekend drop despite the lack of competition; for comparison, ''Film/BatmanAndRobin'' was considered the worst Batman film, yet it dropped only ''63%'' for its second weekend. Over the years, it's received some VindicatedByHistory thanks in part to the BetterOnDVD "Ultimate Edition" and the release of ''Film/ZackSnydersJusticeLeague''. |
| 125 | ** ''Film/{{Suicide Squad|2016}}'' was utterly trashed by critics, but was much more popular with viewing audiences. On Rotten Tomatoes, it has a 26% critical average versus a 60% audience score. Certain fans responded by [[http://www.gamesradar.com/suicide-squad-fans-petition-to-shut-rotten-tomatoes-down-after-bad-reviews/ trying to have Rotten Tomatoes taken offline]]. |
| 126 | ** ''Film/{{Justice League|2017}}'' has a 40% critic score, but a 75% audience score on Rotten Tomatoes. However, the film was a BoxOfficeBomb and fans called for WB to release Creator/ZackSnyder's original cut of the film without Creator/JossWhedon's reshoots after more information came to light that the film was much more heavily reworked than originally let on following Snyder's departure from the project. Eventually, the director's cut, titled ''Film/ZackSnydersJusticeLeague'', was released in March 2021 to good critical reception (getting 71% from critics, a marked improvement over Snyder's previous DC output) and ''95%'' from audiences. |
| 127 | ** Downplayed with ''Film/{{Aquaman|2018}}''. Although the Rotten Tomatoes score is Fresh and it proved that the success of ''Film/{{Wonder Woman|2017}}'' (the only DCEU film at the time that was near-universally praised by critics, fans and general audiences alike) wasn't a fluke, it was still considered just "pretty good" rather than great. The tone especially polarized critics, with some loving its GenreThrowback to '80s fantasy, cartoons and ''[[ShonenDemographic shōnen]]'' anime and others thinking that it was just ridiculous and hard to take seriously. Audiences loved it anyway, often because of how over-the-top it was with its action and story, giving it an A- [=CinemaScore=]. |
| 128 | ** ''Film/BlackAdam2022'' veered into winning back fans of Zack Snyder's vision and met with negative critical reception in the process, but like earlier films of the ''DCEU'', also received very positive reception among fans for the same reason. Unfortunately, it still wound up failing in the box office. |
| 129 | * ''Film/DeathWish3'' has a negative critical reception, but has a positive fan reception. |
| 130 | * The live-action ''Film/DiaryOfAWimpyKid'' film series received mixed and mediocre reviews from critics but is absolutely adored by audiences and fans of the books. |
| 131 | * The ''Franchise/DieHard'' franchise: |
| 132 | ** ''Film/DieHardWithAVengeance'' was somewhat divisive to critics (though its reputation has improved since then), but was still the highest-grossing film of 1995 and well-received by fans. |
| 133 | ** ''Film/LiveFreeOrDieHard'' was hailed as a return to form for the series, as well as a true sequel to the first, by critics. However, despite all the moviegoers and series fans who enjoyed it, it quickly turned into the series' most divisive entry thanks to accusations of using InvincibleHero, complaints about Creator/JustinLong and [[{{Bowdlerize}} its series-unusual PG-13 rating]]. |
| 134 | * Film/DisneyLiveActionRemakes: |
| 135 | ** ''Film/Aladdin2019'' and ''WesternAnimation/TheLionKing2019'' both met with mixed reviews from professional critics (Tomatometers of 56% and 52% respectively, and Metascores of 53 and 55) and are punch lines among Disney fans... but also enjoy A Cinemascores, audience Tomatometers of 94% and 89%, and Metacritic user scores of 6.6 and 6.4. Notably, ''Aladdin'' released during the first weekend in which Rotten Tomatoes began requiring that people verify their ticket stubs (and thus [[ComplainingAboutShowsYouDontWatch confirm that they saw the movie]]) in order for their reviews to be counted towards the audience Tomatometer. |
| 136 | ** ''Film/Mulan2020'' got good reviews, praising its visual spectacle and performances, but audiences found it a very underwhelming update to [[WesternAnimation/{{Mulan}} a beloved animated feature]] (and particularly not a film worth spending $30 plus a Creator/DisneyPlus subscription for), criticizing it for removing what made the original memorable in the first place, with almost no humour, Mushu being completely absent and Mulan lacking any real character arc. It has a 72% approval of Rotten Tomatoes and a 66 Metascore, but the audience score is at a mediocre 46%, the Website/IMDb rating is a meager 5.4/10, and its Metacritic user score is a dismal 3.0. |
| 137 | ** ''Film/PeterPanAndWendy'' received mixed but overall positive reception from critics, with a 64% critical score on Rotten Tomatoes and a 61 Metascore, but was savaged by Disney fans (11% audience score, 1.5 Metacritic user score) for its dull RealIsBrown color palette and sluggish pacing (some viewers also disliked the AdaptationalDiversity, but that's a subject for another page). |
| 138 | * The film adaptation of Music/MotleyCrue biopic ''Film/TheDirt'' received a 38% critical rating on Rotten Tomatoes and was bashed for not being a good movie for the #[=MeToo=] era. On the flipside, it received a 95% audience rating on Rotten Tomatoes, became one of the most watched Netflix original movies, and resurrected the band's popularity to the point where they officially announced their reunion in 2019. Fitting, as it mirrored the critical/audience reception of the band it was based on. |
| 139 | * The film adaptation of ''Literature/{{Divergent}}'' received mixed reviews from critics, but was generally well-received by audiences and fans of the book it was based on, handily beat out the much better-received ''Film/MuppetsMostWanted'', and had a massive $55 million opening — about $2 million more than the latter would make in its entire run. |
| 140 | * ''Film/DontBreathe2'' has on Rotten Tomatoes a Rotten critical score of 41% compared to a Fresh audience score of 85%. Ironically, [[Film/DontBreathe the original film]] had a higher critical score than its audience score. Audience members who didn't like the original film probably skipped this one. |
| 141 | * ''Film/DontLookUp'' received mixed reviews from critics, who thought it was well-made and saw its message calling for action on GlobalWarming as well-intentioned, but also felt that its satire was too heavy-handed and mean-spirited. However, it debuted at #1 on Creator/{{Netflix}} and became the second-most watched film on the platform in its first month of release. It also received many nominations from major award bodies, was named one of the best films of 2021 by the American Film Institute and the National Board of Review, and is considered to be a serious Oscar contender. It was also unanimously praised by climate scientists, who saw it as an accurate, if satirically exaggerated, portrayal of what they go through. The contentious discourse around it has become so infamous that it's eclipsed actual discussion about the film itself, with the film's defenders (including writer/director Creator/AdamMcKay) arguing that many of the critiques made of it ironically mirrored the behavior of certain characters in the film and its detractors countering that people were letting their support for the film's politics cloud their judgment. |
| 142 | * ''Film/{{Drumline}}'' earned praise from critics with an 82% score on Rotten Tomatoes. Website/IMDb users, however, didn't feel the same way, as it only has a rating of 5.6. |
| 143 | * ''Film/DumbAndDumber'' received mixed reviews from critics at the time, holding only a 66% on Website/RottenTomatoes and a 41 on Metacritic. Even the critics who liked it thought it was stupid, and that Creator/JimCarrey and Creator/JeffDaniels were the only reasons why it worked. Audiences, however, loved it, and it was a box-office smash that has held its stature since, viewed nowadays as one of the greatest comedies of the '90s. |
