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[[quoteright:350:[[Creator/TylerPerry http://static.tvtropes.org/pmwiki/pub/images/criticaldiss_6590.jpg]]]]
[[caption-width-right:350:‘Well, ''I'' liked it.’]]

->''"Before I started making movies, I’d get into them, lose myself. I can’t do that now. That’s why I don’t think my opinions about movies are as good as somebody’s who doesn’t have to look through all those filters. I think all films are better than we think they are."''
-->—'''Creator/OrsonWelles''', quoted in Peter Biskind's ''My Lunches with Orson''

Critical Dissonance is polar opposition of public to critical opinion. Critics might love a certain work while general audiences shun it, or vice versa.

Critics may look down on a [[ItsPopularNowItSucks popular work]] on principle, denouncing it as LowestCommonDenominator garbage that’s all flash and no substance. Conversely, the public may see a work beloved by the critics as boring, [[TrueArtIsAngsty angsty]] and [[TrueArtIsIncomprehensible pretentious]] drivel engineered solely to [[OscarBait win awards]] from [[StrawCritic equally boring, angsty and pretentious Academy members]].

Sometimes later opinions can match, and then we have VindicatedByHistory (or DeaderThanDisco, as the case may be), but not always.

Some media are less affected by this than others. Since {{comedy}} relies on what an individual finds funny, this is the genre of movie most likely to spur on Critical Dissonance. One critic may find a movie hilarious while another finds it tacky. Switch out comedy for the {{horror}} genre and you get the same polarizing results. Art — all kinds, not just abstract — is notoriously subject to this. And architects get hit with it all the time.

In general, this trope has historically been uncommon with video games, partly due to the [[ReviewsAreTheGospel far greater reliance on reviews]] among gamers, and partly because the technical side (gameplay, graphics, etc.) tends to carry more weight with games than with books or TV. Additionally, good gameplay (at least in terms of, say, lacking glitches) is much more black-and-white than a good story, writing, or acting. However, video-game journalism is ''infamous'' for its frightening degree of corruption, to the point where reviewers who don’t sufficiently praise games that buy enough advertising space on their stomping grounds tend to get fired pretty quickly. When Critical Dissonance does occur with games, it is more often than not because gamers thought that the critics had been overly kind (like the FourPointScale), or had even been [[MoneyDearBoy paid upfront by the publishers as part of an advertising and/or first-look article special]].

Niche media may particularly suffer this because some or all of the critics assigned to review it aren’t members of its target demographic, or [[SmallReferencePools don’t even have a basic knowledge of the genre]]. To look at it another way, if the business model involves an audience who will actively seek it out, those people will be predisposed to enjoy it, whereas critics who see it out of professional necessity will not have that selection bias.

Telltale signs of Critical Dissonance include disagreement between a work’s revenue and its reviews, simultaneous nominations for both ‘best X’ and ‘worst Y’ awards (bonus points if X=Y), and angry comments on those review sites that have them.

That the main differences between the average audience viewer and the average critic are vocabulary, sometimes ego, and employment in the field of journalism is what makes the large contrast between viewpoints either fascinating or predictable, depending on your degree of cynicism.

See also CriticalBacklash, CriticProof, BiasSteamroller, ItsPopularNowItSucks, OpinionMyopia, EightPointEight and OscarBait. Could overlap with PopCultureIsolation and AcclaimedFlop. Contrast with CultClassic where a work tends to have neither critical acclaim nor general popularity, but is enjoyed by a few diehard fans. Possibly the cause of MainstreamObscurity.


[[folder:Anime and Manga]]
* ''Manga/BlackBird'' is one of the bestselling shoujo manga in years, yet most mainstream anime/manga reviewers have given it lukewarm to negative reviews (with some even being openly disgusted by it).
* ''Manga/HotGimmick'' has received mixed/poor reviews. Despite this, it has sold well as it had a twelve-volume run. In some circles, however, saying you’re a fan of ''Hot Gimmick'' will get you very dirty looks.
* ''Manga/{{Naruto}}'': Among casual anime fans and the general public, it’s a merchandising juggernaut with a massive and rabid fanbase. On the critical side of things, it’s generally treated as a fairly average {{Shounen}} at best, and in more serious circles, saying ‘I like ''Naruto''’ is synonymous with ‘I am a twelve-year-old boy who has never watched anything else in his life.’
* The trend of critical dissonance was discussed in WebVideo/{{Gigguk}}'s AZ rant about the "Big 3" Shounen series of ''Manga/{{Bleach}}'', ''Franchise/{{Naruto}}'', and ''Franchise/OnePiece''. He points out that while there are other shorter Shounen anime series with more critical acclaim like ''Anime/DeathNote'' and ''Anime/FullMetalAlchemistBrotherhood'', the "Big 3" are major [[CashCowFranchise cash cows]] because of they are LongRunners. Because of their length, there is a constant stream of new stories and installments that would attract newcomers and keep long time fans.
* ''Franchise/{{Pokemon}}'':
** The movies have all been critically panned in the U.S. However, they are generally considered good with both audiences and fan of ''Pokémon'' although some are considered better than others.
** The anime series is often criticized for its StrictlyFormula nature, as well as [[NotAllowedToGrowUp refusing to age the characters with each passing year]]. Yet, despite the decline in popularity it experienced in the Johto arc; it still maintains high ratings in both Japan and the US, and has a large and devoted fanbase.
* All incarnations of ''Franchise/YuGiOh'' have been huge financial successes and run for years, but [[PeripheryHatedom many people outside the demographic]] consider them to be little more than SnarkBait.

* Scottish painter Jack Vettriano’s work is criticized as softcore porn. Vettriano makes more money of prints of his paintings than selling the works himself. They are popular in coffee shops and Italian restaurants. Scottish sculptor David Mach has called this attitude to Vettriano’s paintings “art world snobbery”.
* The works of the late Thomas Kinkade, “Painter of Light[[TradeSnark ™]],”[[note]]Yes, he had it trademarked.[[/note]] are so enormously successful that his distributor claims that his works can be found in one American home in twenty. Art critics lambast his SugarBowl themes and subjects while dishing out backhanded praise for his marketing savvy.
* Twentieth-century Dutch illustrator Anton Pieck is very popular for painting and drawing romantic scenes of 19th-century life and fairy tales, which have been printed on countless calendars, postcards and other merchandising. But, you guessed it, average art critics regard it as petty kitsch.
* Margaret Keane’s paintings of vulnerable angels and waifs with enormous doe-like eyes are widely reproduced and appear in a lot of households. You’ll never see her work being exhibited in a serious museum, though. In ''Film/{{Sleeper}}'', by intellectual darling Creator/WoodyAllen, it is even joked that in the future Keane will be considered one of the greatest artists in history.
* Hummel figurines are collectors’ items for many people who see them as adorable little statues. Among people who fancy actual art, these statues are dismissed as nauseatingly bad taste.
* Garden gnomes are things you will never see in the gardens of people who claim to have artistic taste. All other people in the world just see it as nice.
* The art work of Jeff Koons has tried to bridge the gap between art and kitsch, by making statues of everyday kitsch objects and exposing them in a museum. This polarized many art critics who feel it is either a postmodern subversion of kitsch, while others say it’s just the same thing.

[[folder:Comic Books]]
* ''ComicBook/AvengersArena'' and its sequel ''ComicBooks/AvengersUndercover''. Professional reviewers ''loved'' them and praised their social satire and AnyoneCanDie tone. Readers were divided at best on the former and almost entirely despised the latter, which ended up getting axed at only ten issues.
* Daniel Way’s run on ''{{SelfDemonstrating/Deadpool}}'' was disliked by most professional critics and derided as dreck aimed at the LowestCommonDenominator, but managed to sell very well and is currently one of the longest runs anyone has had on the character. Over time, however, this trope seems to be subverted; fans have started to agree more with critics and now Way’s run is widely considered the worst ''Deadpool''’s ever had, its success believed to have been caused by the big publicity Deadpool had gotten in [[Film/XMenOriginsWolverine a then-recent movie]].
* Gail Simone’s ''ComicBook/TheMovement'' was critically beloved, but readers couldn’t have cared less about it, leading to it being CutShort just as its plot was kicking into high gear. Nowadays, it’s more or less forgotten outside of the tiny, niche fanbase it formed during its brief run.
* The comics of Creator/{{Moebius}} are praised as high art among comic-book aficionados, yet average comic-strip readers don’t understand them.
* ''ComicStrip/KrazyKat'' is widely praised as one of the best comic strips of the 20th century, yet average readers find it way too eccentric and don’t get what all the fuss is about.
* ''ComicStrip/{{Pogo}}'' has always been more popular with fans of good satire than regular comic fans, who would find it too pretentious.
* ''ComicBook/{{Jommeke}}'': In Flanders it’s among the most popular, best-known and top-selling comic strips, widely read among children and remembered fondly by many adults who grew up with them. Yet serious readers have always looked down upon them because it is extremely bland, formulaic, naïve and conventional. Only in the final years leading to his death did creator Jef Nys finally get some kind of serious attention and praise for his work, though the taboo still remains.
* UndergroundComics: Hugely influential on the graphic arts and fellow comic-strip artists, loved by some hippies, but apart from that most of the general audience have always looked down upon them as pure pornography or sick, twisted, female-unfriendly filth.
* ''ComicBook/CortoMaltese'' is praised as one of the most important and impressive comic strips of the 20th century, yet the general public has usually not even heard of it.
* Gary Panter is one of the most influential comic artists to have emerged since the late 1970s, but his comics don’t sell at all among regular comic book fans.
* Many comic strips based on the popularity of a TV/movie franchise will be dismissed as utter money-grabbing garbage for children. It doesn’t help that many companies just give the job to a few amateurs and tell them to stick as closely to the general plot or spirit of the original, while they know that it will sell well regardless of its quality or lack thereof.
** Many Creator/{{Disney}} comics are usually seen as pure children’s entertainment despite tight quality control of the company. The only one to get some praise by critics and audience alike is Creator/CarlBarks, whose WesternAnimation/DonaldDuck adaptations not only expanded the universe, but also enriched it with clever satire, engaging storylines, memorable characters and well-told moral life lessons.
** ''ComicBook/{{Urbanus}}'': In its early run it was a cult among the general audience in Flanders, mostly because of the fame of the comedian on which it was based, but critics absolutely despised its art which may go down as some of the ugliest art in a comic book ever this side of ''Pitch''. As time changed and the art style got better critics started to like it as well, especially because the comedian has a good grasp of what the author is doing, but is still dismissed by hipsters. Seeing as they are AcceptableTargets it’s very understandable.
** ''Series/FCDeKampioenen'': This comic strip is based on the popularity of the Flemish sitcom of the same name and the last comic strip launched in Flanders to still sell in enormous quantities. It has even survived the original sitcom which has now been cancelled in 2011. Despite being a huge bestseller critics, who consider the creator’s other works to be much better, loathe it.

[[folder:Directors and Actors]]
* Creator/WoodyAllen: A critics’ darling since the beginning, but the general audience hasn’t watched many of his films since he abandoned slapstick with ''Film/AnnieHall'' and starting making tragicomedies.
* The entire career of Creator/MichaelBay is built upon this. The only film of his to get any respect from critics is ''Film/TheRock'', but even that film is now retroactively DamnedByFaintPraise in critical circles.
** ''Film/TransformersRevengeOfTheFallen'' was one of the biggest box-office successes of the decade, but critics and fans of [[WesternAnimation/TheTransformers the original cartoon]] alike disparaged it, often violently.
** Happened again with the third film, ''Film/TransformersDarkOfTheMoon''. Despite bad reviews from critics (though it’s considered [[SurprisinglyImprovedSequel somewhat better]] than ''Revenge of the Fallen''), and even a mixed consensus from audiences, it still ended up making over ''a billion dollars'' worldwide.
** ''Film/TransformersAgeOfExtinction'' continued the tradition, also making over $1 billion worldwide (and actually becoming the highest-grossing film of its year, the second time a Bay film accomplished this feat after ''Film/{{Armageddon}}'') despite opening to near-universally negative reviews.
* Creator/IngmarBergman is the most important Swedish film director of all time and equally influential in world cinema. Critics and serious film directors admire his work, yet to most ordinary folks his films are too depressing, complex and weird. That is, assuming they have seen any of his pictures at all.
* 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 highlights.
* 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 Pauline Kael) than with populist or at least middlebrow critics (such as 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 ''EdWood'': while it was beloved by critics (though ironically having as its biographical subject one of the most reviled film directors of all time), it failed miserably at the domestic box office.
* 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.
* Creator/DorisDay was the biggest box-office star of UsefulNotes/TheFifties, even bringing in more audiences than Creator/MarilynMonroe (!), but none of her pictures has ever been praised by critics.
* Creator/CecilBDeMille: His movies were among the biggest blockbusters of the first half of the century, but only ''Film/TheTenCommandments'' is actually seen as an example of good cinema by critics.
* Creator/JohnnyDepp’s faced this in UsefulNotes/TheNewTens. It started with the ''Franchise/PiratesOfTheCaribbean'' [[{{Sequelitis}} sequels]], as the original was critically acclaimed, and ''Film/AliceInWonderland''. 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 second and 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]].
* Creator/WaltDisney: While many people acknowledge Disney’s contributions to animation, film and the fine technical draftmanship 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, TastesLikeDiabetes 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 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 of it. As the Disney brand became more corporate-controlled many feel his cartoons and films became totally 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.
** A very odd example is ''Disney/{{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. By the 1960s ''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.
* 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.
* Creator/StanleyKubrick’s films are admired more by intellectuals, critics and fellow film directors than most average film fans. In some cases, though, it’s been the other way around. ''Film/TwoThousandOneASpaceOdyssey'' was a hit among hippies, ''Film/AClockworkOrange'' among young people — especially punks and skinheads — but unanimous critical adulation came much, much later.
* Creator/AkiraKurosawa is one of the most influential film directors of all time, but only cinephiles, intellectuals, critics and fellow directors have watched his movies. Most other people don’t get how an old samurai movie could be anything interesting to watch.
* Creator/GeorgeLucas is one of the most successful film directors and producers of all time, but mostly because of the ''Franchise/StarWars'' franchise. Many critics, even those who like the original unaltered 1977–83 trilogy, don’t see him as a great cinematographic genius at all, but rather as somebody who put special effects and merchandise before everything else.
* Creator/DavidLynch is very popular among film critics and intellectuals for making innovative cinema that at least tries to do something different. Other moviegoers literally hate his pictures for being [[TrueArtIsIncomprehensible bizarre and arty]].
* 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.
* Creator/AdamSandler’s entire career is built on this, and it goes both ways. Only two of his star vehicles with a 50%-or-higher approval rating on Website/RottenTomatoes (''Film/TheWeddingSinger'' and ''Film/HappyGilmore'') made back their budgets, while every single one of his movies that came in under 50% was successful with audiences. For example, ''Film/TheWaterboy'' was panned by most critics but was one of the highest-grossing movies of 1998, while 2002’s ''Film/PunchDrunkLove'' ended up being his most critically acclaimed movie, but also his least financially successful one. There was a period of time in the early 2010s when everyone seemed to come into agreement about Sandler — both ''Film/JackAndJill'' and ''Film/ThatsMyBoy'' were slammed by critics and, significantly, failed to make back their budgets (at least in America). But then he headlined a hit animated film with ''WesternAnimation/HotelTransylvania'', and his return to live action with ''Grown Ups 2'' became another big success for him, to critics’ horror, restoring the status quo, though his 2014 outings ''Blended'' and ''Men, Women & Children'' both underperformed.
* All of the films of the duo of [[Creator/SeltzerAndFriedberg Aaron Seltzer and Jason Friedberg]] were panned by professional critics and Internet reviewers alike, and typically rank on lists of the worst comedies ever made, but (apart from ''Film/DisasterMovie'') they all made enough money to be profitable given their low budgets.
* Creator/StevenSpielberg is the most successful film director of all time, with countless blockbusters and box office hits. Critical reception is more mixed. While the entertainment values of ''Film/{{Jaws}}'', ''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Franchise/IndianaJones'' and ''Franchise/JurassicPark'' are praised most critics will prefer his more serious mature stuff like ''Film/SchindlersList'', ''Film/{{Munich}}'' and ''Film/SavingPrivateRyan''. And still many will have scorn for the often infantile themes, TastesLikeDiabetes moments and obligatory happy ends. Such critics will comment on Spielberg in the vein of ‘He is closer to being [[Creator/WaltDisney Disney]]’s successor than [[Creator/AlfredHitchcock Hitchcock]]’s.’
* 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 haven 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''.
* In the case of ''Film/TerminatorGenisys'', at least one IMDb user has suggested that many of that movie's bad reviews are the result of professional movie-critics rating the movie based on political-correctness, especially as the first Arnold Schwarzenegger blockbuster after his time as Governator of California.
* 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 UsefulNotes/TheGreatDepression. Yet critics hated her cutesy, namby-pamby family films with a passion.
* Creator/TheThreeStooges have always been more popular among children and common people than among critics, who consider their slapstick far too lowbrow and formulaic.
* Creator/RudolphValentino: A hugely popular movie star among female viewers in UsefulNotes/TheTwenties, yet his pictures have always been dismissed as quaint and ludicrous FanService stories for fan-girls. It says a lot that ''Film/TheSheik'' and ''Film/TheFourHorsemenOfTheApocalypse'' do get a mention in cinematic history books, albeit more for their historic value than their artistic merit.