| 144 | * ''Film/EdenLake'' received heavy acclaim from reviewers, but is ''extremely'' divisive among horror fans. Some people thought that, for the realistic way it presents itself, the plot was implausible to the point of being ridiculous, and that the movie goes too far by having such sadistic violence being committed by young teens, with many viewers finding it far too uncomfortable to sit through. Those who do like it find it scary precisely ''because'' of how young the antagonists are, given that many gruesome crimes in RealLife have been committed by children, and believe that the solid acting makes up for the writing's shortcomings. Its extreme DownerEnding is also divisive, with some calling it too traumatizing and unrealistic and others seeing it as fresh due to so many modern horror films having happy endings. |
| 145 | * ''Film/{{Enough}}'' was panned by critics with a 22% on Rotten Tomatoes, but audiences were much more accepting giving it a 67%. A lot of this seems to have to do with viewers prioritizing the "female empowerment/hero prevails" theme, while completely overlooking the film's obvious flaws, such as consistent reliance on cliches and lack of depth and characterization. |
| 146 | * ''Film/{{Entourage}}'' received a Tomatometer score of 32% from critics and a score of 84% from audiences. |
| 147 | * ''Film/{{Equilibrium}}'' has a 37% rating on Rotten Tomatoes, but has a score of 7.6 out of 10 on Website/IMDb. |
| 148 | * The Disney+ documentary ''Fauci'' received generally favorable reviews from critics, with it holding an 86% critical score on Rotten Tomatoes, but on that same website it received an abysmal ''2%'' from audiences. Metacritic has a similar discrepancy, with a 70/100 from critics and a 0.6/10 from audiences. Website/IMDb meanwhile has it at a modest 6.5, although if one looks closer one finds that an "alternate weighting calculation" was applied due to "unusual voting activity", and the actual unweighted score is ''1.7''. Presumably, this discrepancy is due to Anthony Fauci's controversial and heavily scrutinized handling of the Covid-19 pandemic (with the possible influence of his controversial handling of the HIV/AIDS epidemic). |
| 149 | * ''Film/FiveNightsAtFreddys2023'' was eviscerated by critics who were highly critical of the film's plot, pacing and lack of scares. Critics and audiences not familiar with the source material were also dissapointed over the film's [[BloodlessCarnage PG-13 rating]] despite the game's dark and gruesome nature. With the film having a 32% critics score. Unsurprisingly, given how its based on a [[Franchise/FiveNightsAtFreddys successful franchise]] its fans came in droves to defend the film, giving it a 87% audience score. This is also partly due to the fact the film's main (and perhaps only) appeal was that it was loaded with easter eggs and references to the games [[PanderingToTheBase for fans to find]]. |
| 150 | * While ''Film/Flightplan2005'' received largely mixed feelings from critics and audiences alike who declared it as a mostly fine, but quite silly film considering the far-fetched scenarios, the general public is ''much'' more harsh on the plot contrivances, factual inaccuracy, and focus on style over substance than critics. |
| 151 | * ''Film/Ghostbusters2016'' has a mild case of this; critics gave the film largely mixed to positive reviews, and the film's Rotten Tomatoes [[https://www.rottentomatoes.com/m/ghostbusters_2016/ page]] reflects this with a 74% Certified Fresh rating, whereas audiences were more mixed, with 49% on the same site. However, taking only the top critics' reviews into account gives a similarly-mixed 59%. And in spite of opening atop the charts, the film's big budget also made it a BoxOfficeBomb, largely because of the severe online backlash. |
| 152 | * ''Film/GhostbustersAfterlife'' got a modest but not amazing 62% score [[https://www.rottentomatoes.com/m/ghostbusters_afterlife Rotten Tomatoes]] from critics, who generally found it took itself and the previous films too seriously, while it got an overwhelming 95% from audiences, who almost universally loved it ''because'' it was so reverent of the previous movies. Audiences alone caused it to become the ''ninth highest grossing film of 2021''. |
| 153 | * A strange example for the South African film classic ''Film/TheGodsMustBeCrazy'' - most critics gave the film positive reviews but it was nominated for Worst Picture at the 1984 Stinkers Bad Movie Awards (the Stinkers being the long-gone [[SpiritualSuccessor Spiritual Predecessor]] to the Razzies). The organizers claimed it was nominated "for being a disappointing comedy", however it's clear they actually nominated the film [[UsefulNotes/TheApartheidEra because of other circumstances]]. |
| 154 | * The ''Franchise/{{Godzilla}}'' films have always faced this. |
| 155 | ** The original ''Film/Godzilla1954'', when it first premiered in Japan just nine years after the UsefulNotes/AtomicBombingsOfHiroshimaAndNagasaki, was utterly hated by critics, who felt that it was exploiting the tragedy in the name of {{spectacle}}. It didn't help that, in March of the year it came out, a Japanese fishing boat was exposed to radiation from the nuclear test at Bikini Atoll, producing history's first victim of the hydrogen bomb. [[VindicatedByHistory Since then, however,]] it has been recognized as a classic sci-fi horror film, in many ways ''because'' of the parallels it draws to the atomic bombings and how it uses the monster as a metaphor for such, and Godzilla and {{kaiju}} in general have become icons of Japanese cinema. |
| 156 | ** When it comes to the sequels, critics often prefer the more serious films like ''Film/TheReturnOfGodzilla'' or ''Film/ShinGodzilla'', where it's just Godzilla going on a rampage while the PunyHumans beneath him fight to survive, while the MonsterMash "{{kaiju}} battle" entries where [[UltimateShowdownOfUltimateDestiny Godzilla fights other monsters]] are seen as fairly junky [[BMovie B-movies]]. Those "Godzilla vs." movies are typically fan favorites, however, with the foes that Godzilla does battle with often having their own significant fandoms, and speculation on sequels often concerning which monster(s) Godzilla will fight in the next one. |
| 157 | ** ''Film/GodzillaKingOfTheMonsters2019'' took a pasting from critics who saw it as spectacle without substance, the plot and characters being little more than an {{excuse|Plot}} to get to scenes of monsters pummeling each other. In other words, a film that served as the purest translation of the aforementioned "kaiju battle" films that Hollywood had ever made, and so, like those films, it largely won the approval of longtime ''Godzilla'' fans, who helped propel it to an 88% audience Tomatometer versus a 40% critics' rating. |
| 158 | ** Interestingly enough, ''King of the Monsters'' itself can be seen seen as a direct response to the reception of its prequel, ''Film/Godzilla2014'', which received respectable reviews from critics for focusing much more on the human characters over the title character, but was disliked by several of the series' fans for that very reason. |
| 159 | * ''Film/{{Gothika}}'' made back more than triple its $40 million budget despite being critically reviled. |
| 160 | * When [=MoviePass=], a subscription-based film ticketing service, got into producing its own content with the Mob drama ''Film/{{Gotti}}'', they attempted to {{invoke|dTrope}} this by running an AstroTurf campaign to spam positive audience reviews for ''Gotti'' on Rotten Tomatoes, then running ads aiming to capitalize on this by pushing a 'critics vs. the average moviegoer' narrative that compared the critics who wrote scathing reviews (its critics' score on RT is ''0%'') to "trolls behind a keyboard". Putting aside the question of why critics would suddenly want to attack a movie [[NotScreenedForCritics that wasn’t even screened for them in the first place]],[[https://theplaylist.net/moviepass-audience-score-gotti-20180620/ they were busted]] pretty quickly once people took a closer look at the reviews and the accounts making them. |
| 161 | * ''Film/TheGreatGatsby2013'' got mixed reviews for its overblown style, but it did very well at the box office and is well-liked by many. |