[[folder:Films — Animated]]
* Audiences’ opinions were divided about ''WesternAnimation/{{Antz}}'', but critics liked it.
* 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 its PacingProblems.
* ''WesternAnimation/{{Cars}} 2'' was not well-received by critics (38% on Rotten Tomatoes) but audiences flocked to see it like they did with the first (although not to the same extent as previous Creator/{{Pixar}} movies).
** Considering Pixar’s track record to that point, people found it hard to believe that they had stumbled.
* ''WesternAnimation/TheCroods''. Most critics found it to be SoOkayItsAverage, but it more than held its own at the box office.
* The Franchise/DisneyAnimatedCanon has a few examples, especially during its two “Dark Ages” (c. 1970–88 and c. 2000–08):
** ''Disney/RobinHood'' was critically ''reviled'' upon its release, and still doesn’t get very positive reviews upon rereleases. Audiences then and today, however, love it. [[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]]
** ''Disney/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 the ''Walt Disney Masterpiece Collection'' in 1998[[/note]]. Yet, it has always had very lukewarm critical reception, and for the record, is barely remembered.
** ''Disney/TheRescuers'' has an impressive 85% on RT, while its sequel, ''Disney/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.
** ''Disney/OliverAndCompany'': Critics hated the animation, the characters, and cited the plot as a ClicheStorm. The movie itself, however, was a pretty big hit, grossing about $75 million on its initial release (which was almost as much as the total gross of Disney’s [[Disney/TheFoxAndTheHound previous]] [[Disney/TheBlackCauldron three]] [[Disney/TheGreatMouseDetective films]] ''combined'').
** ''Disney/{{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 great love for it.
** ''Disney/AtlantisTheLostEmpire'' is the biggest CultClassic in the Disney canon, despite being generally ignored by critics and a disappointing gross.
** ''Disney/BrotherBear'' seems to be fairly well-liked in the Disney fandom, yet it received only 38% positive reviews on Website/RottenTomatoes.
** ''Disney/ChickenLittle'' received generally negative reviews from critics, and many Disney fans, in retrospect, consider it one of the weakest films in the Franchise/DisneyAnimatedCanon. Despite this, the film made $135 million at the domestic box office (their biggest domestic hit since ''Disney/LiloAndStitch'') and $314 million worldwide (their biggest worldwide hit since ''Disney/{{Dinosaur}}'').
* ''WesternAnimation/{{Home}}'' 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=]).
* ''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 $358,375,603 worldwide against a modest budget of $85 million.
* ''WesternAnimation/LegendsOfOzDorothysReturn'' was utterly reviled by critics, while civilians who saw it enjoyed it.
* ''WesternAnimation/{{Minions}}'' received mixed reviews from critics, many agreeing that [[ToughActToFollow it wasn't as good]] as the previous two ''WesternAnimation/DespicableMe'' films. Its box office take [[http://variety.com/2015/film/news/minions-billion-worldwide-box-office-1201580727/ is a different story]].
* ''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 during a {{Dump Month|s}}) and has down-the-middle audience ratings on Rotten Tomatoes and Website/{{IMDb}}.
* Critics hated ''WesternAnimation/{{Planes}}'', equating it to a shameless rip-off of ''WesternAnimation/{{Cars}}'' (despite being a ''spinoff'', which means it’s canonically part of the ''Cars'' franchise) meant to sell more toys. This didn’t stop the film from making back its budget more than four times over and getting [[WesternAnimation/PlanesFireAndRescue a sequel]].
* ''Anime/{{Pokemon}}'':
** ''Anime/PokemonTheFirstMovie'' did poorly with critics, but ended up being the highest grossing anime film released in the United States. Most audiences certainly didn’t love it because of its inaccessibility to those unfamiliar with the series, but it did fairly well with fans. See also: the other ''Franchise/{{Pokemon}}'' movies.
** ''Anime/PokemonKyuremVsTheSwordOfJustice'' is considered to be one of the better Pokémon movies despite its Website/IMDb rating of 5.4 out of 10.
** Pokemon 3 did poorly with critics on it's release. However, fans, such as [[https://www.youtube.com/watch?v=zXo_E08-lNU Suede and friends]], 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.
* The Mexican animated movie ''Franchise/ElSantos vs. La Tetona Mendoza''. While the movie itself got more or less good reviews by critics, on the other hand the Mexican audience didn’t share the same opinion. And for a very good reason: The whole movie is a giant [[TakeThatAudience middle finger against the Mexican culture]].
* ''WesternAnimation/TransformersTheMovie'' was trashed by critics for being [[MerchandiseDriven a 90-minute film about toys]], and was not a big hit due to the [[KillEmAll mass slaughter]] [[AnyoneCanDie of beloved characters]] in favor of [[ReplacementScrappy new ones]]. Yet, it’s a [[CultClassic cult favorite]], even among fans who came into the franchise from newer adaptations.

[[folder:Films — Live-Action]]
* ''Film/ActOfValor'' was poorly received by the critics who saw it (29% on Rotten Tomatoes) but the audience as a whole (particularly ‘support-our-troops’ Republicans) tend to love it (84% on the same website).
* The live-action ''Film/AlvinAndTheChipmunks'' movies (''The Squeakquel'' in particular) have received nothing but hate from most critics. That hasn't stopped the three films from being financially successful (the fourth film, however, [[BoxOfficeBomb was another story]] due to opening against ''[[Film/TheForceAwakens Star Wars: The Force Awakens]]''). The fact that ''The Squeakquel'' outsold ''Disney/ThePrincessAndTheFrog'' made Disney fans join the critics, and it got worse in 2011 when the third film (''Chipwrecked''), while not as high a grosser as the previous two entries, outperformed ''Film/TheMuppets'', ''Film/{{Hugo}}'', ''WesternAnimation/ArthurChristmas'', ''WesternAnimation/TheAdventuresOfTintin'' and ''Film/WeBoughtAZoo'' — ''all'' of which received significantly better reviews. That being said, most adult audiences hate this franchise as well.
* ''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, inspiring some anti-troop sentiments. Still others suggest that Chris Kyle, the titular sniper, was no hero but a dangerously unbalanced man whose autobiography of the same name (on which the movie 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 audience reactions? 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=].
* Mere days after the release of ''Film/{{Annie|2014}}'', the sharp contrast between negative reviews and overall-positive reception from the public was already glaring. Four days after its release, there’s a 30% difference between the critic and audience numbers for the film on Rotten Tomatoes.
* ''Film/TheATeam'' only got a 47% score on Rotten Tomatoes, but was somewhat better-regarded by the audience (66%). This did not translate into box-office success, though.
* ''Film/AugustRush'', the story of an incredibly gifted musical child, got a 37% on Rotten Tomatoes from critics, but an 82% from fans.
* ''Film/{{Belle}}'' 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 the release. Telling people that something is educational is a good way to keep them from wanting to see it, after all.
* The action film ''Billy Jack'' 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 Tom Laughlin, the star, director, and co-writer of the films, organized an essay contest in which fans wrote rebuttals to the terrible reviews that ''Trial'' received.
* ''Film/TheBoondockSaints'' was trashed by critics as a ‘[[ThePoorMansSubstitute 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.
* ''Film/TheButterflyEffect'' got a 33% rating on Rotten Tomatoes but a 7.7/10 on Website/IMDb. It was also a box-office success.
* The ''Film/CarryOn'' film series divided audiences and critics by the time the 1970s rolled around. Although, after popular regular Creator/SidJames left, as well as the the series screenwriter, the critics and audience both began to argue over which movies were the "worst" post-1974.
* Creator/OrsonWelles’ most famous movie, ''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.
* ''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.
* ''Franchise/DieHard'' franchise:
** ''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.
** Years later, ''Film/AGoodDayToDieHard'' got terrible reviews and good box office — yet fans of the series hated it with a passion.
* ''Film/{{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.
* ''Film/DeathWish3'' has a negative critical reception, but has a positive fan reception.
* ''Film/DoctorZhivago'' received negative reviews at the time of its release, but audiences didn’t care and it became one of the most popular movies of the 1960s. Ditto for director Creator/DavidLean’s next film, ''Film/RyansDaughter'', which got even worse reviews and middling box-office returns, but was a smash hit in London.
* ''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 from that website.
* ''Film/DudeWheresMyCar'' has a big enough cult following to be remembered years later and was a box-office success at the time of its release, but did poorly with critics (with an 18% Rotten Tomatoes score).
* ''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 Jeff Daniels 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.
** The same thing happened with the sequel ''Film/DumbAndDumberTo'', which received worse reviews than the first but was also a commercial success.
* ''Film/{{Entourage}}'' received a Tomatometer score of 32% from critics and a score of 84% from audiences.
* ''Film/{{Equilibrium}}'' has a 37% rating on Rotten Tomatoes, but has a score of 7.6 out of 10 on Website/IMDb.
* Both 2000s ''Film/FantasticFour'' movies were disliked by the critics in general, but both were box office hits (unlike the universally hated [[Film/FantasticFour2015 2015 reboot]]). However, unlike more acclaimed superhero movies such as ''Film/TheDarkKnight'' and ''Film/TheAvengers'', audiences weren’t particularly fond of it, either.
* ''Film/FiftyShadesOfGrey'' broke several box-office records upon release and went on to gross over $569 million worldwide, in spite of garnering negative reviews and inheriting the detractors of [[Literature/FiftyShadesOfGrey the novel it was based on]], who were already downright disgusted that the source material became popular enough to be brought to the silver screen in the first place.
* ''Film/GIJoeTheRiseOfCobra'' got bad reviews, several Razzie nominations and hate from audiences and $300 million worldwide. ''Film/GIJoeRetaliation'' got even worse reviews and performed even better with $370 million (though with less domestically) and with fans finding it a better Franchise/GIJoe adaptation.
* The original ''[[Film/{{Gojira}} Godzilla]]'', when it first premiered in Japan just nine years after Hiroshima and Nagasaki, was utterly hated by critics, who felt that it was exploiting the tragedy in the name of {{spectacle}}. [[TooSoon 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.
* ''Film/{{Gothika}}'' made back more than triple its $40 million budget despite being critically reviled.
* ''Film/TheGreatGatsby'' got mixed reviews for its overblown style, but it did very well at the box office and is well-liked by many.
* ''Gunday'' has a 100% rating on Rotten Tomatoes (based on five votes), 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]] PeripheryHatedom, 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.
* ''Film/TheHangover Part II''. 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]].
* ''Film/HanselAndGretelWitchHunters'' made back its $50 million budget at the box office worldwide despite less-than-stellar reviews from critics and negative reception from audiences.
* ''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=]) who expected a more Hollywood-style action film (the film was even promoted as being like the director’s ''Film/OceansEleven''). The same thing happened with the director’s ''Film/{{Contagion}}'', which has an 84% on Rotten Tomatoes but a C– on [=CinemaScore=] (but at least was profitable with over $135 million worldwide, unlike ''Haywire'', which barely recouped its budget).
* 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 really acclaimed trilogy]]). Nonetheless, by the end of only its third weekend in release, it earned over half a ''billion'' dollars 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 80% Fresh.
** Averted with ''[[Film/TheHobbitTheDesolationOfSmaug The Desolation of Smaug]]'', which got a very good reception from critics and audiences alike.
* The first ''Film/HomeAlone'' film got mixed reviews and the second was utterly panned, but both were box-office successes, 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.
* ''Film/HowTheGrinchStoleChristmas'' is a very divisive film, especially in terms of this trope. It received a 53% on Rotten Tomatoes and a 46% on Metacritic, but was the highest-grossing movie of the year 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.
* ''Film/TheHurtLocker'' was widely acclaimed by critics, who applauded what they saw as a realistic war movie, but less so by viewers. 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}}''.
** Creator/KathrynBigelow got this again with her next film: ''Film/ZeroDarkThirty'' received critical praise, yet it was criticized not by soldiers, but by ''anti''war activists due to what they saw as [[UnfortunateImplications a positive depiction]] of the {{CIA}}'s EnhancedInterrogationTechniques.
* The ''Franchise/IndianaJones'' franchise:
** ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' was 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.
** ''Film/IndianaJonesAndTheTempleOfDoom'' gets panned frequently, but holds an 85% “Fresh” rating on Rotten Tomatoes and an Website/IMDb score of 7.6.
* ''Film/IdentityThief'' was eaten alive by critics, but that didn’t stop it from becoming a box-office juggernaut.
* 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.
* ''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.
* ''Film/{{Juno}}''. Highly acclaimed by critics, and made lots of money at the box office, but is one of the most despised movies 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.
* ''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 due to the fact that most of his rabid tween followers had abandoned him.
* ''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.
* ''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).
* ''Film/KissKissBangBang'' was a critically AcclaimedFlop at the box office, but most people who ''did'' see it really enjoyed it. The film was later named “Most Overlooked Movie of the Year.”
* ''Film/KungPowEnterTheFist'' was received poorly by critics, but is a CultClassic for its lowbrow comedy and SoBadItsGood nature.
* Critics gave ''Film/TheLastCastle'' 52% on Website/RottenTomatoes. Audiences were a lot more forgiving, giving it 75%.
* ''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 [[DarknessInducedAudienceApathy excessive violence]].
* ''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).
* 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.
* ''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.
* Among the movies in Phase One of the Franchise/MarvelCinematicUniverse, Rotten Tomatoes lists ''Film/IronMan2'' as the second least well-received (75%), yet it also became the third highest-grossing of those movies (behind ''Film/IronMan1'' and ''Film/TheAvengers''). Inversely, ''Film/CaptainAmericaTheFirstAvenger'' has the third-highest RT rating (behind those two as well), but also the second-lowest gross (above only ''Film/TheIncredibleHulk''), and the lowest Website/IMDb score.
* The indie western ''Meek’s Cutoff'' 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]]]].
* ''Meet the Mormons'' was ripped to shreds by critics, earning the dreaded 0% rating on Rotten Tomatoes. That didn’t stop it from being a box-office bonanza, especially in the LDS community.
* ''Film/{{Moonraker}}'' is widely thought of as one of, if not ''the'' worst, ''Film/JamesBond'' movies, but it was the highest-grossing film in the franchise until ''Film/GoldenEye'' was released.
** Only if not adjusting for inflation, then the title still belonged to ''Film/{{Thunderball}}'', being in the top 10 highest grossing films of ''all time'' internationally. It took nearly 50 years for [[Film/{{Skyfall}} another Bond film]] to surpass it.
* ''Mom’s Night Out'' has a 17% critic rating and a 91% audience rating on Rotten Tomatoes.
* 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.
* ''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]] [[InternetBackdraft changes]], its [[Literature/TheBible source material]], or its own merits as a film.
* ''Film/TheNotebook'' has considerable praise by the general public, but 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%).
* ''Film/NowYouSeeMe'' was rated “Rotten” at 50% on Rotten Tomatoes, but the ‘regular’ folks at [=CinemaScore=] rate it an A–.
* ''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=].
* ''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.
* ''Film/OneForTheMoney''. 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 the film did considerably better once it reached DVD and Blu-ray.
* ''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).
* ''Film/OutCold'' was panned by reviewers giving it an 8% on Rotten Tomatoes. But the film immediately gained a small cult following, as it has an 85% user rating on that site.
* ''Film/OzTheGreatAndPowerful'' received mixed reviews, but proved to be a box-office success.
* Critics panned ''Film/PatchAdams'' and many people hate it (including the man it’s based on), but it was successful at the box office.
* The ''Film/PoliceAcademy'' series was always critically panned. Some will try to tell you that only the first film was good, but even that received a critical drubbing (Roger Ebert rated the original ''no stars'', something he almost never did). The series’ reputation is so bad that any time it’s cited in other fiction, it’s ''always'' intended as a TakeThat, ''never'' as an affectionate ShoutOut. And yet the original spawned six sequels, which doesn’t happen to a series if absolutely nobody likes it.
* ''Film/PureCountry'', the [[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. The soundtrack (performed entirely by Strait) is also his bestselling album to date, containing the SignatureSong “I Cross My Heart”; it was also his first album with RecordProducer Tony Brown, who has produced all of Strait’s albums until 2015.
* ''Film/{{Rad}}'' is 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.
* Every live-action ''Film/ResidentEvil'' movie got negative reviews (the first two are both on Creator/RogerEbert's [[RogerEbertMostHatedFilmList most hated movie list]], but they were successful at the box office. For the most part, it seems people who enjoyed the games ''hated'' the movies for being [[InNameOnly Name-Only Sequels]], while people who were unfamiliar with the games could enjoy the film for what it is: an over-the-top cheesy action zombie thriller.
* ''Literature/SafeHaven'' — like most Creator/NicholasSparks adaptations (see ''Film/TheNotebook'' entry above) — was ravaged by critics but it made back its budget at the box offices three times over.
* ''Film/ScaryMovie 5'' on ''Website/RottenTomatoes'' has a critical rating of 5% and an audience rating of (brace yourselves) ''79%''. And still managed to open at #2 and finish with more than triple of its budget.
* ''Film/ScottPilgrimVsTheWorld'' was a critically lauded movie 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]].
* ''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.
* Audiences reacted much more positively to ''Film/TheSecretLifeOfWalterMitty'' than critics did.
* ''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.
* Creator/StanleyKubrick’s adaptation of ''Film/TheShining'' was so poorly received that it was nominated for two [[UsefulNotes/GoldenRaspberryAward Razzies]] (one for Shelley Duvall 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, Creator/StephenKing still regards it as [[DisownedAdaptation one of the worst adaptations of his work]], mainly due to the liberties that Kubrick took with his story.
* The [[Film/{{Solaris2002}} 2002 remake of Solaris]] received generally positive reviews from critics (66% on Website/RottenTomatoes), but audiences hated it. It received an F grade from audiences polled by [=CinemaScore=], the first film to ever get this ‘[[MedalOfDishonor honor]].’
* Audiences and critics alike had incredibly mixed feelings towards ''Film/SpaceJam'', but it was a financial success, and both Siskel and Ebert liked it.
* 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.
* ''Film/SpiderMan3'' got mixed to positive reviews from critics, but is one of the most reviled superhero films in history.
* ''Film/SpringBreakers'' was well received by critics, with some calling it an instant CultClassic. Audience opinions were more mixed.
* ''Film/SpyKids'' was liked by critics and sold well, but fans of Creator/RobertRodriguez detested it because they believed he had ‘sold out.’
* ''Film/StarTrekIntoDarkness'' was a box-office success and got great reviews … 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'' movie. ItsPopularNowItSucks and TheyCopiedItSoItSucks are also at hand for unpopularity.
* The ''Franchise/StarWars'' 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.[[note]]''Film/ThePhantomMenace'' was Fresh too, but with the 3-D rerelease, was pulled down to a Rotten 57%.[[/note]]
* ''Film/StreetFighter'' was very negatively received by critics, but that didn't stop it from earning ''lots'' of money during the holiday season of 1994.
* ''Film/SuckerPunch'' started to become a cult classic after barely making back its budget and being criticized by many reviewers.
* ''Film/SupermanReturns'' received very strong reviews upon release, but it not only divided fans, but has seen increasing backlash from both viewers and critics since its release in 2006 — which continues to grow even more severe with the release of ''Film/ManOfSteel''.
** ''Man of Steel'' fared worse with critics, and managed to be [[BaseBreaker hugely polarizing]] among hardcore Superman fans due to the [[TheyChangedItNowItSucks liberties taken with the source material]] ([[MovieSuperheroesWearBlack not just the costume either]]). Despite this, the movie had very positive audience reactions and word of mouth, and collected the highest-grossing June opening weekend ''of all time''.
* ''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.
* The 2014 ''Film/{{Teenage Mutant Ninja Turtles|2014}}'' reboot was subjected to mostly negative reviews from critics, but most consider the film to be SoOkayItsAverage. Which is par for the course when it comes to Ninja Turtles movies.
* ''Film/{{The Thing|1982}}'' (1982) retroactively is this. It counts due to the fact that people like it now, but most mainstream critics haven’t changed their negative opinions about it, unlike, say, ''Film/BladeRunner''. 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.
* Creator/ChrisFarley and Creator/DavidSpade’s movies together, ''Film/TommyBoy'' and ''Film/{{Black Sheep|1996}}'', were both poorly received by critics (the former made Creator/RogerEbert’s [[RogerEbertMostHatedFilmList “Most Hated Films” list]], and Creator/GeneSiskel proudly said the latter was one of only two movies he’d ever walked out on in 26 years of reviewing), but they were well-received by audiences.
* Terrence Malick’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 their money back. It’s no help that the film may be either the most beautiful examination of life or the biggest example of how TrueArtIsIncomprehensible.
* ''The Unbelievers'', a bizarre ‘travelogue’ 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) but has comparably high user review averages on sites like Metacritic and [=IMDb=]. Of course, it probably helps that the film was seen [[PanderingToTheBase mostly just by people who were already big fans of Dawkins and/or Krauss]].
* The ''Film/{{Underworld}}'' movies all got mediocre-to-negative reviews from critics, but all were box-office hits and audience reviews were much more favorable.
* ''Film/VampireAcademy'' was hit with a 9% score on RottenTomatoes, but the fans of [[Literature/VampireAcademy the book]] liked it just fine, or even loved it.
* Critics were mixed towards ''Film/WereTheMillers'', with some outright hating the film, but the film was a financial success and scored better with audiences.
* ''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.
* ''Film/XMenTheLastStand'' had the worst reviews but the best box office results out of the original ''Film/XMen'' trilogy.
* It may be hard to believe, but there was a time when Creator/SergioLeone’s {{spaghetti western}}s, every Creator/StanleyKubrick film and ''Film/{{Psycho}}'' weren’t taken seriously by a good chunk of professional critics, despite being popular from the start. They have thankfully all been VindicatedByHistory.
* A handful of indie films (''Film/UnderTheSkin'', ''Film/TheGuest'' and ''Night Moves'' to name a few) have earned 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, than this trope is in full effect.
* Religious films are often given mixed or negative reviews by critics, but popular with the audiences that watch them. For example, ''Flim/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.

[[folder:Film Criticism]]
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.
* The first was in the late 1960s and early ’70s, when a new generation of young, snarky writers like Creator/RogerEbert and Pauline Kael 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'', of course, went on to become a pop-culture phenomenon and is now regarded as one of the foundational films of UsefulNotes/NewHollywood.
* 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/{{Armageddon}}'' and thought that the critics were wrong about it.

* Creator/DanBrown’s books tend to get this, but none as much as ''Literature/TheDaVinciCode''. Absolutely despised by critics, but some of the most successful books out there. That being said, a study found that, in the UK, ''The Da Vinci Code'' is the book most frequently donated to charity shops. The public certainly ''bought'' many copies of it; that’s not to say they ''enjoyed'' it.
* Creator/BarbaraCartland was at one point among the most widely read authors in the world. Yet she only wrote romance novels that literary critics dismissed as shallow and formulaic.
* ''Literature/TheClique'', at least when the books first came out. Critics hated them, but they were bestsellers and beloved by their demographic. By now, however, that demographic has grown up, realized all the FridgeHorror and DudeNotFunny moments in the series, and now they’re nigh-universally despised.
* ''Literature/{{Discworld}}'' for a while - at the time when Creator/TerryPratchett was being claimed as "the most shoplifted author in Britain", most critics seemed mildly baffled by him. Eventually it went meta; by the 2000s the majority of reviews were hailing him as a genius, while claiming that ''all other critics'' were blinded by genre snobbery.
* ''Literature/FiftyShadesOfGrey'' sold remarkably well, but generally anyone who majored in literature or English, or who is involved in the ''actual'' world of BDSM, will despise it.
* The ''Literature/LeftBehind'' series of Christian apocalyptic fiction fits into this, as the critical response to the books tended to accuse them of starring dull, unlikable characters and having an IdiotPlot only made possible by an ostensibly LikeRealityUnlessNoted Earth populated with {{Flat Earth Atheist}}s.[[note]]Of course, as the series’ plot is based on a literal interpretation of [[Literature/TheBible the Book of Revelation]], such accusations are a case of ComicallyMissingThePoint, and AllThereInTheManual.[[/note]] However, it sold amazingly well, constantly enjoying ''New York Times'' bestseller status, and is regarded as one of the best pieces of explicitly “Christian” fiction.
* ''Literature/LesMiserables'' is listed under theatre, but the novel was also received very negatively when first published: described as “infantile” and “tasteless and inept.” However it was a commercial success, and is [[VindicatedByHistory now considered a classic of French literature]].
* The Literature/MikeHammer books by Creator/MickeySpillane were hated by critics back in the day, and to a degree they still are. On the other hand, in 1980 Spillane was responsible for seven of the top 15 bestselling books in America, and his books have been adapted into successful movies, TV shows and {{radio drama}}s. Spillane himself mocked this trope, stating that he didn’t care what critics thought so much as what his fans thought.
-->“Those big-shot writers could never dig the fact that there are more salted peanuts consumed than caviar … If the public likes you, you’re good.”
* Creator/KarlMay’s novels have always been bestsellers, but mostly among young boys who like adventure stories set in TheWildWest. It’s not considered worthy of the name ''literature'' among other people.
* A fan of the cult-classic book (and movie) ''Literature/MommieDearest'' would probably be shocked to find how much critics ''hated'' it. Faye Dunaway said she wished she hadn’t acted in that movie after it hurt her career.
* The ''Literature/{{Twilight}}'' Saga gets a mention here too. Extremely successful (in its target market, at least), but far more people will avoid it like the plague. What’s funny is that ''Twilight''’s original target demographic has by now outgrown the books themselves.

[[folder:Live-Action TV]]
* ''Series/BigBrother'': One of the biggest TV phenomena and most successful formats in the world, yet you won’t find any critic who’ll say anything good about it. It’s the show that makes Creator/GeorgeOrwell turn in his grave and turned voyeurism and reality TV into a leading genre.
* ''Series/BreakingBad'', which is usually mentioned in the same breath as ''Series/TheWire'' for best show of all time, also suffered from this … at first. [[VindicatedByReruns Then it came on Netflix and word of mouth spread like wildfire.]] It eventually ended with one of the most watched finales in cable television.
* ''Series/{{Chuck}}'' was a critical darling and perennial contender in many viewers’ choice awards categories. Unfortunately, it received only a cult following and ratings dwindled throughout its five-season run in what many fans viewed as a bizarre combination of SavedByTheNetwork and ScrewedByTheNetwork.
* ''Series/{{Community}}'' received almost unanimously positive reviews from critics during its first three seasons and was widely regarded as one of, if not the best comedy on television. It was ‘rewarded,’ so to speak, with ''terrible'' ratings (it spent its entire five-season Creator/{{NBC}} run on the verge of cancellation) and has never won a major Emmy or Golden Globe Award.
* ''Series/{{Dads}}'' received almost universally negative reviews from critics (15 on Metacritic), though audiences responded more positively (5.4 rating on Website/IMDb). That did not keep it from dying after its first season ended.
* ''Series/DoctorWho'':
** The show is a very LongRunner and for a very long time (due to home video not being invented) there was simply no way to find out the quality of stories you had missed (due to ''not having been born when they aired'') save for: (1) buying one of the [[PragmaticAdaptation heavily altered]] and [[TheyJustDidntCare variable]]-in-[[DoingItForTheArt quality]] Target novelisations, or (2) buying a book written by someone who had seen the episode in question summarising what it was about and, more importantly, saying whether or not it was good. Both these methods led to serious distortions of truth in the fandom.\\
A particular 1980s review tome — ''Doctor Who: A Celebration'' — contained reviews of all of the stories, in some case based on guesswork themselves (looking at the general quality of actors playing guest stars) which were taken as gospel by people who had never actually seen the stories, leading to [[Recap/DoctorWhoS3E8TheGunfighters “The Gunfighters”]]’ reputation as an absolute disaster and [[Recap/DoctorWhoS3E7TheCelestialToymaker “The Celestial Toymaker”]]’s reputation as a classic — there is an anecdote about a woman who stood up at a ''Who''-con to announce that the two aliens she definitely didn’t want to see return were [[SpecialEffectsFailure the Zarbi]] and [[CriticalResearchFailure the Gunfighters]]. Now that all the surviving footage is widely available thanks to the Internet and [=DVDs=], fans nowadays (such as ExpandedUniverse and new series writer Creator/PaulCornell) tend to find that “The Gunfighters” is a self-referential and funny comedy episode and “The Celestial Toymaker” is slow-paced, badly-plotted, [[YellowPeril racist]] garbage — but “The Celestial Toymaker” had the benefit of a quality actor playing the villain and a quirky premise, while “The Gunfighters” had no-names and a very straightforward ‘the Doctor in the Wild West’ premise.\\
The book also panned comedy episodes simply because [[ComedyGhetto they were comedic]] and the author felt they had no place in a serious science-fiction show, causing comedy episodes to fall out of fashion amongst the fanbase for a while, even though comedy episodes are extremely popular with the modern fandom and the highly popular revival series incorporates strong elements of sitcom.
** “The Deadly Assassin” (today placed somewhere between ‘really good’ and ‘best Creator/TomBaker story ever’ got a negative contemporary review in the ''Doctor Who'' Appreciation Society’s fanzine, which focused overwhelmingly on TheyChangedItNowItSucks outrage about [[FanDislikedExplanation Robert Holmes’ depictions of Time Lord society]] and [[SeriesContinuityError the continuity problems]], and only mentioned that the plot, acting, costuming, storytelling and set design was all good [[SkewedPriorities as a casual aside]]. To this day, the review is mocked by ''Who'' fans who share it around as a reminder that fanboy criticism is usually garbage and that fandom was [[SturgeonsLaw always terrible]].
** Professional reviewers loved [[Recap/DoctorWhoS28E10LoveAndMonsters “Love and Monsters”]], but the fanbase does not.
** While [[Recap/DoctorWhoS34E7KillTheMoon “Kill the Moon”]] seems to be a BrokenBase for fans, critics for the most part loved it. In fact critics seem quite favorably disposed to the Twelfth Doctor's era as a whole, regarding Series 9 (his second) the show's best since at least Series 5 (Eleven's first), but it's not nearly as popular with mainstream viewers as Ten and Eleven's tenures are. Part of this stems from Twelve being a CreepyGood hero with NoSocialSkills and a grumpy streak played by [[Creator/PeterCapaldi an older actor]], whereas Ten and Eleven were substantially more youthful, amiable, and T-shirt {{Catchphrase}} ready.
* When ''Series/{{ER}}'' premiered, reviews, while not poor, were not particularly flattering, deeming its storylines hackneyed. Most critics deemed its [[DuelingShow competitor]] ''Series/ChicagoHope'' the better show and predicted that it would win the ratings battle. Only for ''ER'' to be a smash hit and ''Hope'' to change its time slot very quickly in the hopes of surviving. Today, ''ER'' is the one more people remember, for better or worse.
* Creator/JossWhedon’s ''Series/{{Firefly}}'' was met with generally positive reviews, but (1) the professionals didn’t write nearly as glowingly about it as fans did, and (2) thanks to heavy doses of ExecutiveMeddling and ScrewedByTheNetwork, it couldn’t find an audience until [[BetterOnDVD after its cancellation]].
** Then there’s ''Film/{{Serenity}}'', with a strong (82% Fresh) rating from critics on Rotten Tomatoes, and near-universal acclaim from fans of the series (89% Fresh among audiences). Unfortunately, that failed to translate into box-office success and the film failed to break even.
* Hard though it may be to believe now, ''Series/{{Friends}}'' wasn’t exactly a critical darling during its run. While the show got generally good reviews, it never garnered the acclaim of other ’90s NBC sitcoms like ''Series/{{Seinfeld}}'', ''Series/{{Frasier}}'', or even ''Series/NewsRadio''. Nevertheless, it was a pop-culture ''phenomenon'' and is, to this day, still one of the most fondly remembered shows of its era. Even many of the critics who dismissed the show during its run rank it as one of the greatest shows of all time, simply for its enormous popularity and cultural impact.
* ''Series/FullHouse'' and many other "T.G.I.F." family sitcoms had a large amount of this. Critics despised ''Full House'', yet it was a ratings smash, and started off the Olsen Twins’ career (which also had Critical Dissonance — Roger Ebert once stated that they had no talents any normal person could have).
* The Creator/{{HBO}} series ''Series/{{Girls}}'' is praised by critics, but is [[LoveItOrHateIt polarizing]] among most viewers. The show receives extensive coverage with lengthy reviews and feature articles on many TV review websites, such as ''The A.V. Club'', to the point where it is often referenced in reviews for other shows. Despite this, the highest-rated episode got just upwards of 1 million viewers, which is fewer than even NBC’s lowest-rated show. It doesn’t help that it comes on a channel that many Americans don’t get.
* Critics adored ''Series/HappyEndings'', but that didn’t translate into a ratings success. Creator/{{ABC}} started their ''own'' [[http://screenrant.com/save-happy-endings-abc-canceled/ “Save the Show” campaign]]; that may or not be a good thing.
* The fifth-season ''Series/HowIMetYourMother'' episode “The Rough Patch” exemplifies this on a single-episode scale. It was the culmination of the writers’ attempts to break up Robin and Barney throughout the entire season after the entire fourth season had been spent getting them together. The episode was highly rated by critics for the exaggeration by Future!Ted’s narration in the form of Barney’s fat suit and Robin’s haggard appearance. This had the effect of undoing over a season’s worth of CharacterDevelopment for Barney and broke up what many fans considered the FanPreferredCouple because the writers wanted to prove that the relationship wouldn’t work, despite the chemistry the two actors displayed.
* ''Series/{{House of Cards|US}}'' (the American version) is beloved by critics and one of the most talked-about shows on the Internet, but has hardly become a mainstream hit like ''Series/OrangeIsTheNewBlack'' did.
* ''I’ll Fly Away'' was a ''massive'' critical darling, winning two 1992 Emmy Awards[[note]]Eric Laneuville for Outstanding Individual Achievement in Directing in a Drama Series for the episode “All God’s Children,” and for series creators Joshua Brand and John Falsey for Outstanding Individual Achievement in Writing in a Miniseries or a Special[[/note]] and 23 nominations in total, three Humanitas Prizes, two Golden Globe Awards, two NAACP Image Awards for Outstanding Drama Series, and a Peabody Award. However, it had terrible ratings, and it was canceled by NBC in 1993, despite widespread protests by critics and viewer organizations. Most seem to blame it on its AudienceAlienatingPremise -- it was about a small Southern town in the late 1950s and early 1960s, at the height of the UsefulNotes/CivilRightsMovement. It was also treated poorly by Creator/{{NBC}} during its run; writer and executive producer David Chase (who went on to create ''Series/TheSopranos'') noted that the network advertised the show using Music/LouisArmstrong's "What a Wonderful World". After the program’s cancellation, a two-hour movie, ''I’ll Fly Away: Then and Now'', was produced, in order to resolve dangling storylines from Season 2 and provide the series with a true finale. The movie aired on October 11, 1993... on Creator/{{PBS}}.
-->"If I'd had a gun, I would have killed somebody. What fucking wonderful world? UsefulNotes/KuKluxKlan, Mississippi civil rights workers being murdered, housewives from Detroit being gunned down in their car, black kids being lynched? They were trying to sell a series about human pain as a cute story about some cute little boy and his nanny. And it fucking made me want to puke."
* ''Series/HomicideLifeOnTheStreet'' suffered similar problems but, unlike its SpiritualSuccessor ''Series/TheWire'', it managed to win a few notable awards and last a good seven seasons on the network’s faith alone.
* ''Series/ImportantThingsWithDemetriMartin'' got poor ratings and was cancelled after two very short seasons, yet critics were very fond of it.
* ''Series/JerseyShore'': Watched by many, loathed by anyone with quality norms. Yet despite critics’ objections it ran for many years.
* ''Series/TheJerrySpringerShow'' had very high ratings in the 1990s, but only among people who liked trash television, which happened to be the majority of daytime-TV viewers. Critics have frequently ranked it among the worst TV shows ever put on air.
* ''Series/LastManStanding'' received mostly negative reviews, with critics claiming that the show didn’t bring anything new to the table and had too much of a nineties feel compared to modern sitcoms. However, the show has maintained a steady audience, with its fans feeling the show is a great throwback to the old sitcom format.
* The final episode of ''Series/{{Lost}}'' received mixed, but mostly positive, reviews from critics, and various polls on fandom sites suggest most hardcore fans were at least satisfied with the conclusion. Mainstream/casual audiences loathed the episode, though, and within three years, ''Lost''’s ‘confusing’ ending became a pop-cultural punchline. Mere mention of the show or its co-creators, Creator/JJAbrams and Creator/DamonLindelof, in an Internet article attracts hordes of hateful ex-fans in the comments section.
* The Netflix original series ''Series/MarcoPolo'' was trashed by critics, but nearly the entire audience loved it ([[ItGetsBetter past the first few episodes at least]]). Respectively, they gave the show scores of 30% and 93% on Rotten Tomatoes, a 63% difference.
* The comedy ''Series/MrsBrownsBoys'' has been slated by critics, who hate its bawdy humour, yet is very popular with the viewing public.
* ''Series/{{Mulaney}}'' was at one point the “#1 Comedy” despite ratings for this show ranging at 3 out of 10 on average.
* Entertainment journalists really seem to hate ''Series/MyKitchenRules'', and the episode recap articles posted on the ''Sydney Morning Herald'' almost invariably contain scathing jibes at the show’s format, and throws around unpleasant terms to describe the judges and contestants’ words and actions. Despite these critiques, the show continues to rank #1 in Australia in terms of viewing numbers.
** The trope also occurs in-universe during the Fifth Redemption round of Season 6, with Kat and Andre’s ''ile flottante'' dessert. Both Pete and Manu adore the dish, but none of the other teams liked it, as they claim that it was too sweet and sugary.
* ''Series/OrphanBlack'' is adored by critics and has a hugely dedicated cult fanbase, but it struggles to pull in half a million viewers on BBC America.
* Critics absolutely hated ''Series/PunkyBrewster'', which ostensibly was created for kids. But that didn’t stop it from getting a loyal young fanbase, a four-season run (two on NBC, two in first-run syndication), a Saturday-morning cartoon edition, and a 2013 webcomic.
* ''Series/SavedByTheBell'' was mostly trashed by critics during its heyday yet went on to become one of the most popular kid shows of the early ’90s. The show’s success was largely because, until then, Saturday-morning television was dominated mostly by [[AnimationAgeGhetto cartoons]] and other shows aimed at young children, and plenty of families didn’t yet have cable. Nonetheless, the series is fondly remembered by those who watched it in the early ’90s, albeit mostly for its NarmCharm.
* ''Single Ladies'' on VH1 is generally critically reviled, but is generally well-received by female audiences. It also has [[TestosteroneBrigade some appeal to male viewers]] thanks to the cast of Lisa Raye, Denise Vasi, Charity Shea, and formerly Stacy Dash.
* Many popular sitcoms in the modern era apply. ''Series/TwoAndAHalfMen'' is so hated even Chuck Lorre admits it, yet it’s one of the highest-rated shows in its era. Likewise, ''Series/AccordingToJim'' always got solid ratings despite its negative reviews from critics.
* ''Series/{{Undateable}}'' was thrashed by critics, but viewers who watched it fell in love with it. It has a critics’ rating of 38% on Rotten Tomatoes while the audience rating is currently at 91%.
* ''Series/TheWire'' was hugely acclaimed and is now regarded as one of the greatest TV series of all time, but hardly anybody watched it when it aired, and it suffered from frequent {{Award Snub}}s. Some blamed this on the fact the cast was mostly black, and thus didn’t have a [[MinorityShowGhetto broad enough appeal for white audiences]].
* Reality television: one of the most popular TV genres since the late 1990s. Regular views tune it because it provides a recognizable SliceOfLife to them or just out of BileFascination. Naturally critics have shred these series to pieces for being nothing but sensationalist, voyeuristic exploitation of the naïveté of ordinary people. It has gone so far that critics have called these TV makers out for making such unethically and morally questionable shows, where the ‘reality’ is carefully staged and people are humiliated by showing them in embarrassing situations (nudity, conflicts, crying, adultery, doing stuff for the camera that they regret afterwards …)
* Soap operas: widely popular and watched by countless people all over the world, critically dismissed as just bad, formulaic acting and writing with cheap pathos, schmaltzy music and storylines that are just made up while it goes along.
* ''Series/{{Jessie}}'' on Creator/DisneyChannel is almost universally panned by critics as not just being one of the worst TV shows in Disney Channel’s history, but also one of the worst tween/teen-marketed shows in history period. It’s gotten to the point where it’s become almost a go-to punching bag for critics looking to highlight the awful state of tween/teen sitcoms or how far Disney Channel has fallen from its golden days. Yet it was one of the highest-rated and most renewed shows on the network when it ran.
* ''Series/SamAndCat'' was panned by critics, even those friendlier towards this type of genre, calling it a pale imitation of ''Series/ICarly'' and ''Series/{{Victorious}}'' from which it was spun off. Yet it also gained very high ratings, in some cases higher ratings than its parent shows. Even though it was canceled after only one season, this was due less to failing ratings/reviews than to still-not-fully-disclosed backstage issues.
* The Netflix series ''Richie Rich'' has been called the worst show ''in history'' with its super-low production values and sometimes blatantly unpolished final release (the ninth episode of the first season has audio sync issues). Yet it maintained stable ratings and was able to win a second season.