| 162 | * Reviews for ''Film/{{Gretel and Hansel|2020}}'' were [[SoOkayItsAverage mixed, but not terrible]], with a Tomatometer just on the wrong side of Rotten at 59% and reviews praising the visuals but criticizing the storytelling. Audiences, especially outside the horror geek community, found it boring and weird, and left it with a 21% audience Tomatometer and a C- on Cinemascore. |
| 163 | * ''Film/GrumpierOldMen'', the sequel to ''Film/GrumpyOldMen'', was given largely negative reviews from critics (it has a 17% critic score on Rotten Tomatoes) for being a tired rehash of the first film. Fan responses are much kinder (62% audience score on RT and 6.6 out of 10 on [=IMDb=]). |
| 164 | * ''Gunday'' has a 86% rating on Rotten Tomatoes (based on seven reviews), but a ''1.9'' rating on Website/IMDb. It was actually once #1 on the Bottom 100, though it has since dropped down to #23. Much of this comes down to an [[VocalMinority extremely vocal]] base of criticism, though — Bangladeshi audiences absolutely despised the film for the {{artistic license|History}} it took with the Bangladesh Liberation War, and drove the film's [=IMDb=] score into the gutter in response. |
| 165 | * ''Film/HailCaesar'' was well liked by many critics, with a solid 84% on Rotten Tomatoes. Audiences, however, were much more mixed, with a mere 46% Audience Score, and a disappointing C- on [=CinemaScore=]. This was probably due to the film's reliance on [[ViewersAreGeniuses obscure satirical jabs]] at both old-time Hollywood and current Hollywood, as well as its [[RandomEventsPlot non sequitur series of events]], which understandably alienated the common audience member, but was liked by the critics and viewers who understood the jokes. |
| 166 | * ''Film/TheHangoverPartII''. Critics bashed it (for among other things, [[ItsTheSameNowItSucks recycling the plot]] [[VulgarHumor while adding gross-out factor]]), [[http://www.hollywoodreporter.com/news/why-hangover-ii-is-a-193388 audiences loved it]]. |
| 167 | * Critics reviewed ''Film/Hellboy2019'' unfavorably, with the Website/RottenTomatoes Tomatometer score sitting at 15%, but audiences were much more favorable (but still mixed overall), having an audience score of 60% as of this writing. |
| 168 | * The first part of Creator/PeterJackson's adaptation of ''Film/TheHobbit'', ''[[Film/TheHobbitAnUnexpectedJourney An Unexpected Journey]]'', received mixed to positive reviews, even without considering the debate over the High Frame Rate version (it helps that it's often considered to be overlong and was a ToughActToFollow to a [[Film/TheLordOfTheRings highly acclaimed trilogy]]). Nonetheless, by the end of only its third weekend in release, it earned over half a ''billion'' globally (and finished its BO run with over a billion, the second [[Creator/JRRTolkien Tolkien]] adaptation to do so). While barely registering as "Fresh" at 65% on Rotten Tomatoes among critics, audiences give it a much higher 83% Fresh. |
| 169 | * ''Film/HocusPocus'' - those who know the film for its cult following and enduring multimedia spinoffs might be surprised to know that the critical consensus at the time of its release was “mediocre family film” and that it has a crummy 38% on Rotten Tomatoes. |
| 170 | * ''Film/HomeAlone1'' received mixed reviews and Film/{{Home Alone 2|Lost In New York}} was utterly panned, but both were box-office successes and have become beloved Christmas fixtures, and Kevin's [[TheScream scream face]] has become almost as much of a pop-culture icon as the Munch painting that inspired it. |
| 171 | * ''Film/HowTheGrinchStoleChristmas'' is very divisive, especially in terms of this trope. It received a 53% on Rotten Tomatoes and a 46% on Metacritic, but spent four weeks as the #1 film in the US, and was the highest-grossing movie of 2000 domestically, with $260 million. The film was nominated for three Academy Awards, winning for Best Makeup (which, if you've seen the behind-the-scenes footage, is ''very'' well-deserved), and was nominated for two Razzies, but won neither. |
| 172 | * ''Film/ICareALot'' has a very positive 78% on Rotten Tomatoes, and the audience score is less than half at 34%, mostly for how the plot deals with utterly despicable people, as put by the Audience Consensus: |
| 173 | --->Rosamund Pike and Peter Dinklage do good work, but they're acting in [[TooBleakStoppedCaring a dark and ugly story that doesn't give the audience anyone to root for.]] |
| 174 | * The ''Franchise/IndianaJones'' franchise: |
| 175 | ** ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' was initally acclaimed by most critics and has a [[http://www.rottentomatoes.com/m/indiana_jones_and_the_kingdom_of_the_crystal_skull/ 78% "Fresh" rating on Rotten Tomatoes]]. Yet its score on Website/IMDb is 6.4, and hardcore fans felt it was disappointing, especially due to its reviled TwistEnding. Retrospective reviews from critic are more negative, largely for the same criticism that viewers complained. |
| 176 | ** Conversely, ''Film/IndianaJonesAndTheDialOfDestiny'' had a rough start, as its plan to premiere at the Cannes Film Festival unfortunately backfired as the film was received divisively by critics there, despite it receiving a 5-minute standing ovation. This made it start off with a 45% critics score on Rotten Tomatoes. However, once other critics and audiences got their hands on it, the film was received much more positively, with both critics and long-time Indy fans agreeing that the film brought back the charm and fun that was lacking from ''Crystal Skull''. The film now sits at a 69% critics score and an even higher 88% audience score. |
| 177 | * ''Film/IdentityThief'' was eaten alive by critics, but received an "B" on [=CinemaScore=] and was a box-office juggernaut. |
| 178 | * Critics are mixed on ''Film/IntoTheWoods'' but overall are leaning more on the positive side. Audiences, on the other hand, are even ''more'' mixed on the film, with a 53% audience rating on Rotten Tomatoes. |
| 179 | * Critics ''looooove'' the horror film ''Film/ItFollows''. Audiences are much more mixed, though generally positive. (A 65% on Rotten Tomatoes isn't ''bad'', after all.) |
| 180 | * ''Film/JingleAllTheWay'' was poorly received by most critics, with most of the few positive reviews feeling that it was merely NarmCharm or SoBadItsGood. However, it was fairly successful with audiences and was a box-office success. After decades being watched on the holidays, the gap remains, as every attempt by modern-day critics to bash it gets drowned out by nostalgia for the film. |
| 181 | * When ''Film/{{Joker|2019}}'' was first released, critics either loved it or hated it; there was next to no middle ground. On one hand, it won the Golden Lion and a standing ovation at the Venice Film Festival, with many praising Creator/JoaquinPhoenix's performance as ComicBook/TheJoker and its GenreThrowback to the crime thrillers of the '70s and '80s, but on the other, there were quite a few critics who felt that it was [[TooBleakStoppedCaring nihilistic]] and too sympathetic to its VillainProtagonist, with some even expressing the fear that it could [[MurderSimulators inspire some fans to commit mass shootings]]. Its Tomatometer stands at 69%, indicating that more critics fell into the former camp than the latter, but approval was far from unanimous. Among audiences, on the other hand? It became the first R-rated film to gross over a billion, and its 8.8 Website/IMDb score is downright rapturous. |
| 182 | * ''Film/{{Juno}}''. Highly acclaimed by critics, and grossed over ''thirty times'' its independent budget, but is one of the most despised films on the internet. Just go to its [=IMDb=] page, you'll see that ''the entire first page'' of reviews considered the most helpful are all negative. |
| 183 | * ''Film/JurassicWorldDominion'' got a 29% on Rotten Tomatoes from critics, making it by far the lowest rated entry in the franchise, but a 77% with audiences and was a box office hit (although audience ratings on Metacritic and [=IMDb=] were [[SoOkayItsAverage more mixed]], at 4.9 and 5.7, respectively; the lowest rated entries of the franchise on both sites). |