* Music/{{Anastacia}}, a singer who has [[GermansLoveDavidHasselhoff worldwide acclaim from the music-buying public]] … [[AmericansHateTingle except in her home country, America]]. American critics love her, though.
** One explanation is that her style of music doesn’t fit the format of American radio stations. She’s considered too soulful for A/C stations, and not [[ButNotTooBlack urban enough for urban radio stations]], and not poppish enough for top 40, and not rockish enough for rock stations … PopCultureIsolation due to GenreRoulette. Essentially she’s in a self-made musical purgatory.
* The alternative rap group Music/ArrestedDevelopment’s second album was dismissed by critics but a lot of fans think it’s an overlooked masterpiece due to HypeBacklash. Fans (especially overseas fans) felt that America let an outstanding group fall through the cracks.
* Music/TheBeatles: Nowadays the band is popular with the general public, the alternative music crowd, ''and'' the critics, but this hasn’t always been the case. Before ''Music/SgtPeppersLonelyHeartsClubBand'' many music fans saw the group as nothing more than primitive pop music without any artistic depth. While ''Music/RubberSoul'' and ''Music/{{Revolver}}'' already showed signs of more favorable interest of serious music fans ''Sgt. Pepper'' convinced everybody that they were far better and more artistically interesting than regular pop acts.
** ''Music/TheWhiteAlbum'' is a good example of Critical Dissonance within the Beatle crowd. The record is far more popular and praised among musicians and music critics for being a groundbreaking GenreRoulette experimental masterpiece than among the general public who like ''Music/{{Revolver}}'', ''Music/SgtPeppersLonelyHeartsClubBand'' and/or ''Music/AbbeyRoad'' better.
* Music/TheBeeGees, both within and apart from their [[DeaderThanDisco disco period]], were one of the most successful acts of UsefulNotes/TheSeventies, but were constantly slammed by critics, especially after they fell out of style. [[VindicatedByHistory They gained more respect towards the end of their career]], even getting into the Rock & Roll Hall of Fame in 1997.
* Behemoth’s album ''The Satanist'' may be their most critically acclaimed album to date, but the fans consider it one of their worst albums.
* Music/BillyJoel may be the TropeCodifier. Throughout his career he has received mostly unfavorable or mediocre reviews from several critics. Try telling that to the fans who bought all of his multiple Gold and Platinum records.
* “Achy Breaky Heart” by Billy Ray Cyrus was one of the most hated songs of all time in ''any'' genre, but the album was one of the top-selling of all time (not to mention one of the ''very'' few country-pop crossovers between the end of the ''Film/UrbanCowboy'' era and Music/ShaniaTwain’s breakthrough in 1995). Adding insult to injury was the fact that the song was a CoverVersion, and a BlackSheepHit that didn’t well represent Cyrus’ style or body of work. And much of his success was in the country charts; “ABH” was his only true pop crossover hit.
* Music/TheB52s have an adoring and devoted fanbase who rarely have much to criticise about them. Critics on the other hand frequently give their albums middling reviews and overuse words like ‘kitsch’ and ‘campy’ that indicate they don’t really like the band. ''Magazine/RollingStone''’s praising of their debut album in their top 500 did help turn things around somewhat.
* Music/BlackEyedPeas are frequently panned by critics and a frequent target of parody and satire (especially their song "My Humps"). That doesn’t seem to affect either the buying public (they spent an unprecedented 26 straight weeks holding the number one and two top charting singles in mid-2009) or Grammy voters (six wins out of 16 nominations).
** Weirdly, before ''Elephunk'', their situation was actually ''reversed''. For their first two albums, they were known as a critically acclaimed AlternativeHipHop trio that sold very few albums. Then came Fergie … bringing UnfortunateImplications.
** Nonetheless, the HypeBacklash from their terrible Super Bowl performance effectively destroyed their popularity and ended their career; in a period of six months, they went from being one of the biggest bands in America to having to fight off rumors that they are breaking up.
* Music/BlackVeilBrides receive far, far more respect from critics than their frequent derision will lead you to believe. Most serious music fans (''especially'' metal fans) view their music as a mediocre and uninspired GuiltyPleasure at best and an abomination to music at worst. That being said, their albums receive good reviews (save for their debut, which even the critics didn’t like that much), they have a large fandom worldwide, and are one of the biggest new bands in the metal scene as well as the most popular band in the HairMetal revival movement.
* Music/BlakeShelton: Some country music fans feel that the quality of his music went downhill since at least his 2010 album ''Hillbilly Bone''. His first three albums had traditional-leaning country that won him critical acclaim but produced hit-and-miss results on the charts; ''Pure BS'' and ''Startin’ Fires'' were an awkwardly mediocre transitory period; and ''Hillbilly Bone'' onward has found him taking on a more ‘modern’ sound that has rendered him a golden boy on the airplay charts (including a white-hot streak of ''fifteen'' straight number-one hits), but at the cost of critical derision for his more generic style.
* Music/BradPaisley. His albums still get high praise from critics, even those who starkly avoid the FourPointScale (such as ''Slant'' and Allmusic). However, a glance at any country music forum will find that many think he has been extremely complacent and lacking the creativity of his earlier albums — main criticisms include severe [[VocalEvolution Vocal Decay]], failed attempts at humor, cliché ballads and unremarkable guitar work. This may be finally catching up to him, as his late-2011 single “Camouflage” was widely panned and is his first chart entry in 12 years to miss the top 10. He listened to the criticism, as his 2013 album ''Wheelhouse'' found him ditching long-time producer Frank Rogers in favor of self-production, leading to a highly varied sound that critics are split between calling great and adventurous, or overstuffed and pretentious. But those on either side agree that the Music/LLCoolJ duet “Accidental Racist” was a huge misstep.
* Music/BringMeTheHorizon has gotten considerable praise from critics and metal musicians alike. Even ''[[Music/JudasPriest Rob Halford]]'' has praised them. However, the mere mention of their name is enough to be considered SnarkBait to metal fans.
* Music/CaptainBeefheart: Praised as a genius and an innovator by critics and artists, but seen as an obscure noisemaker to most other people. He is extraordinarily influential to many AlternativeRock artists, despite still being unpopular with regular music fans.
* Music/CherLloyd’s debut single, “Swagger Jagger.” Nobody’s quite sure what it means, the song was critically panned, but shot straight to number one upon release.
* Weirdly, Music/ChildishGambino has gone through both types of this. At the beginning of his career, critics generally liked him while the musical community considered him a joke rapper for people who didn’t really take hip-hop seriously. He was even considered by some to be [[PrettyFlyForAWhiteGuy “hip hop for white people”]] (despite himself being black). Now it’s the reverse — ''because the Internet'' was the subject of huge excitement following its release, but was received with a shrug by critics.
* Downplayed: Music/{{Deadmau5}}’s ''*album title goes here*'' got even two stars by some reviews. It is one of his best-selling albums.
* Alternative rap group Digable Planets Sophomore album ''Blowout Comb'' received massive praise and was considered far beyond their debut. But the album more or less bombed when released. Some music critics believe that the Afrocentric militant tone of the second album made it less accessible and off-putting to white listeners, which was believed to be their primary listeners of their first album.
* Dirty Vegas’ sophomore album, ''One'', was outright slammed by critics. It became however greatly popular amongst the fans, and spawned some of their better known hits barring “Days Go By” (that comes from their self-titled debut album), such as “Human Love” and “Walk into the Sun.” Hell, one song from this album, “A Million Ways,” appears in ''VideoGame/ProjectGothamRacing 3''. Their first post-breakup album, ''Electric Love'', received an overall enthusiastic reception in the other hand.
* A lot of Music/EazyE’s solo work (sans EP ''It’s on 187um Killa'', and debut album ''Eazy-Duz-It'') is hated by critics and is usually criticized for being cartoonishly violent, especially the ''51/50'' album. But the fans consider ''51/50'' genuinely good.
* Indie rock band Edie Brickell & the New Bohemians’ first two albums were extensively praised by critics. Nonetheless, they never became more than a one-hit wonder with their 1988 single “What I Am.”
** A couple of years after they faded into obscurity, frontwoman Brickell married Paul Simon.
* Music/TheFaceless got hit with this ''hard'' with ''Autotheism''. Critics tended to enjoy it and saw it as a bold step forward for the band, while fans saw it as a bunch of pretentious nonsense with a really stupid concept and uninspired music that largely just ripped off Keene’s influences. Given that the band has started to shy away from playing more than a few songs off of it live, it would seem that the message has reached Keene as well.
* Dionne Farris’ debut album, ''Wild Seed—Wild Flower'', received rave reviews but measly sales, and produced her only hit, “I Know.”
* Within Music/FleetwoodMac, Lindsey Buckingham has always ({{justifi|edTrope}}ably, because of his skill and innovation) been something of a critics’ darling but never has had any really big-selling solo albums, whereas Stevie Nicks, particularly in the 1980s, regularly took a pasting from rock critics while amassing a huge fan following as a solo artist. (Over the past decade or so, though, critics have taken a more positive view of Nicks; this may partly be due to the number of new-generation artists who cite her as a favorite or an influence.)
* Music/GrandFunkRailroad could effectively be described as the Nickelback (see below) of the ’70s. The gulf between critics and listeners was so vast, it’s even mentioned in the opening paragraph of [[http://en.wikipedia.org/wiki/Grand_Funk_Railroad their Wikipedia page]]. As explained in [[http://starling.rinet.ru/music/gfr.htm this article]], much of both the critics’ unbridled hate for GFR and the public’s love of them had to do with how they were playing [[ThreeChordsAndTheTruth simple, energetic, populist roots-rock with straightforward lyrics]] in an era where rock bands with elaborate instrumentation and multilayered lyrical themes (i.e. the sort of music that [[GoodOlBoy ‘down home’ rock fans]] tend to ''loathe'') were critical darlings. Ironically, however, their very last album, ''Good Singin Good Playin'' (1976), was done in collaboration with none other than Frank Zappa (see below). [[note]] Though Zappa's tangible influence was minimal and the track to which he contributed the most ("Rubberneck") got cut from the album and wasn't released to the public until 2001. [[/note]]
* HURT is a modern rock band that critics generally love, and their ''Vol. II'' album is considered one of the very best albums of rock period by critics and fans. They have a devoted fanbase and sell well enough to keep making music, but they are widely obscure to the general public, so much so that they aren't known well even amongst the Internet.
* While adored by fans, Music/ImagineDragons’ ''Night Visions'' and ''Smoke + Mirrors'' were critically lukewarm.
* Music/JanetJackson’s ''Damita Jo'' album: Fans think it could have done well, while critics bashed it post-Super Bowl controversy.
* Music/JanelleMonae gets rave reviews from critics but the general public knows nothing about her. Her albums have all mostly been {{Hitless Hit Album}}s.
* Music/{{Jewel}}, even during her heyday in the mid- to late ’90s, generally garnered lukewarm reviews from professional critics, with many deeming her music naïve and overly simple. Yet that didn’t stop her debut album ''Pieces of You'' from reaching Diamond certification in the U.S. (and, later, being listed by the Rock and Roll Hall of Fame as one of the “Definitive 200”). Her 1998 album ''Spirit'' also went on to achieve Triple Platinum status, despite an equally unenthusiastic critical reaction, and is seen as a defining pop album of the late ’90s.
* Although Music/JohannSebastianBach was esteemed as a performer, his music was considered, in its day, to be old-fashioned and not of much interest, with Bach’s sons Carl Philipp Emanuel Bach and Johann Christian Bach being much more highly regarded as composers. Today, J.S. Bach is considered one of the greatest (if not ''the'' greatest) composer of all time, and while his sons’ music is still played it’s definitely not considered to be in the same league.
* Unsurprisingly, Music/TheJonasBrothers. Boyband first, ‘legitimate musicians’ second to critics, while their fanbase (even non-teenyboppers) love them. (Notable exception being their NewSoundAlbum ''Lines, Vines and Trying Times'', but even the critics hated that one.)
* Music/JustinBieber has had some favorable reviews by critics and has a large fanbase, but to say he’s unpopular on the Internet in general is a ''massive understatement''. In fact, his {{Hatedom}} tried actively to destroy his career (as opposed to simply ignoring him) -- hence the "free pass" that Music/OneDirection got for potentially being the savior the people needed from him. By 2013, even the mainstream media was against him after he TookALevelInJerkass. While he regained his popularity by 2015, his reputation on the internet was still as abysmal as ever.
* Music/KendrickLamar’s breakthrough album, ''Music/GoodKidMAADCity'', got rave reviews from critics, and while it was a hit, it was still far from the smashes that the likes of Music/LilWayne and Music/{{Drake}} had. He ultimately escaped this with his next album ''To Pimp a Butterfly'', which firmly established him as a top-tier act (plus it got even better reviews than its predecessor).
* Music/KidzBop is very popular with, well, kids, but critical opinion of the franchise has been pretty negative -- and that's not even going into how badly casual music fans think of them.
* King’s X are regularly named as one of the best rock groups of the ’90s and have a very strong fanbase of seemingly just a few hundred people.
* For both Music/LedZeppelin and Music/BlackSabbath, their first few albums were critically panned originally (though in both cases most critics retroactively praised their early stuff).
** This is actually true of many of the acts made popular in the 1970s. The albums and concerts of Music/{{Queen}}, Music/{{Journey}}, Music/PaulMcCartney and Music/{{Wings}}, Music/EltonJohn (at least after he wore outrageous costumes), and a lot of the ArenaRock and ProgressiveRock supergroups had poor (or only grudgingly favorable) reviews, but sold millions, while critical darlings such as Music/TheVelvetUnderground were largely ignored by the record-buying public. This may have connections to [[ItsPopularNowItSucks professional jealousy]], [[TheyChangedItNowItSucks changes in style]], [[ItsTheSameNowItSucks burnout]], [[FollowTheLeader hang-ups with keeping up with the next big thing]] (punk, bar bands, synth-pop, new wave, indie rock) or perhaps it needed to be VindicatedByHistory. Granted, some records may have simply been [[{{Filler}} substandard]], but often the bad reviews came [[CausticCritic regardless of the quality of their work]]. The phenomenon was lampshaded in a 1971 ''Magazine/RollingStone'' column by Lester Bangs:
--->“Three or four years ago, rock reviewing was less problematic than it is today. For one thing, you knew what to write about. The Byrds, the Animals, the Dead, the Airplane, and Beach Boys were fit subjects for comment; Gerry and the Pacemakers, Dave Clark and Freddie and the Dreamers were not. The Beatles, the Stones, and Dylan were the first inductees to rock’s (as opposed to rock and roll’s) pantheon; after that, everyone bowed in the direction of San Francisco and underground British groups until the appearance of Led Zeppelin.\\
“Zeppelin forced a revival of the distinction between popularity and quality. As long as the bands most admired aesthetically were also the bands most successful commercially (Cream, for instance) the distinction was irrelevant. But Zeppelin’s enormous commercial success, in spite of critical opposition, revealed the deep division in what was once thought to be a homogeneous audience.\\
“That division has now evolved into a clearly defined mass taste and a clearly defined elitist taste. Critics may write pages and pages about elitist favorite Captain Beefheart, but it was sons of Grand Funk — namely Black Sabbath — who were the first new band in months to sell out the Fillmore East in advance […] Critics write paeans to Van Morrison and ''New Morning'', but these days it is Stephen Stills who sells the records — in far greater quantity (on a per album basis) than Dylan and Morrison.”
* The Levellers’ album ''Hello Pig'' was regarded by many critics to be the band’s breakthrough that was going to catapult them to the mainstream, deviating from their formula. Of course, the fans hated it.
* Music/LimpBizkit were absolutely hated by critics for a long time, but their albums all sold like gangbusters, even their most negatively reviewed album ''Results May Vary'' managed to go platinum. Though once the band released their comeback album ''Golden Cobra'' both fans and critics alike seemed to enjoy it.
* Music/LinkinPark’s ''Minutes to Midnight'', [[NewSoundAlbum with a new sound]] resembling generic alt- and arena rock rather than nu-metal, got generally positive reviews (including a rare four stars from ''Rolling Stone'') but was ''trashed'' by the band's fanbase.
* Swedish electro-soul group Little Dragon are critical darlings, but their record sales are very stagnant.
* Music/MarvinGaye’s ''Here, My Dear'' album. It later became VindicatedByHistory.
* Music/{{Megadeth}}’s 1997 album ''Cryptic Writings'' was praised by critics, with some even calling it the band’s best album since ''Rust in Peace''. Many fans thought that the band had taken in too many poppy influences. The 2004 Remaster restores a lot of metal elements and the album has been reappraised by many since.
* The Music/{{Metallica}} album ''St. Anger'' actually got pretty decent reviews from critics upon release, but you wouldn’t know it from the insane amount of criticism it got from fans. Enough that [[CreatorBacklash the band themselves have removed the album almost entirely from their live set list]] (despite this, they considered the album necessary, because working around the CreatorBreakdown kept them together). Granted, the initial backlash was directed mostly [[XPacHeat at the band itself]] (who had mined its reputation with an overhaul [[ItsPopularNowItSucks that popularized them]] [[TheyChangedItNowItSucks but irritated the original fans]] and [[DigitalPiracyIsEvil a lawsuit on Napster]]) and it seems to have subsided a bit, but not nearly enough for it to be VindicatedByHistory.
** ''St. Anger''’s slim chance of ever becoming VindicatedByHistory has been pretty well-confirmed. Quite a few publications (both metal-focused and mainstream) ran ten-year retrospectives of the album to see if it may have been a misunderstood masterpiece. Sure enough, the overall consensus was that, in spite of the well-documented CreatorBreakdown that led to it turning out the way it did, the album did not improve with age.
* In probably the most extreme case, Music/MichaelBolton managed to sell 50 million records worldwide despite being ''savaged'' by critics. Strangely, he still sells despite even [[DeaderThanDisco the public’s backlash against him]].
* Music/MichaelJackson’s first post-''Music/{{Thriller}}'' album, ''Music/{{Bad}}'', was acclaimed by critics and sold extremely well, but by the time ''Magazine/RollingStone''’s Readers’ Poll for 1988 was taken, there was enough of an audience backlash against Jackson that he swept the ‘Worst’ categories. Its reputation with ''both'' camps has improved with time. By comparison 1991’s ''Music/{{Dangerous}}'' was generally liked by both critics and general audiences. From ''Music/HistoryPastPresentAndFutureBookI'' onward both groups, at least in the U.S., gave up on him (his decision to center so much of ''[=HIStory=]'' around his ''highly'' alienating legal issues/personal life was, in hindsight, misguided); the best he could get from the former was SoOkayItsAverage notices, and only his diehard fanbase kept him selling [[DeadArtistsAreBetter until his death]]. Even his death hasn’t been able to boost the reputation of his post-''Dangerous'' work as yet.
* Like Anastacia and King’s X, Mother’s Finest was a heavily critically acclaimed funk-rock band of the mid- to late ’70s. Because their music was either insufficiently rock or insufficiently funk/soul/R&B, however, they never really broke out.
* Music/{{Muse}}’s ''The 2nd Law'' is a strange example. While getting generally positive reviews from critics, the album was a BaseBreaker among its fans: many criticized the album’s new sound, particularly criticizing the experimentation with dubstep and love ballads, even placing the album among their worst albums of 2012; but at the same time, their supporting concert tour became their highest-selling tour to date.