| 184 | * ''Music/JustinBieber's Never Say Never'' was a massive hit thanks to his fanbase, but reviews were so-so and general audiences could not care less. The sequel, ''Believe'', bombed terribly because most of his rabid tween followers had grown up and abandoned him. |
| 185 | * ''Film/KickAss2'' was poorly received by critics and most filmgoers (as the dip in both review aggregators and the box office numbers shows). However, many of the fans of both the film and the comic loved it — 41 on Metacritic, 28% on Rotten Tomatoes… and a user score of 78 and 69% respectively. |
| 186 | * The urban thriller ''Kicks'' received great reviews from critics with an 81% on Website/RottenTomatoes. Its Website/IMDb score however is at an alarmingly low 4.5/10 because... Air Jordans? Fortunately, this trope gets downplayed when you look deeper into the rating and find out that all of the 900+ users who downvoted it are anonymous with no prior activity on the site, suggesting that the rating was [[AstroTurf rigged]]. The responsible parties and their motivation behind the fabricated bad rating remain ambiguous, though ''Wired'' [[https://www.wired.com/2016/09/imdb-voters-tanking-indies-theyre-even-released/ caught wind of this]]. |
| 187 | * ''Film/KillingThemSoftly'' reteamed ''Film/TheAssassinationOfJesseJamesByTheCowardRobertFord'''s star Creator/BradPitt with its director Andrew Dominik. It opened to critical acclaim, was hailed by many critics as one of the best crime dramas in years … and also received an '''''F''''' grade from filmgoers polled by [=CinemaScore=], one of only two movies that year (the other being ''Film/TheDevilInside'', which saw far more agreement between critics and moviegoers) to be [[MedalOfDishonor dishonored]] in such a manner. Needless to say, it bombed in theaters and became Pitt's lowest-grossing wide-release film in nearly two decades (though it still made $37 million worldwide with a $15 million budget). |
| 188 | * ''Film/KungPowEnterTheFist'' was received poorly by critics, but is a CultClassic for its lowbrow comedy and SoBadItsGood nature. |
| 189 | * Critics gave ''Film/TheLastCastle'' largely mixed reviews, as indicated by its 52% rating on Website/RottenTomatoes. Audiences were a lot more forgiving, giving it 75%. |
| 190 | * ''Film/TheLastExorcism'' has a 72% critics' Tomatometer, but only a 35% audience score and a Cinemascore of D. Critics embraced its subversion and {{deconstruction}} of the tropes of DemonicPossession movies, while audiences, expecting a more conventional example of that genre, were put off by the same. In particular, its ambiguous ending reportedly had audiences [[https://ew.com/article/2010/08/28/last-exorcism-ending/ yelling obscenities at the screen.]] |
| 191 | * ''Film/LawAbidingCitizen'' earned $126 million worldwide and has a good Website/IMDb score of 7.4 out of 10. Reviews were mostly scathing due to plot holes and [[TooBleakStoppedCaring excessive violence]]. |
| 192 | * ''Film/LetMeIn'' got rave reviews from film critics, but did so-so at the box office. Some people believe that the low turnout was due to people who refused to go see it out of sheer bitter spite (or on simple principle) because it's an American remake of a foreign film. But what really killed ''Let Me In'' was distributor Creator/RelativityMedia (who acquired the film from Starz due to buying the Overture distribution outlet from them) giving the film the InvisibleAdvertising treatment. There were few trailers or TV spots released and the film wasn't even listed on Relativity's website. Not helping the film was that the company chose to open it the same day as ''Film/TheSocialNetwork'' (a film Relativity co-financed with Sony). |
| 193 | * Controversial documentary ''Leaving Neverland'' received mostly positive reviews from critics, but the majority of audiences gave it mixed to scathing reactions, particularly among Jackson fanatics. |
| 194 | * ''Film/LicoricePizza'' was praised by critics for its direction, the performances of the cast, and its nostalgic 1970s setting, and earned itself three Oscar nominations. However, it polarized audiences due to [[RandomEventsPlot its plot being more of a random sequence of events than an actual plot]] and for attracting two major controversies: a scene where a white restaurant owner mocks his Japanese wife using a stereotypical Asian accent, which is PlayedForLaughs, and the eventual AgeGapRomance between the two main characters, a 15-year-old and a 25-year-old, which is played as a happy ending for both characters, two things that understandably pissed lots of people off. |
| 195 | * ''Film/{{Life Itself|2018}}'' (not to be confused with the Roger Ebert documentary of the same name) was met with a 14% Rotten Tomatoes score despite the involvement of [[Film/CrazyStupidLove Dan]] [[Series/ThisIsUs Fogelman]]. However, audiences were much kinder. |
| 196 | * Critics ate ''Film/TheLifeOfDavidGale'' alive, giving it a 19% on Rotten Tomatoes. It was more positively received by filmgoers, who have given it an 81% audience rating on that site, as well as a 7.5 on Website/IMDb. |
| 197 | * ''[[Film/TheLittleRascals The Little Rascals (1997)]]'' has a 23% rating on Rotten Tomatoes, a [=45/100=] on Metacritic... and a grade of A- on [=CinemaScore=], the only one of the three that includes general audience ratings instead of just critics. |
| 198 | * ''Film/TheLostDaughter'' is slow-paced, has quite a bit of {{Padding}}, delivers a contemplative message on the pressure that society places on mothers largely through lots of subtext and symbolism, and has an AmbiguousEnding that still leaves lots of questions open and up to viewers to decide. As such, it appealed to critics and Academy members but wasn't very well-liked by audiences, who just found it to be boring. |
| 199 | * ''Film/{{Malignant}}'' downright has "love it or hate it -- and there isn't much in between" as its audience consensus on Rotten Tomatoes, which is an almost clean split of 52% given people either embraced the unorthodox approach or got severely disappointed by it. Reviewers were more on the former camp, as shown by the higher 76% critical score. |
| 200 | * For the critics of the time, ''Film/{{Mandalay}}'' was no better than your run-of-the-mill BMovie. Especially, since Creator/KayFrancis, maliciously nicknamed "box office poison" had the lead role. The audience held it in much better regard, to the point of the film becoming extremely profitable for its creating studio. It later became VindicatedByHistory. |
| 201 | * Franchise/MarvelCinematicUniverse: |
| 202 | ** ''Film/{{Eternals}}'' became the first MCU movie to miss a Fresh score on RT with an unimpressive 48% because reviewers didn't feel the movie fulfilled its huge ambitions, but the audiences reacted more positively with 78%. |
| 203 | ** ''Film/AntManAndTheWaspQuantumania'' has even greater dissonance, with a critical RT Score of 48% and an audience score of 84%. |
| 204 | * You would be forgiven for thinking everyone who saw both ''[[Franchise/TheMatrix Matrix]]'' sequels loathed them even though they both turned profits during their respective theatrical runs. But while ''[[Film/TheMatrixRevolutions Revolutions]]''' significantly lower gross lines up with its critical 36% rating on Rotten Tomatoes and 47 on Metacritic,[[note]]Users of those sites give it 60% and 4.7/10 respectively, plus a 6.7/10 on [=IMDb=].[[/note]] ''[[Film/TheMatrixReloaded Reloaded]]'' actually got ''mixed to positive'' reviews (73% on Rotten Tomatoes, 62 on Metacritic[[note]]And fans gave it 72% and 6.9/10 respectively, plus a 7.2/10 on [=IMDb=].[[/note]]). |
| 205 | * The indie western ''Film/MeeksCutoff'' is infamous for this: critics love it for its unorthodox, realist take on its genre, whereas average moviegoers are [[HypeBacklash left disappointed]] by its [[LeaveTheCameraRunning slow pacing]] and [[spoiler:[[NoEnding inconclusive ending]]]]. |
| 206 | * ''Meet the Mormons'' was ripped to shreds by critics, earning an 18% on Rotten Tomatoes with critics. However, it got a 89% audience score and was [[CriticProof a box-office bonanza]], especially in the LDS community. |
| 207 | * The Platform/MetroManilaFilmFestival has a number of interesting examples: films which are of mass appeal, e.g. the likes of those starring Philippine box-office figures such as Creator/ViceGanda and Creator/VicSotto, would be grilled by critics for being nothing more than LowestCommonDenominator rubbish, yet audiences flock to it ''en masse'' (especially as entries for the said film festival debut in local theatres every [[ChristmasRushed Christmas]]) looking for a quick laugh or two. Niche entries like ''[[Theatre/APortraitOfTheArtistAsFilipino Ang Larawan]]'' may fare much worse at the box office, and are mostly scoffed off as "boring" or too highbrow for the "masa" to comprehend, but are critically well-received. And it gets interesting when IMDB user ratings for ''[[http://www.imdb.com/title/tt7736488/ratings?ref_=tt_ov_rt Gandarrapiddo]]'' and ''[[http://www.imdb.com/title/tt2997004/ratings?ref_=tt_ov_rt My Little Bossings]]'' are contrary to what ''masa''[[note]]A Filipino term for the mainstream, i.e. middle- to lower-class people.[[/note]] moviegoers say, especially in commercials promoting said films. |
| 208 | * The Creator/NicolasCage HorrorComedy film ''Film/MomAndDad'' had an overall positive critical reception (it has a 74% Certified Fresh Website/RottenTomatoes Tomatometer rating), but audience opinions were more mixed (it has a 39% audience rating on the same site, as well as an Website/IMDb rating of 5.5/10). This is presumably due to the high abundance of BlackComedy. |
| 209 | * ''Mom's Night Out'' has a 17% critic rating and a 91% audience rating on Rotten Tomatoes. |
| 210 | * Creator/DarrenAronofsky's film ''Film/{{Mother|2017}}'' got fairly positive reviews from critics with a 68% rating on Rotten Tomatoes, but audiences gave it an '''''F''''' on [=CinemaScore=]. |
| 211 | * ''Never Rarely Sometimes Always'' was one of the most praised films of 2020, having a 99% rating from critics on Rotten Tomatoes. The score from Rotten Tomatoes users is much lower at 20%, thanks to pro-lifers. |
| 212 | * The original ''Film/{{Night of the Living Dead|1968}}''. Seriously. Initial reaction by the critics was mixed to negative, while horror fans thought it was groundbreaking (but even some of them were shocked by it). A decade later it was VindicatedByHistory. Creator/RogerEbert tried to explain the critical dissonance, saying, "I don't think the audience really knew what hit them." His review mentions that he saw the movie at what was a typical location for horror movies of the time (read: monster movies with SpecialEffectFailure) — a kiddie theater. |
| 213 | * ''Film/{{Noah}}'' received very good reviews from critics (a 77% on Rotten Tomatoes), but earned a much more lackluster response from the audience, despite it being a financial success (it made around $359 million worldwide on a $125 million budget, but a very low 44% on RT and a 6.1 on Website/IMDb). It's hard to tell if it's because of its [[TheyChangedItNowItSucks controversial changes]], its [[Literature/TheBible source material]], or its own merits as a film. |
| 214 | * ''Film/NowYouSeeMe'' was rated "Rotten" at 50% on Rotten Tomatoes, but the ‘regular' folks at [=CinemaScore=] rate it an A–. |
| 215 | * ''Film/TheNumber23'' has an '''8%''' at Rotten Tomatoes (one of the few positive reviews coming from Richard Roeper), but it made back more than double its budget and has down-the-middle audience ratings on both Rotten Tomatoes and [=IMDb=]. |
| 216 | * ''Film/OctoberBaby'' received horrible reviews, sitting third on the A.V. Club's list of the worst movies of 2012 and earning a mere 22% on Rotten Tomatoes. Conservative Christian audiences ate it up, however, and the film looks set to become a CultClassic. |
| 217 | * ''Film/OneForTheMoney'' got a whopping 2% on Website/RottenTomatoes and bombed at the box office, but fans of the book series the film was based on generally enjoyed it and it did considerably better once it reached home media. |
| 218 | * ''Film/{{The Other Woman|2014}}'' received generally negative reviews from critics (23% on Website/RottenTomatoes) but still did pretty well at the box office (making over $150 million worldwide against a $40 million budget) and was pretty well-received by audiences (67% on Website/RottenTomatoes). |
| 219 | * ''Film/OutCold'' was panned by an 8% on Rotten Tomatoes. But the film immediately gained a small cult following, as it has an 85% user rating. |
| 220 | * ''Film/OutOfDarkness'': Critics generally heaped praise on the film, but audiences were significantly more divided on it, with most criticism being directed at the central plot twist and ending. |
| 221 | * Critics panned ''Film/PatchAdams'' and many people hate it (including the man it's based on), but it was successful at the box office. |
| 222 | * The ''Franchise/PiratesOfTheCaribbean'' sequels have received progressively worse reviews, yet ''Film/PiratesOfTheCaribbeanDeadMansChest'' and ''Film/PiratesOfTheCaribbeanAtWorldsEnd'' are loved by most fans and received a decent 72% user score on Website/RottenTomatoes. The [[Film/PiratesOfTheCaribbeanOnStrangerTides fourth]] and [[Film/PiratesOfTheCaribbeanDeadMenTellNoTales fifth]] installments received much more mixed scores. |
| 223 | * The Creator/JohnCena vehicle ''Film/{{Playing with Fire|2019}}'' (2019), about a group of smokejumpers who watch over three girls they rescue from a burning cabin, holds a 26% "Rotten" approval rating on Rotten Tomatoes (based on 76 reviews), with a one-star review from Wendy Ide of The ''Observer'' calling it "beyond inept". Its target audience of families, who likely watched it as they waited for the highly-anticipated ''WesternAnimation/FrozenII'' later that month, enjoyed it more, however, giving the film a 77% audience approval score from over 2,500 verified ratings with an average of 4 out of 5 stars. It even made over $69 million at the box office against its almost $30 million budget. |
| 224 | * The ''Film/PoliceAcademy'' series was always critically derided, but has always been loved by fans. Even the first film received a critical drubbing (Ebert rated the original ''no stars'', something he almost never did). |
| 225 | * ''Film/{{Power Rangers|2017}}'' (2017) received mixed reviews from critics (47% on Website/RottenTomatoes), but has an audience rating of a whopping ''80%''. |
| 226 | * ''Film/PrettyWoman'' has a barely-fresh rating of 61% on Website/RottenTomatoes, with a slightly higher audience rating. Many critics lambasted it for being an [[ItsNotSupposedToWinOscars overly slick, mindless Hollywood product]] and for its perceived glamorization of prostitution. Nevertheless, it was a '''massive''' success at the box office, grossing $460 million worldwide on a $14 million budget. |
| 227 | * ''Film/PureCountry'', a NonActorVehicle and [[OneBookAuthor only acting role to date]] for CountryMusic singer Music/GeorgeStrait, was generally lambasted by critics. Most reviewers considered it a ClicheStorm with Strait's [[SugarWiki/HeReallyCanAct surprisingly solid acting as a leading man]] being its only saving grace. Country music fans were somewhat more forgiving, giving the film a 7 on Website/IMDb and 91% approval on Website/RottenTomatoes. Strait's corresponding soundtrack was also his best-selling album, producing the smash hits "Heartland" and "I Cross My Heart"; it was also his first with RecordProducer Tony Brown, who would helm all of his albums until 2015. |
| 228 | * ''Film/{{Rad}}'' is perhaps the king of this trope. This 1986 movie about BMX riders holds a 0% from the critics, and a ''91%'' approval rating from the fans, on Rotten Tomatoes. |