* Music/{{Nickelback}} are the kings of this trope in modern rock music, and a strange example of it going both ways. On one hand, admitting that you are a Nickelback fan on the Internet will get you told that [[{{Hatedom}} you have no taste in music]] and are a part of what’s killing rock and roll — [[http://www.rollingstone.com/music/pictures/readers-poll-the-ten-worst-bands-of-the-nineties-20130509/2-nickelback-0196964 a poll]] by ''Rolling Stone'' named them the second worst band of the ’90s, behind only Music/{{Creed}}. On the other, every single album they made between ''Silver Side Up'' in 2001 and ''Dark Horse'' in 2008 went multi-platinum, so ''somebody'' out there is buying their music. You’d expect this LoveItOrHateIt reaction to extend to the critics … but they generally call Nickelback SoOkayItsAverage, formulaic but inoffensive. [[https://www.youtube.com/watch?v=QgFsrnyp2dQ This review]] of their album ''No Fixed Address'' argues that much of Nickelback’s hatedom came not from their music (which was hardly the worst to come out of the PostGrunge wave), but from [[ItsPopularNowItSucks their omnipresence on terrestrial radio]] during that time making their mediocrity that much more unbearable.
* Music/NineInchNails’ album ''The Fragile'' was rated very high by critics (it was ''Rolling Stone''’s album of the year when it came out), but didn’t sell all that well — it went to number one in October 1999, but then proceeded to have the largest decline in the ''Billboard'' chart’s history. Considering the band’s later success, VindicatedByHistory comes into play.
** The decline from number one should have been expected, since the rabid fans had waited five years for a new album and were going to buy anything Trent put out on Day One, but the album failed to produce a hit single for the casual fans to grab onto (“Starfuckers, Inc.” came closest). And while it wasn’t a bad album, most of those songs were pretty rare to hear live after the ''Fragility'' tour, with only “The Wretched” and its instrumental lead-in, “The Frail,” becoming live staples.
* Music/OneDirection have generally gotten mediocre reviews for all of their albums, and general audiences show little interest in their work. That didn’t stop them from becoming an enormously successful teen phenomenon and remaining nowhere near as reviled as Justin Bieber (in fact, they miraculously dodged a PeripheryHatedom that chose to continue hating on Bieber. They still have one, but they instead choose to ignore them than actively work against them like they do to Bieber).
* Music/{{Opeth}}’s 2011 album ''Heritage'' got very positive reviews from critics, averaging a 72 on Metacritic. However, at the very least half the fanbase doesn’t like it at all, mainly because they are afraid the band won’t make another album in their SignatureStyle, as frontman Mikael Akerfeldt said he was “bored with metal”.
* Believe it or not The Pharcyde’s debut and sophomore album got lukewarm to mixed reviews from critics. But high critical acclaim from hip-hop fans. They would later become VindicatedByHistory.
* Music/{{Queen}} suffered from negative press in the 1970s and 1980s, even though they were hugely successful (especially in the UK) and are now considered to be one of the greatest rock bands of all time. Indeed, [[http://www.youtube.com/watch?v=e63sQ8Jz57s upon being inducted into the Rock Hall of Fame in 2001]], their drummer, Roger Taylor, cheekily said of the honour, “It means actually more than all the Grammys we never got.”
* Music/QueenLatifah’s ''Black Reign'' album. Mixed reviews from critics but most hip-hoppers and hip hop publications see it as a classic Hip-Hop album that produced one of the most iconic rap songs “U.N.I.T.Y.” Some even say the song “Just Another Day.”
* Raphael Saadiq’s solo albums have had consistent critical acclaim but was never able to cross over fully for some reason. Interestingly enough his old band, Tony! Toni! Toné!, was pretty huge in [[UsefulNotes/TheNineties the early to mid-’90s]].
* The output of Music/RascalFlatts after switching to producer Dann Huff (namely the albums ''Me and My Gang'', ''Still Feels Good'', and ''Unstoppable'') was generally considered mediocre to dreadful by most music critics. Main points of criticism included bombastic production, overwrought vocals, and bland lyrics. However, their streaks of Top Five country hits and multi-platinum sales were unharmed, and their first single with Huff (“What Hurts the Most”) was their most successful crossover. The group generally won back critical acclaim by returning to a less bombastic, more substantial sound after they moved to Big Machine Records following the closure of their previous label, Lyric Street. Starting with 2014’s ''Rewind'', they finally ditched Huff entirely.
* While the average person knows and respects Music/LouReed, it’s usually more for ''Music/{{Transformer}}'' and the LiveAlbum ''Rock ’N’ Roll Animal'', not his later, more experimental stuff. Nevertheless most rock critics praise him as one of the most important innovators in his field.
* Music/TheResidents are praised for making a NewSoundAlbum every year, but if an ordinary music fan would listen to their records he wants to clear the room in about two minutes.
* During the same time frame of the aforementioned Amel, and Res there was Rhian Benson. Another critical darling that was ignored by the public and mainstream radio.
* “[=MacArthur=] Park” by Richard Harris has often been called the worst song ever by critics, but was a commercial success in 1968 and has been hailed by the public as a classic. It’s not hard to see why; the music and Harris’ beautiful singing voice more than makes up for any silly lyrics it may have.
* Music/{{Rush}} have rarely or never gotten good reviews, particularly in the ’70s, but their album sales have almost always been strong, and they have a hardcore, devoted following (and plenty of respect from musicians’ publications for their virtuoso playing), and a status as national heroes in [[CanadaEh their homeland]] … and, finally, induction into the Rock and Roll Hall of Fame! After years of being ignored (something [[AwardSnub fans didn’t take lightly]]).
* Music/{{Sepultura}}’s sixth album ''Music/{{Roots}}'' received almost unanimously positive reviews, and proved to be one of the most influential albums in the early-2000s NuMetal scene. Fans of the band, however, consider it to be their JumpingTheShark moment and don’t like it as much.
* DeathMetal band Music/SixFeetUnder has been well-liked by critics since their formation, even earning critical acclaim for their album ''Undead'', released in 2012. However, many death metal fans absolutely despise them. Most of the criticism comes from their simplistic music and Chris Barnes’ weakened vocals, but the [[CattleDecapitation Travis Ryan]] incident has led many people to believe the rumors that Barnes is an asshole. However, some haters tend to enjoy their two latest albums, the aforementioned ''Undead'' and ''Unborn''.
* Music/SonicYouth have been praised by rock critics and fans of AlternativeRock for being innovative. Many expected them to break to the mainstream when Music/{{Nirvana}} became huge in 1991, but to this day they never left the underground or struck a chord with the general public.
* Music/StoneTemplePilots, throughout TheNineties, was pummelled by music critics, with the main criticism being that they were little more than a third-rate knockoff of Music/PearlJam and Music/AliceInChains. Yet negative press didn’t stop them from becoming one of the most popular and influential rock bands of the ’90s.
** A perfect example of how dissonant fan and critical reaction to the band was: they were simultaneously voted “Best New Band” by ''Magazine/RollingStone'' readers and “Worst New Band” by the same magazine’s critics in January 1994.
* Music/{{Supertramp}}: One of the best-selling bands of the 1970s, but lambasted by critics.
* Most of Terence Trent D’arby’s later music.
* Music/ThreeEleven’s 1997 album ''Transistor'' wasn’t received very well by critics, but it’s generally beloved by fans.
* Music/ToriAmos’ 1996 album ''Boys for Pele'' was bashed by critics when it was released. Nevertheless, it’s a fan favorite that is considered to be among her best work.
** The album has found itself VindicatedByHistory, as by the late 2000s many music critics and experts have also come to acknowledge it as being one of the best from its genre and time period. It has been theorized that the album’s poor response at the time was due to its sound being such a dramatic departure from Amos’ first two albums.
** Music/KateBush’s 1982 album ''The Dreaming'' suffered this too.
* Some of Music/TupacShakur’s posthumous releases are this. Critics dismiss them as cheap cash-ins. But some of the earlier ones are seen as genuinely good albums, specifically ''R U Still Down? (Remember Me)'', and ''Still I Rise''.
* 65daysofstatic’s ''[[NewSoundAlbum We Were Exploding Anyway]]'' was perhaps their most critically well-reviewed album. Yet on user-driven sites such as [[http://www.rateyourmusic.com Rate Your Music]], it is one of their lowest-rated albums.
* Music/WasNotWas: To the critics, an imaginative experimental funk outfit bolstered by tight playing and high-quality production. To the mainstream public, a bunch of goofballs who did an annoying song about dinosaurs.
* Of course, we can’t forget the treatment the album ''Music/{{Pinkerton}}'' by Music/{{Weezer}} originally got. Critics reacted so negatively to an album widely considered Weezer’s most personal that lead singer/songwriter Rivers Cuomo had a legitimate CreatorBreakdown, calling himself a “shitty songwriter” and saying it was a “hideous record […] a hugely painful mistake that […] just won’t go away”. Needless to say, the fans considered it (and still do) Weezer’s best album to date, and a masterpiece on the part of Cuomo. Luckily, all these years later, Cuomo as well as the critics have changed their tune and tend to agree. It might be the TropeMaker for VindicatedByHistory, as the album currently has a solid '''100''' rating on Metacritic.
* Music/KanyeWest has gotten generally positive to universal critical acclaim for all of his albums, and most of the time that was reflected with the public. Although his fourth album, ''808s & Heartbreak'', was a BaseBreaker for its electropop sound and heavily autotuned vocals, it still debuted at number one on the ''Billboard'' Top 200 and produced two hit singles. His next album was better received by the public as a whole, but his sixth album, ''Yeezus'', is a prime example. Kanye’s second NewSoundAlbum is very experimental, with a variety of influences like IndustrialMetal, Electro, and Noise music. It was released to widespread critical acclaim and topped many critics’ year-end lists, but, despite debuting at number one, it had the lowest debut sales for any of Kanye’s albums and is the only one not to sell at least one million copies (the album having very little promotion also didn’t help). Many older fans were indifferent or put off by the album’s non-traditional sound, and the public majority seemed tired of Kanye’s antics. Only one song, “Bound 2,” received decent airplay, helped by the fact that it sounds like his earlier work.
* Music/{{Yes}}: Critics have always hated this band, but the general listeners bought their records by the score.
* Music/FrankZappa is widely praised by critics for being one of the most important composers of all time, having an original, authentic sound that changes [[GenreRoulette many styles]] and being far more complex and experimental than most rock songs. His political activism and satirical songwriting have also been praised. Yet he has never been popular with the general audience and still is nothing more than a cult artist.
* Music/JohnZorn: Similarly to Zappa Zorn is a critic’s darling for his GenreRoulette style, but literally obscure to the general public.
* Boys bands!and girl groups will often be gigantic bestsellers among young females, but will not receive any good press from critics, even female ones.
* Many Canadian acts, largely due to record companies [[ExecutiveMeddling mishandling or poorly marketing]] critically acclaimed groups or artists:
** If you were to judge The Rheostatics (a now-defunct Canadian rock group) solely by the opinions you find of them online, you would think they’re one of the most important Canadian bands of the past century, and more critically acclaimed than even most current Canadian artists (to the point that two of their albums, ''Melville'' and ''Whale Music'', are consistently ranked as one of the top ten Canadian albums of all time). In actuality, they only one minor hit (“Claire” in 1994) and never sold that many records commercially, even at their peak in the ’90s.
** Poor, poor Fefe Dobson. All of her albums have been critically acclaimed, but still tanked. One critic from ''NOW'' magazine blamed this on the fact that the industry didn’t know how to market a black rocker chick from [[CanadaEh Scarborough, Ontario]].
** Esthero was an indie queen who received tons of critical accolades for her three studio albums, as well as her collaborations with various artists (including [[Music/BlackEyedPeas Will.i.am]] on the “Yes We Can” track from 2008 and co-writing songs for Music/KanyeWest’s ''808’s and Heartbreak'' and Timbaland’s ''Shock Value II''), but all her solo work has failed to generate sales, and she’s still mostly unknown in Canada and the States.
* There are a number of Classic Rock-era albums that earned high marks from critics, and often appear on ‘greatest ever’ lists, but have gone mostly unnoticed by the public, including Love’s ''Music/ForeverChanges'', the Zombies’ ''Music/OdesseyAndOracle'', and the Pretty Things’ ''Parachute'' (which was ''Magazine/RollingStone''’s album of the year for 1970).
* ClassicalMusic and {{Jazz}} tend to be more praised by critics, intellectuals and the like for being beautiful works of artistic expression. To most plain folks it’s just a nice tune to play in the background, but not too long before they put on a pop music record again. The fact that many people still call these compositions ‘songs’ despite the fact that many are instrumentals also shows the gap in appreciation.
** More divisive still is avant-garde classical music and jazz. While critics praise people like Music/IgorStravinsky, Music/BelaBartok, Music/ArnoldSchoenberg, Music/EdgardVarese, Music/KarlheinzStockhausen, Music/OlivierMessiaen, Music/CharlesMingus, Music/EricDolphy, Music/JohnColtrane, Music/TheloniousMonk, Music/SunRa, and Music/OrnetteColeman, most average music fans see this music as loud and obnoxious.
* CountryMusic is a weird example of this, with the dissonance being within the general public. Outside of the American Midwest and South, country music isn’t very popular. In fact, UsefulNotes/NewYorkCity has no country music radio stations at all. In the Northeast, liking country music (other than alternative groups, crossover pop artists, or legends) is seen as akin to liking NASCAR, and will get you called a hillbilly or redneck (or racist). It doesn’t help that the majority of people who listen to country music ''only'' listen to country music, thus limiting interaction with fans of other genres (other than maybe classic rock). However, simply based on numbers country music could be considered the most popular genre of music in America. And within the genre itself …
* The crops of country hitmakers in UsefulNotes/TheNewTens are usually rock-influenced acts (often known as “bro-country”) like Music/LukeBryan, Music/JasonAldean, Music/BrantleyGilbert, and Music/FloridaGeorgiaLine, who are all criticized for their heavy rock influence, overreliance on party jams, and Bryan’s preference of sex appeal over musical integrity. Despite heavy criticism, their albums and singles are among the bestselling in the genre.
** Other acts are criticized for singing way too many songs about being a country boy. Doesn’t stop them from constantly hitting the Top 10.
* Music critic J. Eric Smith decided to see [[http://web.archive.org/web/20090609160649/http://jericsmith.com/sacredcows.htm which albums get more praise from critics than copies sold.]]
* In the late 1970s and early 1980s, most music critics dismissed the entire HeavyMetal genre as being loud, stupid, monotone and offensive. Mainstream publications like ''Magazine/RollingStone'' ignored metal entirely. But within a few years Heavy Metal would become one of the biggest music genres on the planet, with metal bands selling millions of albums and filling arenas. And it’s still this way for the most part.
* Almost every VH1 ''You Oughta Know'' and MTV ''BUZZ'' artist counts. Critics gush over these artists (usually for good reasons), [[HypeAversion but the general public seems to be indifferent]].
** Bumblebeez: Critics said they were gonna be huge and be the Australian version of the Neptunes.
** Leela James, and almost every other Neo-Soul artist. D’Angelo, Music/AliciaKeys, and Maxwell are the only ones that ever had huge success, and only Alicia has been able to maintain it (although, to be fair, Alicia tweaked her sound on her last two [=CDs=], less soul and more generic power pop ballads). It also probably had something to do with the evolution of the term “neo-soul” itself. In the ’90s, it was ExactlyWhatItSaysOnTheTin: a new wave of artists who approached their music with the same philosophy as classic soul musicians. But as these artists found mainstream success around the turn of the millennium, “neo-soul” came to be applied to any black singer who appealed to people over 25. Because of this, many fans who took the term to heart [[CompletelyMissingThePoint failed to see what the big deal was]] and gave up on the genre altogether.
*** This is a problem with [[MusicIsPolitics labeling and the industry in general]]. There’s the top 40 pop music targeting teens and young adults. And then there’s … ''[[MyFriendsAndZoidberg everything/everyone else]]''.
** Hip-Hop act Little Brother, possibly derailed by ThePowersThatBe, depending on whom you ask. It didn’t really help that the group went on hiatus around the time they were getting hyped.
** Ditto for rap group Dead Prez had huge buzz leading up to their debut album. When the album dropped critics ate it up, but the public mostly ignored it.
** Critics claimed that the unassuming neo-psychedelic act The Mooney Suzuki were supposed to be the band that changed AlternativeRock in the 2000s. Then Music/TheStrokes and Music/TheWhiteStripes happened. Critics later turned their backs on the group, as their last two albums were received poorly, despite the fact that the title track from their third album (''Alive & Amplified'') finally became the minor hit that had long eluded them.
** Indie rockers The Brian Jonestown Massacre are loved by critics but seem to intentionally sabotage themselves every time another wave of hype and potential commercial breakthrough comes their way.
** Many music critics were expecting big things from indie band The Lemonheads, who were supposed to be the next Music/{{Nirvana}}, or at least the New Important Alternative Band of the ’90s. The band never found a breakthrough single and just sort of disintegrated.
** Most of MTV’s ''Buzz'' artists didn’t pan out. With a few notable exceptions (Music/{{Garbage}}, Music/FooFighters, Music/{{Beck}}), the bands featured became [[CultClassic cult favorites]] at best and OneHitWonder flameouts at worst (anyone remember Jimmie’s Chicken Shack?).
*** Many of BET’s ''Next'' artists didn’t pan out either — so much so they don’t even attempt to break buzzworthy artists anymore. In fact they ignore them and stick to the more accessible artists.
** Enigmatic R&B singer Res is a solid example of this trope, critically acclaimed but her career just fizzled out.
** And before Res there was Davina (remember her!?).
** Nikka Costa: critics were saying she would be huge … well.
** Grace Potter & the Nocturnals. They had no hits, but Grace herself has been an AdvertisedExtra on ''two'' Music/KennyChesney songs.
** Before Res but after Davina there was also Amel Larrieux. A critical darling who got rave reviews but was shunned by both the public and music networks.
* Seventies progressive rock as a genre has never really gotten much respect from mainstream rock critics, who consider it insufferably pretentious, yet bands like Music/{{Yes}}, Music/JethroTull and Music/EmersonLakeAndPalmer were hugely popular and still have devoted followings.
* {{Exotica}}, BubblegumPop, novelty music, easy listening music, SpaceRock, Muzak are still seen as the lowest of the lowest music, but did get a bit more serious interest in the 1990s.
** Many band leaders and musicians who sold millions by merely covering popular music and playing it in easy listening arrangements have never received any artistic recognition: Music/LawrenceWelk, Music/{{Liberace}}, Mitch Miller, James Last, Herb Alpert, Leroy Anderson, Bert Kaempfert, Mantovani, Richard Claydermann, Ray Conniff, André Rieu, Helmut Zacharias, Hugo Montenegro, Pat Boone …
* Music videos. For many young people they are the major reason to like and buy a song, album or a certain artist. But most critics seldom discuss or hail the merits of these videos whom they dismiss as cheap publicity tools that distract attention away from the actual music by focusing more on cool dance moves, fashions, hairstyles, special effects and storylines.