| 229 | * Out of all the sequels in the ''Franchise/{{Rambo}}'' movies, the best reviewed one, and favourite amongst general 70s/80s cult movie fandom, [[FirstInstallmentWins is easily]] ''Film/FirstBlood'' - a well-made psychological thriller with anti-war, anti-authoritarian and anti-toxic-masculinity ideas. These reviewers and fans tend to view the ''Rambo'' sequels as MisaimedFandom-induced GenreShift towards StrictlyFormula ClicheStorm, if they don't file them as FanonDiscontinuity outright (enough fans even prefer the alternate ending where Rambo AteHisGun that this cut of the film is often screened for special events). General audiences, and hardcore fans specifically of the ''Rambo'' franchise, tend to like ''Film/RamboFirstBloodPartII'' best, the first of the films in the series to concentrate primarily on Rambo as a cool badass capable of OneManArmy-style ass-kicking, a direction that proved lucrative enough to define later entries in have received poor critical reception, but are loved by the franchise and the character in the popular imagination. These fans tend to view ''First Blood'' as EarlyInstallmentWeirdness and will often bring up that it's "not an action movie". |
| 230 | ** As of opening day, critics have largely panned ''Film/RamboLastBlood'' with a 30% Rotten Tomatoes rating while viewers have given it an 85%. The main divide seems to be critics accusing the film of racism since the film's primary antagonists are Mexican cartel members, while viewers haven't noticed any sort of overt racism at all and view the antagonists as scumbags who deserve everything Rambo unleashes on them, regardless of race. Carmen also seems to have been put in specifically so not every Mexican character would be a villain. |
| 231 | * ''Film/TheRedPill'' documentary by Cassie Jaye has one of the biggest splits between critics and audiences of anything to come out in the new tens. As of October 2018, it has an abysmal review rank of 29% on Rotten Tomatoes among critics... and a whopping 91% among audiences. [[https://www.rottentomatoes.com/m/the_red_pill_2016 A split of 62%.]] |
| 232 | * Every movie in the ''Film/ResidentEvilFilmSeries'' received negative reviews (the first two are both on Ebert's most hated movie list), but they were successful at the box office. For the most part, it seems people who enjoyed [[VideoGame/ResidentEvil the games]] ''hated'' the films for being [[InNameOnly Name-Only Sequels]], while people who were unfamiliar with the games could enjoy it for what it is: an over-the-top cheesy action zombie thriller. |
| 233 | ** With the reboot, ''Film/ResidentEvilWelcomeToRaccoonCity'', critics were still unimpressed, but audiences liked the TruerToTheText approach. |
| 234 | * ''Film/RunHideFight'', a "''Film/DieHard'' [[DieHardOnAnX in a school shooting]]" action thriller, was dismissed by most critics as a tasteless ExploitationFilm, and they gave it a 44% on Website/RottenTomatoes and a 13 on Metacritic. The audience scores on those same websites, however, stand at 93% and 9.3 respectively. In this case, it's niche marketing at work, the film having been picked up by Ben Shapiro's website ''The Daily Wire'' after its original distributor went bankrupt, with Shapiro heavily promoting it to his conservative target audience as a film more in line with the values he supported. |
| 235 | * ''Film/SilentHill'' was mostly thrashed by critics, but it's quite well-regarded by fans of [[Franchise/SilentHill the games]], who see it as one of the few legitimately good video game adaptations. While some took issue with its changes to the plot and lore of [[VideoGame/SilentHill1 the first game]] (changing the cult from a pagan ReligionOfEvil to [[TheFundamentalist fundamentalist Christians]], [[GenderFlip gender-flipping Harry into Rose]] in order to have a more traditional HauntedHeroine), the general opinion otherwise is that it got the atmosphere and visuals of the games damn near perfectly accurate, especially in comparison to the [[VideoGameMoviesSuck usual standards]] of the genre. However, fans and critics were fully aligned about its sequel, ''Film/SilentHillRevelation3D'', in that they both agree it was garbage. |
| 236 | * ''Film/ScottPilgrimVsTheWorld'' was a critically lauded film that [[AcclaimedFlop nobody initially cared about]] outside its [[CultClassic cult following]]. But it sold immensely on home video due to positive word of mouth and the slight success of the [[ComicBook/ScottPilgrim comic series it was based on]]. |
| 237 | * ''Film/{{Scrooged}}'': Critics hated it when it came out — it has a weak Metascore of 33 — yet audiences loved it, and today it's regarded as a Christmas classic and one of Creator/BillMurray's best movies. |
| 238 | * Audiences reacted much more positively to ''Film/TheSecretLifeOfWalterMitty'' than critics did. |
| 239 | * ''Film/SevenPounds'' was slammed by critics for its implausible plot as well as being grim and morose. It did well at the box office, however, and currently holds an average score of 7.6 out of 10 on Website/IMDb. |
| 240 | * Many critics enjoyed ''Film/ShutterIsland'', but did not see it as one of Creator/MartinScorsese's best works -- it holds a 69% on Rotten Tomatoes. However, it remains an audience favorite and holds an 8.1/10 on IMDB and a 4.5/5 on Amazon (for the DVD version). |
| 241 | * ''Film/SheDiesTomorrow'' received a strong 84% critical rating on Rotten Tomatoes, but a miserable 23% from audiences, most likely for its [[LeaveTheCameraRunning long sequences of stillness]], NoEnding, and [[RiddleForTheAges opaque plot]]. |
| 242 | * ''Film/{{Sideways}}'' received many awards nominations (including five Oscars) and was quite the critical darling in 2004, but there are 19 pages of one-star Amazon reviews ''slamming'' it for being pretentious, unfunny, and too depressing. |
| 243 | * Creator/StanleyKubrick's adaptation of Creator/StephenKing's ''Film/TheShining'' was so poorly received that it was nominated for two [[UsefulNotes/GoldenRaspberryAward Razzies]] (one for Creator/ShelleyDuvall for Worst Actress, the other for ''Kubrick for Worst Director''). In a talk with Kubrick, Creator/StevenSpielberg even admitted to Kubrick that he didn't like it, though the conversation and rewatches eventually led him to improve his opinion. While [[VindicatedByHistory its stature has greatly improved since then]], coming to be regarded as one of the great horror films of the era, King still regards it as [[DisownedAdaptation one of the worst adaptations of his work]], mainly due to the liberties that Kubrick took with his story. |
| 244 | * Audiences and critics alike had incredibly mixed feelings towards ''Film/SpaceJam'', but it was a financial success, and both Siskel and Ebert liked it. |
| 245 | * ''Film/SpaceJamANewLegacy''. Despite receiving worse critical reception than its predecessor; audiences seemed and fans of the first were much kinder towards it. |
| 246 | * The 2009 Canadian sci-fi/horror film ''Film/{{Splice}}'' was a critical hit because it was different from most horror films. Audiences, meanwhile, got turned off by it for the same reason. |
| 247 | * ''Film/SpringBreakers'' was well received by critics, with some calling it an instant CultClassic. Audience opinions were more mixed. |
| 248 | * The [[Film/SpyKids1 first]] [[Film/SpyKids2IslandOfLostDreams two]] ''Film/SpyKids'' films were liked by critics and sold well, but Creator/RobertRodriguez fans detested them because they believed he had "sold out". |
| 249 | * ''Film/StarTrekIntoDarkness'' was a box-office success, got great critical reviews and [[https://www.imdb.com/search/title/?title=star%20trek&title_type=feature&num_votes=56000,&sort=user_rating,desc one of the highest]] Website/IMDb scores of the film series (7.7/10 from over 400,000 votes)… while also being hated by hardcore Trekkers, who went as far as [[http://www.theguardian.com/film/2013/aug/14/star-trek-into-darkness-voted-worst choosing it as the worst]] ''Franchise/StarTrek'' film. ItsPopularNowItSucks and TheyCopiedItSoItSucks are also at hand for unpopularity. |
| 250 | * ''Franchise/StarWars'': |
| 251 | ** The prequel trilogy received far more respect from the critics than the mainstream opinion might have you believe: ''Film/AttackOfTheClones'' scored 67% on Rotten Tomatoes and ''Film/RevengeOfTheSith'' 80% on their original releases.''Film/ThePhantomMenace'' [[https://web.archive.org/web/20040803135727/http://www.rottentomatoes.com:80/m/star_wars_episode_i_the_phantom_menace/ was initially Fresh too]], but after it was re-released in 3-D in 2012, [[TheyChangedItNowItSucks it fell down to a Rotten 55%]]. |