* Creator/WilliamsElectronics’ pinball games of UsefulNotes/TheEighties and UsefulNotes/TheNineties are consistently regarded as the best games ever in the field; the top ten list of modern pinball tables at the [[http://www.ipdb.org Internet Pinball Database]], Pinside, and other fansites are regularly dominated almost entirely by games from Williams and their subsidiary Bally. Even so, the company eventually left arcade gaming all together, as [[ExecutiveMeddling shareholders abandoned arcades]] for the more lucrative field of casino gaming (''read'': slot machines).
* Creator/SternPinball was getting this from fans in the start of the UsefulNotes/TurnOfTheMillennium, when they were the only major manufacturer of pinball tables remaining. Games like ''Pinball/TheLordOfTheRings'', ''Pinball/TheSimpsonsPinballParty'', and ''Pinball/{{Indiana Jones|Stern}}'' enjoyed decent sales, but were largely loathed by pinball enthusiasts and often gathered a LoveItOrHateIt reaction. Things have been improving of late, with more polished designs from long-time designers like Creator/SteveRitchie and Creator/JohnTrudeau winning back the enthusiasts.

* One review of ''Theatre/RomeoAndJuliet''’s [[OlderThanSteam premiere]] described it as “a mawkish melodrama which, [[ItWillNeverCatchOn God willing, will see no second performance]].”
* ''Theatre/LesMiserables'', which has been running nonstop for twenty-five-plus years in London and played to over 60 million people worldwide, was derided when it first opened, being accused of being glum and mawkish. [[Film/LesMiserables2012 The 2012 movie adaptation]] received a similar reception but was a box-office smash to the point that ''USA Today'' did a feature story about the dissonance.
* Disney’s ''Disney/BeautyAndTheBeast'' was seen as little more than a glorified theme park show when it opened on Broadway in 1994 (''Entertainment Weekly'': “It belongs OnIce, not on Broadway”), but managed a decade-plus run and tons of professional and amateur productions. Since then ''many'' other grandiose family-friendly musicals have come down the pike — all adapted from well-known stories, and many outright {{Screen to Stage Adaptation}}s as ''Beauty'' was. Most see only a few raves among seas of notices that are SoOkayItsAverage at best and ''Beauty''-level pans at worst (only ''Theatre/TheLionKing'' and ''Theatre/{{Matilda}}'' are truly embraced by critics) but some soldier on to win the hearts of audiences anyway: ''Theatre/CharlieAndTheChocolateFactory'', ''Film/AChristmasStory'', and ''Film/MaryPoppins'' are all success stories. Part of this dissonance owes to the fact that while critics and many ‘serious’ musical-theatre fans prefer more sophisticated fare like Creator/StephenSondheim shows, ''Theatre/TheBookOfMormon'' or ''Theatre/NextToNormal'', those shows aren’t exactly suitable for ''families''.
* ''Theatre/MammaMia'' — this fluffy JukeboxMusical is a symbol of the LowestCommonDenominator to hardcore musical-theatre lovers, and its [[Film/MammaMia 2008 movie adaptation]] didn’t wow film critics, but it’s sort of the LighterAndSofter ''Les Miserables'' when one looks at its global popularity.
* ''Theatre/ThePhantomOfTheOpera'' received a lot of pans in its initial stagings in UsefulNotes/{{London}}, New York, and UsefulNotes/{{Toronto}}, but to say it rode those reviews out is an understatement — it’s been running nonstop for more than two decades in the first two cities alone.
* ''Theatre/WeWillRockYou'' was panned when it opened in London, but word of mouth kept it alive, turning it into a sellout show that ran for over a decade and launched several sister productions elsewhere.
* ''Theatre/{{Wicked}}'' fared poorly in reviews from critics when it initially opened. The show became wildly popular and beloved among theatregoers. Subsequent productions elsewhere have received similar lukewarm critical responses, but the New York production is currently the eleventh-longest-running show in Broadway history (having celebrated its tenth anniversary in 2013) and the foreign and touring productions have seen comparable success.

[[folder:Video Games]]
* ''VideoGame/AlphaProtocol'' was absolutely savaged by reviewers who claimed it to have a broken combat and stealth system as well as a seemingly endless supply of {{Game Breaking Bug}}s … but players ''loved'' it, quickly elevating it to CultClassic levels.
* The ''VideoGame/ArmyOfTwo'' series is one of the few video games to achieve commercial success while still getting mixed/poor reviews.
* ''VideoGame/AsurasWrath'' seems to be having quite a bit of this. It’s had relatively mixed reviews, but the game is adored by the many regular non-reviewers who have played it, especially fans of {{anime}}. [[http://www.gametrailers.com/game/asuras-wrath/13829 Here’s an example from GameTrailers.]]
* ''VideoGame/BatmanArkhamOrigins'' received mildly positive responses from most critics, but mixed reactions among gamers.
* ''{{VideoGame/Battlezone|1998}}'' was loved by critics when it was released in 1998, gaining scores above 80% in gaming magazines and winning several innovation awards. It flopped in the market though, supposedly because consumers didn’t know what to make of the Real-Time Strategy/Tank Simulation/First-Person Shooter genre mix. The sequel received mixed reviews courtesy of its [[TechDemoGame cutting-edge graphics killing performance]] and a [[ObviousBeta plethora of bugs]] at release, but it likewise became a CultClassic, enjoying a large GameMod and competitive multiplayer scene.
* ''VideoGame/BeyondGoodAndEvil'': If you compare its sales figures to its reviews, you’d be justified in the belief that its sales are entirely due to critics buying copies for everyone they know, and that’s it.
* According to some of the analysts from ''[=GameTrailers=]'', they believe the ''VideoGame/BioShock'' franchise is heading this way, calling it a critical darling with middling sales.
* The ‘god game’ ''VideoGame/BlackAndWhite'' might just be the king of this trope video game-wise. It was released to unanimous critical acclaim in 2001, earning nines and tens across the board and being immediately declared one of the greatest games of all time by many publications. The general public, on the other hand, was less enthusiastic about the final game, with many complaining about its slow pace, unforgiving gameplay, and [[ObviousBeta numerous game-breaking bugs]] (plus, good luck getting the game to run on anything more recent than Windows ME). The backlash was, in fact, so great that many critics later reconsidered their initial assessments of the game. It was number one on [=GameSpy=]’s [[http://web.archive.org/web/20040818131306/http://archive.gamespy.com/articles/september03/25overrated/index26.shtml “25 Most Overrated Games of All Time” list]] and now [[DeaderThanDisco seen as little more than a footnote in video game history]]. Part of the reaction was also HypeBacklash to Creator/PeterMolyneux, who had (as he often does) promised a lot more for the game than it actually ended up being.
* ''VideoGame/BladeKitten'' was loathed by critics, but its player base has been much kinder.
* ''VideoGame/CelDamage'' received fives and sixes from critics, and its Metacritic ratings are 67 (GCN) and 65 (Xbox). None of this has stopped it from becoming a huge CultClassic, or from getting an HD rerelease for all current Sony systems.
* ''VideoGame/ChronoCross'' has a fairly minor but notable version of this. Audience: very popular (was a Greatest Hits game) but [[ContestedSequel incredibly divisive]] among ''VideoGame/ChronoTrigger'' fans. Critics: unanimous praise (is one of a handful of games to get a perfect 10 from ''[=GameSpot=]'', for instance).
* ''VideoGame/{{Civilization}} V'' received good reviews from the gaming press, but a quick look at the Amazon, Metacritic and [=GameSpot=] reviews shows that this is in full effect here.
* ''VideoGame/CodeOfPrincess'' recieved mixed to positive reviews from critics, but sold [[http://www.polygon.com/2013/6/21/4453412/code-of-princess-performs-surprisingly-well-in-us-sparks-talk-of surprisingly well]] in North America. Ironically, the game performed so-so in its native Japan. The producer, Yasuo Nakajima, said he would like to do a sequel for the {{PlayStation 4}} or XboxOne because of the game’s success in North America.
* The ''VideoGame/DeadIsland'' games has gotten lukewarm to completely negative reviews. Many game players think it’s completely awesome. Strangely enough, a lot of game reviewers would give the game praise while still giving average to terrible scores — saying they understand why people like it, but also saying it’s still not a good game (particularly [=Rev3Games=]).
* ''VideoGame/DeadlyPremonition'' played with this. While fans gave it good reviews (the Metacritic user score is 8.3 at the time of writing), critics were all over the place, with the lowest score being a 2 and the highest being a 10. The game ended up winning awards for being so critically polarizing.
* In a similar situation, ''VideoGame/DeadSpace3'' has been, for the most part, well-received by critics. In terms of fan reception, however, the reaction has been very mixed. While some considered it a well-made action game, others felt that it lacked the horror the other two games had.
* ''VideoGame/DeusExInvisibleWar'' got decent ratings from reviewers. Fans were less kind.
** ''Invisible War'' is interesting because most fans of the original will be the first ones to say that it’s a decent game in its own right, [[ToughActToFollow but it just doesn’t hold up to the original]].
* ''VideoGame/DmCDevilMayCry'' was a textbook case of this trope both before and after the game was even released. Critics praised it, giving the game scores mostly around eights and nines. The user response, though, especially from fans of the original ''VideoGame/DevilMayCry'' games, was more negative overall, bashing on how the writing is immature, [[TheScrappy the characters are unlikeable]], the gameplay is watered down and [[ItsEasySoitSucks easy]], etc. As of this writing, the averages for critic scores and user scores on Metacritic are 86 and 44 respectively. Also, it was a top game in January sale charts, but only because there were no other major releases at that time, selling only roughly 600,000 out of expected 2 million (now 1.2 million after revising the sales projections) as of this writing, with global sales dropping sharply after the first week.
** ''Vergil DLC'': Critics bash it for going back to the stone age of earlier ''DMC'' games, while the gamers admit that even if it is not good as the previous games, it is a step in the right direction.
* ''Donkey Kong Barrel Blast'', a racing game with controversial drumstick-like controls. Players generally consider it mediocre or good. Professional critics generally consider it mediocre or bad.
* ''VideoGame/{{Driver}} 2'' was disliked and considered inferior to the original by most critics, but the majority of the ''Driver'' fandom loved it and many consider it to be the best ''Driver'' game released.
* ''VideoGame/DynastyWarriors'' and its spinoffs are practically ‘Critical Dissonance: The Game Series’, particularly in its later installments: critics pan the games for [[ItsTheSameSoItSucks the fact that the gameplay has remained the same throughout all entries]] while fans love it for its simple, chaotic action, as well as the sheer CatharsisFactor.
* An unexpected [[DownplayedTrope downplayed example]] is in the third (outside Japan) instalment of the ''VideoGame/WarriorsOrochi'' crossover which, while still suffering the same criticisms the last games did, many critics actually praised it for its GottaCatchEmAll approach to obtaining the characters and its more complex story. And of course the long-time fans liked it even more.
* ''Creator/WayForward'' has invoked this a few times:
** The PS2 [[http://www.metacritic.com/game/playstation-2/spy-vs-spy adaptation]] of ''Spy vs. Spy'' has a critic score of 38 on Metacritic. Ironically, this time around it were the critics who got disappointed with the fact that a lot of the stuff that made the original comic-book series so great was not kept into the PS2 adaptation (keep in mind that the critics that reviewed it were indeed fans of the comic book). This did however not stop it from having a user score of 71% and people regarding it as one of the hidden gems on the PS2. It seems that the game is suddenly very playable once you get over the fact that it’s unfaithful to its source material.
** '' VideoGame/DuckTales Remastered'': While quite a few reviewers have found the game’s archaic mechanics (minimal save points, [[NintendoHard NES difficulty gameplay]], and overall lack of innovation) grating, this hasn’t stopped fans from gushing over it. Video reviews are extremely positive about the game and viewer ratings tend to be much, much higher than critic ratings.
** ''VideoGame/DoubleDragon Neon'': Most gamers seem to love this game and have a ton of fun playing it, especially co-op, but a few critics, notably IGN, hate this game, citing clunky gameplay, and sometimes not enjoying the ’80s-style GenreThrowback elements. Most can agree the soundtrack is great though.
* ''VideoGame/EarthBound'': Criticism from test audiences and the [[SarcasmMode brilliant]] marketing slogan of “This Game Stinks” made it quite a hated game by critics. After a brief bit of VindicatedByHistory, it is now regarded as one of the best comedy games of all time, as well as an above-average RPG. For a while it seemed that it would never see a rerelease, but its cult status got it released for the Wii U’s Virtual Console.
* ''Franchise/FinalFantasy'':
** ''VideoGame/FinalFantasyII'': One of the only English reviews of the game was positive due to the story. Everyone else [[ScrappyMechanic hates the gameplay with a passion]].
** ''VideoGame/FinalFantasyV'': Fans mainly call it mediocre for having a much lighter tone than ''[[VideoGame/FinalFantasyIV IV]]'' and ''[[VideoGame/FinalFantasyVI VI]]'', critics like the [[BreatherEpisode non-serious tone]] and [[JobSystem class system]]. Doesn’t help that it was localized ages after ''II'' and ''[[VideoGame/FinalFantasyIII III]]'', so it had no nostalgia factor to protect it from comparison with the [=PS1=] games.
** ''VideoGame/FinalFantasyVII'': Critics love this game, fans are a BrokenBase ranging from ‘one of the best of the series/all time’ to ‘not all that great’ to even calling it ‘the worst thing ever to happen to [=RPGs=]!!!’
** ''VideoGame/FinalFantasyVIII'': Most critics lauded the game upon release, while fan reaction to its gameplay and story/characters was very polarized.
** ''VideoGame/FinalFantasyX'': At release, it was critically acclaimed, but widely despised by the fandom. It did, however, become VindicatedByHistory over time.
** ''VideoGame/FinalFantasyXIII'': While reviews were mostly positive, it received major backlash from the fanbase because of its linearity. Despite that, it had enough of a fanbase to get a direct sequel.
** ''VideoGame/FinalFantasyXIII2'': Western critics gave it throwaway ‘average’ scores to ‘punish’ Creator/SquareEnix for ''XIII'' being what it was and also for the debacle surrounding ''VideoGame/FinalFantasyXIV''; certain fans found it to be a significant improvement.
* ''[[VideoGame/FireEmblemAkaneia Fire Emblem: Shadow Dragon]]'' actually got hit with this so badly that some fans were convinced it received bad reviews, sold poorly and was the reason the next game didn’t get localized. All completely untrue, it actually got a respectable Metacritic average of 81 and sold reasonably well (a more likely reason for ''New Mystery of the Emblem''’s non-localization is that it had the misfortune to be released when the DS was all but dead in the West, and any serious localization would be seen as a gamble Nintendo wasn’t willing to take). Fans weren’t nearly as kind, mostly due to suffering a major case of SeinfeldIsUnfunny, and the [[ScrappyMechanic controversial side quest requirements]].
** ''VideoGame/FireEmblemAwakening'' is by far the most critically-acclaimed game in the series and one of the most critically-acclaimed games on the 3DS. Within the Fire Emblem fandom it's a major case of LoveItOrHateIt, with the "hate it" crowd being extremely vocal. Common criticisms include more one-dimensional characters than previous games, a poorly-paced story that tries to stuff every cliche from past games into one plot, badly-balanced mechanics and difficulty, basic map design with overly-simplified objectives, [[SturgeonsLaw widely fluctuating quality in support conversations due to there being so many]]. Playing the (previously well-recieved) marriage system of ''Geneology of the Holy War'' in a more DatingSim style has been extremely contentious among fans [[RuleOfCautiousEditingJudgement and it's best to leave it at that.]]
* ''VideoGame/GoneHome'' received high praise from critics regarding the story and gameplay mechanics, while gamer response has been a BrokenBase in regards to the quality of both.
* ''VideoGame/GotchaForce'': Critics were mixed about this game, but mostly had lower reviews for it. On the other hand, its score is a solid 2.1 points higher among users on ''[[http://www.gamespot.com/gamecube/action/gotchaforce/review.html GameSpot]]''. It’s still got something of a cult following, due to the insane level of ReplayValue, [[SoBadItsGood comically bad dialogue]], and lots of [[GottaCatchEmAll borgs]] to choose from.
* ''VideoGame/{{Homefront}}'' got a fairly middling reception from critics, due to a combination of ItsShortSoItSucks and not breaking out of the bounds of the ‘military FPS’ formula. Hasn’t stopped it from selling over a million units.
* ''VideoGame/HogsOfWar'' was not looked kindly upon by critics, but it remains a CultClassic amongst gamers for its great humour, excellent voice acting, awesome music and overall being a great party game. As such, its fanbase is small, but fiercely devoted.
* ''VideoGame/HyperdimensionNeptunia'': This game caters heavily towards otaku who love other Nippon Ichi games. Almost everyone outside of that group (including reviewers) hated it. There’s a whopping 34-point difference between its [[http://www.metacritic.com/game/playstation-3/hyperdimension-neptunia professional and user reviews on Metacritic]]. All but two reviewers didn’t give it a positive review. All but one user didn’t give it a negative review, outside of the way [[ScrappyMechanic healing worked]].
** Though the reviews on [[http://www.gamefaqs.com/ps3/995177-hyperdimension-neptunia/reviews gamefaqs]] show its mixed reception.
** This applies to [[VideoGame/HyperdimensionNeptuniaMk2 the second game in the series]] as well.
* Another such game is ''VideoGame/JawsUnleashed'', which sold over 250,000 copies on the Xbox alone despite having a ''Game Rankings'' score of 54%. ''[=GameSpot=]'' later gave the game the “Worst Game Everyone Played of 2006” award accompanied by a video where Alex Navarro expresses his outrage at this game having outsold ''VideoGame/{{Psychonauts}}'' five times.
* ''VideoGame/JetSetRadio'', despite having gotten excellent reviews for its original release, got very mediocre reviews for the HD rerelease, citing its ‘dated’ gameplay and graphics, and horrible camera angles (however, the HD version lets you adjust the camera with the mouse or right analog stick, which adds to much better camera control than in the original version). Sega fans, on the other hand, loved it and thanked Sega for bringing back one of their favorite games from them.
* ''VideoGame/{{Kirby}} Air Ride'' is in a similar situation to ''Gotcha Force'', with a lot of critics panning it for the one-button mechanics and the lack of depth while it received much higher user scores due to the major multiplayer focus and City Trial.
* ''VideoGame/Left4Dead2'' is praised by critics for adding new elements to the game and having maps better than the ones from the original game. Fan opinion is very mixed because it has a zombie outbreak taking place in the daylight, melee weapons, and characters that aren’t as memorable as the original survivors.
* ''VideoGame/TheLegendOfDragoon'' received mediocre scores across the board. Players, on the other hand loved the game.
* ''VideoGame/TheLegendOfSpyro'' trilogy. Critics tended to give them mediocre to outright bad reviews, with a few exceptions (like the PolishedPort of the second game available on the GameBoyAdvance). However, they managed to get fans (though not necessarily classic ''Spyro'' fans), and even spawned their own unique fanbase.
** Speaking of which, the next ''Spyro'' reboot, ''VideoGame/{{Skylanders}}''. Positive reviews from critics, and as made evident by impressive sales, a huge hit with the kids; but the reboot is out-and-out loathed by fans of the previous entries of the franchise.
* ''VideoGame/LostOdyssey'' received middling reviews from Western critics for being a ClicheStorm of the JRPG genre. Its fans thought it was more {{Troperrific}}.
* ''VideoGame/LostPlanet 2'' got mixed reviews from critics but the public seems to think more highly of it.
* ''VideoGame/MaddenNFL ’13'' and ''[[VideoGame/NHLHockey NHL ’13]]'' have been praised by many critics for their new features and heavily revamped gameplay. The response to both games among fans, however, has been far more polarizing (as the Amazon.com review pages for both games demonstrates).
* The ''VideoGame/MarioParty'' series is usually met with scorn from critics who constantly cite how the series’ graphics are dated and that [[ItsTheSameSoItSucks the series never seems to add anything new]]. Fans, on the other hand, like the collection of mini-games to play and the gimmicks used on every board. ''Mario Party 9'' had both camps do a complete turnaround where the critics gave the game some praise for actually trying something different while the fans blasted the game for [[TheyChangedItNowItSucks trying something different]].
* ''VideoGame/MassEffect3'' has the average player review on Metacritic being 22% and the average critic review being 95%. This can be traced to the [[DisappointingLastLevel unsatisfactory endings]] (which were so polarizing that Creator/BioWare launched another version with an epilogue), a possible raid by 4chan’s /v/, and some hate for ''VideoGame/DragonAgeII'' that seeped into hate for ''[=ME3=]''. Also worth noting is that the PC version, which requires use of EA’s extremely unpopular Origin service and caused some people installation problems, has a much lower player review score than the console versions. Many people were up in arms about the day-one DLC, ‘forced’ multiplayer (before the Extended Cut, it wasn’t possible to get enough EMS to unlock all endings from single-player alone).
* Really common within the ''Franchise/MetalGear'' franchise. On Metacritic and other sites ''VideoGame/MetalGearSolid2SonsOfLiberty'' ranks as the best ''Metal Gear'' game but several fans dislike it for Raiden, its convoluted story, Raiden, overuse of cut scenes, and Raiden. ''VideoGame/MetalGearSolid3SnakeEater'' stands as the most popular game in the franchise by fans and creator Hideo Kojima himself but sites rank it lower due to a lack of a 3D camera (for its original release anyway). ''VideoGame/MetalGearSolid4GunsOfThePatriots'' took a bigger spot but fans tend to dislike it due to its excessively long cutscenes and [[spoiler:everything explained by nanomachines]]. Another case happens with the spinoff ''VideoGame/MetalGearRisingRevengeance'' which is reflected in Metacritic and [=GameRankings=] whose user review score is considerably higher than the ones from the critics.
* ''VideoGame/MegaManBattleNetwork 4'' was one of the very few titles in the whole franchise to reach more than a million sales, possibly because it was the first [[OneGameForThePriceOfTwo dual version release]]. However, it is generally acknowledged by the fandom as the worst game in the BN series (though some consider it at least better than the first game because it’s not an ObviousBeta like the latter).
* ''VideoGame/MetroidOtherM'': Seemed to get mixed, but generally favorable reviews from critics. Fans, on the other hand, were much more divisive.
** In contrast, ''VideoGame/MetroidFusion'' received very good reviews from critics (and is considered one of the best games on the GBA). However, many fans rank it much lower due to its linearity and contrast with the series theme exploration.
* ''VideoGame/MortalKombat3''. Critics find it to be one of the highest points of the MK series, while fans feel that it was the game that caused the series to go downhill for over a decade until ''VideoGame/MortalKombat9'' came out.
* ''VideoGame/NewSuperMarioBros'' for the NintendoDS received a 96% from The Official Creator/{{Nintendo}} Magazine, but its relatively easy gameplay has made it unpopular with many fans of the Mario games, with many people agreeing that ''VideoGame/NewSuperMarioBrosWii'' is the superior game. This is likely due to the Wii version being the first 2D platforming Mario game to have simultaneous multiplayer, as well as being significantly more difficult, and hilarious to watch when four players are playing simultaneously.
* ''VideoGame/{{NieR}}'': Initially panned by critics for subpar graphics and too many fetch quests, loved by users for the deep, engaging story and killer soundtrack. Doubles somewhat as VindicatedByHistory.
* ''VideoGame/OperationDarkness'' has a Metacritic critic score of 46 and a user score of 7.1. Professional critics cited problems such as poor camera control, dull graphics, and a lack of in-game tutorial while fans enjoy it for its unique gameplay elements and positively absurd storyline.
* ''VideoGame/{{Pathologic}}'' is a bit of a special example, due to it being a [[GenreBusting really bizarre game]]. Some reviews (even positive ones) don’t even call it a game. Many critics disliked ''Pathologic'' and warned against playing it, saying that it wasn’t fun at all and was far too bleak. Most fans of the game ''completely agree'' with this, but love the game’s plot and atmosphere nonetheless.
* ''VideoGame/PAYDAY2'' was widely praised by critics for vastly improving mechanics from the first game and adding many new elements to make the game feel new and stand out. Fans, however, blast the game for RNG loot drops, level grinding, and the large amount of DLC being released.
* ''VideoGame/ResidentEvil6'' is a weird example as it not only split the fans but the critics as well. At best you could possibly make the argument that the fans had mixed opinions but still ''leaned'' positive, but the critical reception was all over the place. It seems that the people who enjoyed it the most were those who preferred the more action-heavy ''RE'' games (''4'' and ''5'') over the earlier survival horror ones.
* ''VideoGame/{{Shenmue}}'' got excellent reviews but suffered from poor sales.
* ''VideoGame/SilentHill4: The Room'' holds an average score of 76 on Metacritic. Most fans of the series are far less kind, citing multiple frustrating gameplay elements and having to go through each area of the game twice.
* ''VideoGame/SimCity'' ([[RecycledTitle 2013 release]]), much like ''[[VideoGame/DMCDevilMayCry DMC]]'' and ''VideoGame/DeadSpace3'', is also suffering the same exact thing, as evidenced by its poor user reviews on Metacritic. Much of this can be attributed to the critics reviewing it in a controlled environment where the network connectivity served to give some minor enhancements to gameplay. However, when released there was a connectivity fiasco which almost completely broke the game. In EA’s rush to fix the issue, many features had to be disabled or dialed down, resulting in the players getting a much worse game experience after they buy it than the reviewers had before it came out.
* There is an increasing disconnect between fans of the ''Franchise/SonicTheHedgehog'' franchise and professional reviewers, from both directions. It does not help that ''Sonic'' fans tend to be abnormally rabid in defense of their icon of devotion. It has gotten to the point that many fans of the series outright dismiss reviews from certain outfits due to this dissonance, considering the reviewer/site untrustworthy due to the critic’s past mistakes. For instance:
** ''VideoGame/SonicChronicles'' received relatively decent reviews but was not well-liked by fans.
** Both episodes of ''VideoGame/SonicTheHedgehog4'' received this treatment, though fans were much kinder to Part 2.
** This can even happen when fans and critics ''agree'' on a game’s merits (or lack thereof). ''VideoGame/{{Sonic the Hedgehog|2006}}'' (2006) was universally reviled, but fans were angry because they considered the official critical scores (averaging around 6.5) ''insufficiently'' low.
** ''VideoGame/SonicUnleashed'' had the dissonance happen from the opposite direction. The game received mixed-to-negative reviews from critics (IGN rated it ''worse'' than ''Sonic ’06''), but fans — while admitting it was nowhere near perfect — thought it was a huge step in the right direction for the series. Though nobody much liked the [[ScrappyMechanic Werehog]].
** ''VideoGame/SonicBoom: Shattered Crystal'' got this treatment in contrast to ''Rise of Lyric'' which is universally reviled by fans and critics alike (many calling it ''worse than Sonic ’06''!). Most critics despise it as much as they despise ''Rise of Lyric'' while fans give it a SoOkayItsAverage, the general consensus being that while it has its share of faults, it ''is'' a step up from ''Rise of Lyric'' due to it being free of technical glitches and at least attempting to feel like a true ''Sonic'' game.
* ''VideoGame/SpecOpsTheLine'' got much praise for its impressive storytelling but didn’t sell very well, no doubt thanks to its AudienceAlienatingPremise.
* Similarity, the 2010 ''VideoGame/{{Splatterhouse}}'' remake was mostly panned by critics whose complaints ranged from [[CameraScrew a wonky camera]] to an overreliance on gore. Player feedback, however, was generally much more positive.
* ''VideoGame/StarControl 3'' was a critics' darling when it was released, reviewers praising its simulation aspects and story, as well as treating the [[{{Narm}} now-infamous]] puppets and CG effects as quite high-tech for their time. Fans, however, have not been so kind to it, calling it an affront to the series' original creators, who similarly don't treat it as canon in any way, and it's clear that its special effects have not aged well in the slightest.
* ''VideoGame/StreetFighterXTekken''. It received eights and nines from mainstream review sites, but faced serious backlash from the fighting game community for a number of reasons (mostly due to [[ScrappyMechanic the gem system, the Pandora mechanic]], the immense watering-down of the ''Tekken'' characters, and the various [[http://www.eurogamer.net/articles/2012-03-07-street-fighter-x-tekken-on-xbox-360-does-not-support-local-co-op-when-online shady]] [[http://www.destructoid.com/full-dlc-characters-found-on-street-fighter-x-tekken-disc-223138.phtml business]] [[http://www.complex.com/video-games/2012/07/sony-exclusive-street-fighter-x-tekken-characters-pac-man-and-mega-man-not-coming-to-xbox-360 practices]] involved in its development). It doesn’t help that the game was put out at a time when [[http://www.superphillipcentral.com/2012/08/five-reasons-why-capcom-leaves-bad.html Capcom’s reputation was being tarnished game after game]], with ''SF X: TK'' being the breaking point for many. It was also pulled from most official competitions not long after release and is generally considered the weakest entry in the [[CapcomVsWhatever Capcom crossover series]].
* ''VideoGame/WatchDogs'' has received critical acclaim. However, on Metacritic and Steam, the game hasn’t been received very well, citing the dated graphics ([[NeverTrustATrailer which look nothing like what was shown on the trailers]]), screwy physics, horrible driving mechanics, bland narrative, and the ‘innovative’ hacking mechanic being nothing more than ‘walk up to a terminal and press X to hack.’ The fact that the PC port requires [=UPlay=] regardless of where it’s purchased, and will not run on setups that don’t have NVidia hardware, also doesn’t help.
* ''VideoGame/ZombiU'' got positive reviews from critics and the public, but wasn’t a huge seller and consequently the game is far from making any profit for its developer Creator/{{Ubisoft}}. The leading theory is that gamers have become accustomed to zombie games being akin to ''VideoGame/ResidentEvil''-style action shooters, and were turned off by ''[=ZombiU=]''’s slower pacing and greater emphasis on horror.
* Many acclaimed and best-selling sequels might earn this, going mostly by the Metacritic review/audience comparison. Being [[TheyChangedItNowItSucks too different]] ([[MissionPackSequel or too similar]]) and having technical problems — particularly regarding online play — can lead to a flood of negative comments.
** ''Call of Duty: VideoGame/ModernWarfare 3'' [[http://www.metacritic.com/game/xbox-360/call-of-duty-modern-warfare-3 boasts a robust 89 critics’ score and a paltry 3.3 users’ score]], with over two thousand negative reviews (mostly complaining that it’s ‘''VideoGame/CallOfDutyBlackOps'' with a paint job’ or that it’s not as technically impressive as the previous games).
** ''VideoGame/CallOfDuty'', post-''Modern Warfare'', is this trope in ''general'' — each entry has been critically acclaimed and favorably reviewed but the series seems to have a memetic status among large parts of the gamer community as a symbol of everything wrong with video gaming and video-game journalism.
** ''VideoGame/DragonAgeII'': 82% critical acclaim, while the average player review is 42%. Most critics liked it very much for its good graphics, interesting characters, and GreyAndGreyMorality, while a lot of fans hated it for [[TheyChangedItNowItSucks diverging from the gameplay of the original]] and the [[NoSidepathsNoExplorationNoFreedom far less open environments]] ([[CutAndPasteEnvironments particularly as they were often re-used]]), as well as the significantly reduced effect your choices have on the world. It had a [[DarkerAndEdgier gritty feel]] similar to that of the first game, only instead of being able to [[EarnYourHappyEnding improve the country of Ferelden]] in one or two very meaningful ways (that the player chooses), [[PlayerPunch the player’s attempts to do anything]] in [[WretchedHive Kirkwall]] are often thwarted by baffling NPC behaviour. This was typified by the [[ShaggyDogStory ending]], which many players hated.
** ''VideoGame/DragonAgeInquisition'' manages to avert this, with many people critical of ''VideoGame/DragonAgeII'' and the ''VideoGame/MassEffect3'' ending seeing the game as a return to form for Bioware; but only in the eighth-generation consoles. This is played straight in [[PortingDisaster the PC and last gen Ports due to flaky graphics and framerate and unintuitive controls]]. Compare the user reviews for the game on the [=PS4=] with the PC on Metacritic: there’s a marked difference.
* ''VideoGame/DiabloIII'' has an average critic review of 87%, while the playbase ranks it as 35%. Through this is due to requirement of being online at all times, the subsequent server problems from overloading (the “Error 37” message even earned MemeticMutation status), the controversial Auction Houses, severe lag spikes as well as many GameBreaking and server-crashing bugs that came with launch. Luckily most of these bugs were fixed in the first few days, but it was too little, too late in the eyes of many gamers.
** This seems to have changed with the release of patch 2.0 and the first expansion, ''Reaper of Souls''. While critic scores seem about the same, general consensus among fans seems to be that it is a welcome improvement.
* Many games from Platinum Games:
** ''VideoGame/{{Madworld}}'' got great reviews, but suffered from awful sales.
** ''Madworld''’s spinoff, ''Max Anarchy'' (aka ''VideoGame/AnarchyReigns'') was considered average by critics. General gamers, on the other hand, while not enjoying it as much as ''Madworld'', enjoyed it a lot more than the critics did.
** ''VideoGame/MetalGearRisingRevengeance'' was loved by critics, but general gamers, while not considering it a ''bad'' game by any means, usually consider it to be Platinum’s weakest effort, as well as one of the weaker efforts in the ''Franchise/MetalGear'' series.
** ''VideoGame/TheWonderful101'' has been received ''far'' better by general gamers than critics. Critics liked it, but found it way too hard and overwhelming, whereas general gamers love it ''because'' it’s hard, and doesn’t hold your hand like most modern games do. Most gamers have even went so far as to saying that it ranks with ''VideoGame/{{Bayonetta 2}}'' as the best game on the WiiU. However, despite all of this praise, it did not sell very well retail-wise, with the price being cut in half mere months after release, due to the fact that Nintendo released it ''the same week'' as ''VideoGame/GrandTheftAutoV'', and due to the fact that they gave it lots of Internet advertising but ''no'' television advertising whatsoever (outside of Japan, anyway), and all of its Internet advertising has been pushing people to buy it on the Nintendo eShop rather than at retail.
** ''VideoGame/TheLegendOfKorra''. Its dissonance is the exact opposite of how [[WesternAnimation/TheLegendOfKorra the TV show]] started. Most critics despise it with mixed to negative reviews all around. Fans, on the other hand, are generally more forgiving with the general consensus being that while the game is one of Platinum's weakest games, it is, at the least, considered [[SoOkayItsAverage a decent try]].
* ''VideoGame/{{Metro 2033}}'' got a rather flat reaction from critics. Players, on the other hand, apart from those who complained that it wasn’t ''VideoGame/{{Fallout 3}}'' or ''S.T.A.L.K.E.R.'', fell in love with it, driving sales of the game into the millions. And then MetroLastLight came around and managed to surpass those sales within its first week … while garnering critical acclaim.
* While Sony’s [[UsefulNotes/PlayStation3 PlayStation Move]] has been more critically acclaimed, it hasn’t captured the public imagination as much as the UsefulNotes/{{Wii}}mote and the {{Kinect}} has. [[http://tompreston.deviantart.com/art/Hypocrisy-157038537?q=1&qo=1 Some have even argued that]] the real problem is marketing. Sony barely marketed the Move while Microsoft poured millions into marketing the Kinect. Even today, Sony still treats the Move as an afterthought (which makes the fact that it’s sold nine million units ''very'' surprising) while Microsoft has even developed alternate uses for the Kinect (such as use in science classes and medical colleges).
* Roguelikes in general tend to get the shaft from professional reviewers. ''VideoGame/PokemonMysteryDungeon'', ''VideoGame/ShirenTheWanderer'' and ''Izuna'' all received incredibly vitriolic reviews from critics, but to the userbase, they’re some of the best games on the DS.
* The majority of the games made by [=SUDA51=]:
** ''VideoGame/{{Killer7}}'' got very mixed reviews and suffered from poor sales, but the very few gamers that played it quite enjoyed it, and agreed that it was one of the best action games on the [=GameCube=] and PS2.
** ''VideoGame/ShadowsOfTheDamned'' was critically acclaimed, getting eights and nines across the board. Suda fans usually consider this to be his worst game, due to it missing the trademark bizarreness and craziness of his other works, for being too slow-paced, and for being a third-person shooter rather than a hack-and-slash.
** ''VideoGame/LollipopChainsaw'' got a mixed to average reception from Western critics. Gamers and Japanese critics, on the other hand, found the game to be very good, and a much-needed return-to-form after the disappointing ''Shadows of the Damned'', but found it to be too short. It became [=SUDA51=]’s top-selling game of all time, selling 700,000 copies a mere ''two months'' after release. In addition, view counts for most Website/YouTube videos of it usually range from 300,000 to four million, and there are far more cosplayers of the ''Lollipop Chainsaw'' characters than there are cosplayers of characters from other Suda games.
** ''VideoGame/KillerIsDead'' got mixed reviews from critics. Half of them trashed its combat for not being like ''VideoGame/DevilMayCry'' or ''VideoGame/MetalGearRisingRevengeance'', and criticized the story for being all over the place. Also, the game’s Gigolo Mode has caused controversy among professional critics as well. A lot of them calling it ‘perverted’ and some saying the game would kill Suda’s career. Fan reaction was a lot more positive towards the gameplay, and some feeling it’s a good spiritual successor to ''Killer 7'' themes, and ''No More Heroes'' play style. As for gigolo mode, most fans did not find it offensive (in fact, many found the controversy overblown), but they didn’t think it was all that special either, feeling the mode was boring and the least interesting part of the game. The only thing gamers, fans, and critics can agree on is that the game is short. Also a case of ValuesDissonance, as the game has received higher ratings in Japan, some of which is because of the controversy.
* The works of Creator/TimSchafer suffer from this. The most obvious example is ''VideoGame/{{Psychonauts}}'', which has received rave reviews and is one of the worst-selling games of its gaming generation, likely due to [[ScrewedByTheNetwork/VideoGames the publisher giving it terrible advertising]] (although it is well-liked by those who actually bought it). Schafer’s most successful game, ''VideoGame/BrutalLegend'', underperformed too, but sold much more than ''Psychonauts''.
* ''VideoGame/StarCraftII'' received unanimously positive reviews from critics, but reaction from fans and the e-sports community was more mixed. Criticisms focused on whether the game was superior to the original, perceived balance issues, and accusations that the storyline was clichéd and predictable.
* The Nintendo UsefulNotes/{{Wii}}, as well as many of its games. The dissonance goes both ways. This can likely be explained (in a few cases) by the critic falling outside the target demographic.
* Numerous games in the ''VideoGame/TonyHawksProSkater'' series (specifically ''Underground 2'') are loved by fans yet the critics’ scores imply they are average. The only ones people can agree on are ''Shred'' and ''Ride'', which of course [[GameBreakingBug hardly anyone could get to work]].
* ''VideoGame/GunsOfIcarusOnline'' got a Metacritic score of 64, but a user score of 8.8. Part of this dissonance is because the reviewers played a pre-release version of the game that was still somewhat buggy and rated it down for said bugs, despite being told that it was a pre-release version and, thus, not fully finished. Some reviewers also blamed bad experiences on the gameplay, when the real cause was their crewmates.
* ''VideoGame/{{Evolve}}'' got reviews ranging from good to great, but it was thrashed by audiences. Though they acknowledged the game was fun enough, they found the game’s pricing model ($60 starting, day-one DLC adding ''$130'' more) to be a [[CrackIsCheaper ridiculously bad one]] for a multiplayer-only game, with many opining that the $190 ‘complete’ game was comparable to those a tenth of its asking price.
* ''Super Back To The Future Part 2'' is hailed as the video-game adaptation of ''Film/BackToTheFuture'' that is so good that it should have gotten a release outside of Japan. Plenty of people who played it [[http://www.gamefaqs.com/snes/563055-super-back-to-the-future-2 gave it decent reviews on gamefaqs]]. Many people might not know, however, that the only contemporaneous video-game critic of the time (a French critic) who reviewed it, [[http://download.abandonware.org/magazines/Joypad/joypad_numero023/Joypad%2023%20Septembre%201993%20page127.jpg gave it a 40%]].
* ''VideoGame/PokemonMysteryDungeon'' recieved very lukewarm reviews by critics, who disliked the repetitive gameplay and felt that the roguelike style was unsuited for Pokemon. Players disagreed, and there's a common consensus among the Pokemon fanbase that the games have the [[CrowningMusicofAwesome best soundtracks]] and [[DarkerAndEdgier stories of the entire franchise]]. Even more amusingly, ''Gates to Infinity'', the third installment which was generally disdained by players, received slightly better reviews than its predecessors.