| 252 | ** ''Film/TheLastJedi'' was mostly approved by critics (currently clocking in at 91% on Rotten Tomatoes, and 95% among Top Critics), but the same website's audience score was unusually low (42%). The film was a box office success (though reduced from ''The Force Awakens'') and scored well in polls of moviegoers upon opening, including an A with Cinemascore. Critics liked things about the film some fans hated, like the massive InternalDeconstruction that suddenly changes everything drastically and how Rey is portrayed, immediately mastering every technique that took a long time for Luke to do so. These fans took issue with how they saw the plotline as undermining the general narrative of the status quo. Unattached critics didn't care about such stuff and welcomed the new direction. The discrepancy was so great, Rotten Tomatoes was forced to do an investigation to prove that the low audience score wasn't the result of bots. |
| 253 | ** ''Film/TheRiseOfSkywalker'' got the first Rotten rating since ''The Phantom Menace''. Critics found it SoOkayItsAverage due to it playing too safe with a perceived overreliance on fanservice. Although it proved a ContestedSequel, took less money and scored lower in the opening audience polls (B+ with Cinemascore), it also did not attract the same levels of online backlash for exactly the same reasons critics found it mediocre. And while some websites like IMDB and Letterboxd had viewer scores placing it below its predecessor, others like Amazon, Metacritic, Google and Rotten Tomatoes have it placed higher. |
| 254 | * ''Film/StreetFighter'' was very negatively received by critics, but that didn't stop it from making serious bank during the holiday season of 1994. Today, it's a CultClassic (albeit a [[SoBadItsGood very cheesy one]]), particularly for Creator/RaulJulia's [[HamAndCheese performance]]. |
| 255 | * ''Film/SuckerPunch'' started to become a CultClassic after barely making back its budget and being criticized by many reviewers. |
| 256 | * ''Film/SupermanReturns'' received very strong critical reviews upon release, but it not only divided fans, it has seen increasing backlash from both viewers and critics since its release in 2006 — which continues to grow even more severe with ''Film/ManOfSteel'' and the creation of the Franchise/DCExtendedUniverse. |
| 257 | * ''Film/{{Taken}}'': The public loved it, but critics were mostly mixed about it. ''Taken 2'', even more so: reviewers hated it, but it did about as financially well as its predecessor despite being much less respected. |
| 258 | * The 2014 ''Film/{{Teenage Mutant Ninja Turtles|2014}}'' reboot and its 2016 sequel ''[[Film/TeenageMutantNinjaTurtlesOutOfTheShadows Out of the Shadows]]'' were subjected to mostly negative reviews from critics, but most viewers consider the films to be SoOkayItsAverage, which is par for the course when it comes to ''Ninja Turtles'' films. |
| 259 | * ''Film/Terminator3RiseOfTheMachines'' and ''Film/TerminatorSalvation'', along with [[ContestedSequel splitting the fanbase]], also show a chasm between them and critics: the former got mixed to positive reviews but is often criticized for being an underwhelming follow-up, while the latter had critics leaning towards the negative while more defensive viewers appeared who liked the different approach and slick visuals. |
| 260 | * ''WesternAnimation/ThomasAndTheMagicRailroad'' was a box office bomb and most critics on both sides of the pond disliked it, but the few people who saw it during its original theatrical run and those who watched the home video releases did enjoy it. It was also mysteriously [[YouWillBeSpared spared]] from receiving Razzie nominations. |
| 261 | * ''Film/{{The Thing|1982}}'' (1982) retroactively is this. People like it now, but most mainstream non-horror critics haven't changed their negative opinions about it, unlike, say, ''Film/BladeRunner'' (reviewers with a fondness for ''Film/TheThingFromAnotherWorld'' in particular tend to dislike the newer version). It was slammed by critics after its release, mainly due to the gore and a plot that was perceived as needlessly depressing. After it hit the VHS market, though, the movie gained a significant cult following and is [[VindicatedByHistory nowadays considered one of the greatest sci-fi horror films of all time]]. One popular theory for the dissonance says it was due to being released so close to the decidedly more family-friendly ''E.T.'' and the unfriendly aliens put a lot of critics off. |
| 262 | * ''Film/AThousandWords'' was especially hated by critics, gaining a [[MedalOfDishonor 0%]] from them on Rotten Tomatoes, largely for being a extreme case of UnintentionalPeriodPiece (it was filmed in 2008 and wasn't released till four years later), but audiences gave it a 47% on the same site and a 5.9 on [=IMDb=]. |
| 263 | * ''Film/ToraToraTora'' was hated by critics and scored a 55% rating from them on Rotten Tomatoes, but the film was nominated for five Academy Awards, and won one for Visual Effects, and is considered a classic by many. |
| 264 | * Creator/ChrisFarley and Creator/DavidSpade's works together, ''Film/TommyBoy'' and ''Film/{{Black Sheep|1996}}'', were both poorly received by critics (the former made Ebert's "Most Hated Films" list, and Siskel said the latter was one of only three movies he'd ever walked out on in 26 years of reviewing), but they were well-received by audiences. |
| 265 | * Creator/TerrenceMalick's ''Film/TheTreeOfLife''. Although at the time of its premiere critics were divided (receiving both boos and standing ovations at Cannes), it went on to achieve an 85% at Website/RottenTomatoes. Moviegoers hated it, and it has been known that certain cinemas have received complains of people asking for a refund. It's no help that the film may be either the most beautiful examination of life or be truly incomprehensible. |
| 266 | * ''The Unbelievers'', a "documentary film" chronicling atheists UsefulNotes/RichardDawkins and Lawrence Krauss as they visited various parts of the world ridiculing/deconverting believers, was heavily panned by critics (both religious and secular) for being overly preachy and unapologetic about ''forcing'' people not to believe in religion, but has comparably high user review averages on sites like Metacritic and [=IMDb=]. It helps that the film was seen [[PanderingToTheBase mostly just by hardcore atheists who were already big fans of Dawkins and/or Krauss]]. |
| 267 | * Creator/AngelinaJolie's 2014 World War II biopic ''Film/{{Unbroken}}'' scored a 51% on [[Website/RottenTomatoes the Tomatometer]] and a 59% on Metacritic. However, the Audience Score on Rotten Tomatoes clocks in at 70%, and the audience reviews on Metacritic are overwhelmingly positive. Most critic reviews praised the actors, especially Creator/JackOConnell, but were all too aware of the fact that it was heavy-handed OscarBait and strongly criticized Creator/AngelinaJolie for taking too long to tell the story, focusing on the Oscar potential rather than the film, and drawing too many parallels between Zamperini and [[UsefulNotes/{{Jesus}} Jesus Christ]]. |
| 268 | * The ''Film/{{Underworld|2003}}'' series all got mediocre-to-negative reviews from critics, but many entries were box-office hits and audience reviews were much more favorable. |
| 269 | * ''Film/VaincreOuMourir'': Judging by scores on Allociné (the closest thing France has to Rotten Tomatoes), the film has been largely panned by critics (a great deal of this has to do with the ''very'' politically charged nature of the film and what's perceived as historical revisionism in it, with the left-leaning press being the most condemning at that), and audience scores are much more positive. |
| 270 | * ''Film/VampireAcademy'' got a 9% rating on Website/RottenTomatoes, but the fans of [[Literature/VampireAcademy the book]] liked it just fine, or even loved it. |