[[folder:Web Originals]]
* Lots of the stuff reviewed on [[TheWikiRule The Bad Webcomics Wiki]] is this.
* [[VideoReviewShow Internet Reviewers]], like WebVideo/TheNostalgiaCritic, try their best to avert this. If they don't do their research on movies that are based on TV shows, comics, or any other media the work is based on before reviewing them, [[HePannedItNowHeSucks they get torn apart by the viewers.]]
* WebVideo/TheCinemaSnob was made as a response to this trope. Creator/BradJones created his snob-persona to Series/{{MST}} {{Exploitation Film}}s because he felt it was weird that film critics panned those films for lacking qualities they weren’t supposed to have.
* Creator/BobChipman addressed this trope in [[FilmsDiscussedByMoviebob his reviews]] of ''Film/TheEagle'' and ''Film/KnightAndDay''. He feels that the reason for the disconnect between critics and the ‘average’ moviegoer is because critics watch and pick apart hundreds of movies per year as part of their job and have learned how to spot every trope and plot twist from a mile away, making them much more receptive to original, offbeat movies that go against their expectations. Meanwhile, people who don’t see more than one movie a week (i.e. most non-critics) can better appreciate films that are {{cliche|Storm}}d but well-made on the technical side, and find arthouse films that [[GenreBusting challenge ‘traditional’ genre boundaries]] to be off-putting.
* A recurring theme in ''Podcast/HouseToAstonish'' is comics that are praised to the skies, but nobody actually reads, and which are therefore doomed to be cancelled after six issues, no matter how good they might be. However, rather than suggest there's a dichotomy between what comics critics like and what the public like, Al and Paul reckon that comics readers have been ''trained'' to believe that anything outside the norm (which is what critics tend to like) isn't worth picking up because it won't affect the DC/Marvel MetaPlot and [[SelfFulfillingProphecy will probably be cancelled after six issues anyway]].
* Discussed in [[http://www.escapistmagazine.com/articles/view/video-games/columns/experienced-points/12193-Games-Journalists-Views-and-Tastes-Tend-to-Change-With-Age-and-M this article]] by Shamus Young on ''Website/TheEscapist'', which asks why critics are so frequently enamored of ‘art games’ like ''VideoGame/TheStanleyParable'' and ''VideoGame/GoneHome'' that are usually {{Cult Classic}}s at best and LoveItOrHateIt at worst. Much like Bob Chipman above, he argues that merely being a professional critic changes a person’s outlook on, and taste in, games or movies away from that of their audience. While mainstream moviegoers or gamers won’t complain about an overused trope or cliché if it’s done well, critics will roll their eyes at the mere sight of it.
* The ''Zagat’s Guides'' are a series of books rating numerous venues (restaurants, shops, etc.) in over 70 cities. Following the alphabetical index, places are grouped into categories, one of which is ‘CriticProof’ — places that consistently do good business despite mediocre food/service/merchandise. Even when the patrons themselves attest to the mediocrity.

[[folder:Western Animation]]
* ''WesternAnimation/AlmostNakedAnimals'' ''really'' hasn’t gone over well with fans (ratings from TV.com and Website/IMDb have hovered in the 2.0 to 3.0 range), but the few mainstream reviewers who did pay any attention to the show found it decent. It was also nominated for a Gemini Award, sold lots of merchandise, and been green-lit for a third season — things that do not usually happen to shows ranking ''that'' low with viewers.
* ''WesternAnimation/{{Breadwinners}}'', despite being popular with its target audience and being greenlit for a second season, has almost universally been panned by Website/YouTube critics and adult viewers.
** ''WesternAnimation/SanjayAndCraig'', another current Nicktoon, is another example of being popular with children, but hated by critics and adults.
* Creator/HannaBarbera has a library running on this trope. On critical pieces they are the leaders of UsefulNotes/TheDarkAgeOfAnimation. Most classic animation critics only like the original ''WesternAnimation/TomAndJerry'' cartoons (1940–58) and feel that as soon as the studio made the move to TV animation their work became awful. These people must be flustered year after year when Creator/WarnerBros throws so many bones to home video releases and promoting them than the more critically hailed parts of the library.
* ''WesternAnimation/PinkyElmyraAndTheBrain'' is typically seen as an unneeded {{retool}} of a series that was already doing fine, not to mention the entire concept was simply lit by ExecutiveMeddling, to the point that it went unmentioned when the original ''WesternAnimation/PinkyAndTheBrain'' series was released on DVD. Critics loved it, though, and it won several awards (including an Emmy) during its really short run.
* The G3 ''Franchise/MyLittlePony'' specials are not well-liked by the general public, but several specials score around six or seven on Website/IMDb.
* The animated pilot ''WesternAnimation/TheGroovenians'' was panned by both audiences and reviewers, yet was nominated for an Annie Award.
* ''WesternAnimation/DrawnTogether'' was ''despised'' by critics (to the point where the show made an episode about it after ''Entertainment Weekly'' gave the show an F), yet it managed to gain a cult following during its relatively short run.
* The first half of season 1 of ''WesternAnimation/BoJackHorseman'' had a critical response that could be summed up as SoOkayItsAverage. It’s currently rated by Metacritic users at an 8.3. It’s subverted as critics eventually came around once the show [[GrowingTheBeard grew the beard]], with Season 2 earning a 100% on Rotten Tomatoes.
* ''WesternAnimation/{{Duckman}}'' received great reviews from TV critics, intellectuals and people who liked its satirical bite. But the general public didn’t catch on to it and after three seasons it was cancelled.
* ''WesternAnimation/FamilyGuy'': Extraordinarily popular with regular viewers, and some critics, but other critics feel it’s very lowbrow, formulaic and just [[ReferenceOverdosed rips off other franchises under the moniker ‘parody’ while much of it just feels more like ‘plagiarism’]], especially in the [[SeasonalRot later seasons]].
* ''WesternAnimation/{{Brickleberry}}'' was disparaged as a wannabe ''Family Guy'' clone, yet the Internet Movie Database gives the show a 6.2 score, meaning it’s SoOkayItsAverage.
* ''WesternAnimation/TeenTitansGo'' is hated by many hardcore fans of the original series who feel this show is an [[TheyChangedItNowItSucks insult to the original]] and a ReplacementScrappy for ''WesternAnimation/YoungJustice''. However, critics have given it mixed to positive reviews and it is Cartoon Network's highest rated show.
* ''WesternAnimation/TheLegendOfKorra'' has been well-recieved by critics with positive reviews all around. Fans, on the other hand, have more mixed reception. This changed starting with season 3, when the series [[WinBackTheCrowd won back the crowd]] after its polarizing second season; now it's just as loved by fans as it is with critics.
* Season 6 of ''WesternAnimation/AdventureTime'' received praise for its newfound [[GoingCosmic cosmic]], ContemplateOurNavels nature, citing it as an example of the show's growing maturation. However, Season 6 is considered to be LoveItOrHateIt by fans for the same reasons. Many were put off by the show's newfound philosophizing and considered the new direction pretentious, ridiculous and [[AntiClimax Anti-climactic]], complete with the stereotype that after Pen stepped down, the writing was taken over by [[{{Hipster}} Hipsters]] with too much ProtectionFromEditors.

* Nearly all design enthusiasts loathe the fonts Comic Sans and Papyrus, yet lots of ordinary people love them. They even turn up on signs for local businesses.
* Mosin-Nagant rifles. You’d be hard-pressed to find a professional reviewer who would have much nice to say about them while complaining about the sights, the straight bolt handle, the action, and the rimmed cartridge. People who shoot Mosins, however, tend to say that all the flaws found within the rifles are what give them character. Both sides can agree on two things though: Mosin-Nagant rifles have literally more than a century of history in them (designed before the turn of the 20th century, and some still in service to this very day!), and they are [[MadeOfIron absolutely indestructible]].
* UsefulNotes/{{Pornography}} and Erotica. Sought out and bought by many adults and a very popular genre. But the eternal ItsNotPornItsArt discussion proves that many of these works are still seen as nothing more but cheap arousal and gratification. Even people who frequently check it out will not attribute any artistic quality, depth or longevity to it. Some classic erotic novels (''Literature/KamaSutra'', ''Literature/LadyChatterleysLover''), erotic paintings, photographs and graphic art (Félicien Rops, Thomas Rowlandson, Creator/TomOfFinland), erotic comics (Creator/MiloManara) and a few films (''Film/InTheRealmOfTheSenses'') have received critical praise, but aren’t seen as exactly ‘titillating’ — crossing with ValuesDissonance, a work that was shocking and explicit when it came out is now considered tame in the light of a culture when sexual imagery is much more the norm.