| 271 | * ''Film/{{Venom|2018}}'' met a, [[ReviewIronicEcho well, venomous]] reaction from critics, who praised Creator/TomHardy's performance but dismissed the rest of the film as a throwback to '90s/'00s comic book movies in the worst way. Audiences, on the other hand, loved it, especially those who weren't fans of the comic going in, and it proceeded to set box-office records for an October release. While its critics score on Rotten Tomatoes is only 28%, its audience score is a staggering ''86%''. Fans of [[ComicBook/{{Venom}} the comic book character]] were somewhere in between; while many criticized the [[{{Bowdlerise}} PG-13 rating]] and severe AdaptationDecay (namely the lack of ComicBook/SpiderMan, who is integral to Venom's origin in the comics), they still generally thought it was decent rather than the disaster they had feared [[TaintedByThePreview going by the trailers]]. |
| 272 | * Critics panned ''Film/{{Warcraft|2016}}'', largly for being a ClicheStorm and being too alien to those unfamiliar to the games, but audience reviews have ranged from positive to SoOkayItsAverage. Its Metacritic score is 32% from critics and 8.3/10 from viewers. |
| 273 | * ''Film/WereAllGoingToTheWorldsFair'' was a hit with critics for its haunting and inventive presentation, earning a 90% on Rotten Tomatoes. However, even RT calls it "narratively challenging," with the plot progressing very slowly and ambiguously. Mainstream audiences largely rejected it, giving it only a 25% score. |
| 274 | * Critics were mixed towards ''Film/WereTheMillers'', some outright hating the film, but it was a financial success and scored better with audiences. |
| 275 | * Critics had mixed or polarizing reviews for ''Film/TheWhale'', with a relatively modest 65% on Rotten Tomatoes and 6.0 on Metacritic, although praise was given to the performances of Creator/BrendanFraser and Creator/HongChau. However, audiences were highly positive towards it, with a 91% on Rotten Tomatoes, 7.5 on Metacritic, and a 7.8 on [=IMDb=]. Rather ironic, considering [[Creator/DarrenAronofsky the director's]] [[Film/Mother2017 previous film]] had opposite reactions (critics liked it, but audiences hated it). |
| 276 | * ''Film/WhereTheCrawdadsSing'' did not impress critics who found it tonally inconsistent trying to go between drama, romance and murder mystery, but viewers, many of whom were fans of the book, ate it up, shown by highly contrasting scores (RT: 38% critics, 96% audiences) and earning over $100 million worldwide. |
| 277 | * ''Film/WienerDog'' is the usual case for this trope, scoring a 76% on Rotten Tomatoes but a 42% from users. It ''is'' a Creator/ToddSolondz film, after all. What makes this example notable is that its Amazon rating is at 1.5/5 stars, the main or even sole reasoning behind it being that [[spoiler:the main dog gets run over at the end]]. |
| 278 | * ''Film/WildHogs'' has a whopping 14% average based on over 100 reviews on Rotten Tomatoes. Despite that, the audience score is 72%, and it returned over quadruple its budget in the box office. |
| 279 | * It may be hard to believe, but there was a time when many professional critics didn't take Creator/SergioLeone's {{spaghetti western}}s, every Creator/StanleyKubrick film, and ''Film/{{Psycho}}'' seriously even though they were popular from the start. They have thankfully all been VindicatedByHistory. |
| 280 | [[/folder]] |
| 281 | |
| 282 | [[folder:Film Criticism]] |
| 283 | There have been at least two points in history where critical dissonance got to such a point that it led to a paradigm shift within film criticism in general. |
| 284 | * The first was in the late 1960s and early '70s when a new generation of young, snarky writers like Creator/RogerEbert and Creator/PaulineKael became the most popular new voices in film criticism. Kael in particular is worth noting because ''[[UsefulNotes/AmericanNewspapers The New York Times]]'' went out and hired her as their lead critic due to her glowing review of ''Film/BonnieAndClyde'', which their former lead critic Bosley Crowther had panned, in the pages of ''Magazine/TheNewYorker''. ''Bonnie and Clyde'' went on to become a pop-culture phenomenon. |
| 285 | * The second was in the late '90s and early '00s when the Internet emerged as a media tool and the likes of Harry Knowles et al. overturned the film critics who came of age during the UsefulNotes/NewHollywood era. One major online movie site, ''[=JoBlo's=] Movie Emporium'', got its start specifically because of a group of guys who loved ''Film/Armageddon1998'' and thought that the critics were wrong about it. |
| 286 | [[/folder]] |
| 287 | |
| 288 | [[folder:Genres]] |
| 289 | * The {{horror}} genre, in general, tends to fall victim to this. Critics tend to either balk at their graphic content or write them off as ripoffs of earlier films; meanwhile, genre fans either actively enjoy such graphic content or are able to see past the genre elements and read the films properly. However, this also works in reverse as well, with some critically acclaimed horror movies dividing audiences (in terms of core horror fans), or outright putting them off. |
| 290 | * Within the horror genre, {{slasher movie}}s especially get this treatment. Only a few undisputed classics, such as ''Film/{{Halloween|1978}}'', ''Film/{{The Texas Chain Saw Massacre|1974}}'', and ''Film/{{A Nightmare on Elm Street|1984}}'' -- and never their sequels -- get any respect from critics, and even many horror fans (especially fans of ''other'' horror subgenres) are inclined to dismiss them as nothing more than [[StrictlyFormula formulaic]] [[JustHereForGodzilla special effects showcases]]. This opinion was especially prevalent in TheNineties when slashers were often blamed for "killing horror", and one of the biggest horror films of the decade, ''Film/{{Scream|1996}}'', was a [[PostModernism post-modern]] slasher that doubled as a feature-length mockery of the genre's cliches. At the same time, however, slashers wouldn't have ruled the horror genre for as long as they did if they didn't have a widespread appeal, and to this day, they have a strong cult fandom that loves them in spite of (or, in many cases, precisely ''because'' of) their scrappy, low-budget nature. |
| 291 | * A handful of indie films (''Film/UnderTheSkin'', ''Film/TheGuest'', and ''Night Moves'', to name a few) have attracted critical praise yet are often met with lukewarm to negative responses from audiences. Reasons for the divide vary from film to film, but the general idea from moviegoers in most cases is that [[HypeBacklash it wasn't as great as critics made it out to be]]. Chances are if a Certified Fresh-Website/RottenTomatoes-awarded indie movie only has a two-and-a-half to three-star rating (out of five) on Amazon, then this trope is in full effect. |
| 292 | * Modern indie horror films in the 2010s are often referred to as [[https://www.theguardian.com/film/2017/jul/06/post-horror-films-scary-movies-ghost-story-it-comes-at-night "post-horror"]]. Such films are often darlings of critics and some of the more hardcore horror fans for how they push the boundaries of the genre -- in ways that often alienate mainstream audiences expecting a conventional scary movie. Horror films from Creator/{{A24}} often get this especially bad, as the studio gives wide releases and marketing campaigns to such offbeat horror films as ''Film/TheWitch'', ''Film/ItComesAtNight'', ''Film/AGhostStory'', ''Film/{{Hereditary}}'', ''Film/TheHoleInTheGround'' and ''Film/{{Midsommar}}'' that would normally fly under the radar. It's practically a joke whenever [=A24=] releases a horror film that it is going to see a massive split between critics and audiences. |
| 293 | * Religious films are often given mixed or negative reviews by critics, but popular with the audiences that they're catered to. For example, ''Film/ThePassionOfTheChrist'' was rated 49% on Rotten Tomatoes, but is the highest-grossing religious film and the highest grossing non-English language film of all time. |
| 294 | [[/folder]] |
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