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I don't know how much about those movies but Darkness-Induced Audience Apathy applies when all sides involved in those stories' central conflict are all equally unlikeable, so no matter who wins, the universe will sucks. Alternatively, the movies can have heroes but their efforts amount to nothing and the universe still sucks. If those movies have clearly defined heroes and villains and their stories deliver positive outcomes, then the trope is averted, regardless of public opinion.
Well, last I checked, Rocky V has the trope on its YMMV page.
"Some other page used it wrong" is not an argument for using it wrong on other pages. It is an argument for removing it from that other page.
If it's merely too much focus on angst, that should go under Angst Aversion. DIAA could qualify if there was a lot of hardship with no payoff. If the cast suffer but come out as winners, it would not fit, whatever else might drive off audiences. Could you quote what some of the critics said about them?
Stories don't tell us monsters exist; we knew that already. They show us that monsters can be trademarked and milked for years.
I haven't seen The Pick-Up Artist or Betsy's Wedding, but Leonard Maltin's review for the former describes it as "dismal, dour, and deadeningly dull" and filled with "standard James Toback lowlifes". If I remember correctly, Siskel and Ebert panned Betsy's Wedding for its dearth of sympathetic or interesting characters. In constructing the entry, I was mainly going off of my viewings of For Keeps and Fresh Horses. Both films had a ton of misfortune heaped upon Ringwald's characters, especially the former, but instead being meaningfully angsty, they came off as kind of mean-spirited and alienated critics and audiences who were more accustomed to her lighter John Hughes efforts. It didn't help that Ringwald's characters became more and more unappealing; indeed, a good portion of Fresh Horses consists of her violently bickering with Andrew Mccarthy and being a clingy, egotistical lunatic.
Edited by AnonymousBosch
Today, I made an entry under the film section of Darkness-Induced Audience Apathy concerning three films that Molly Ringwald made after Pretty in Pink: The Pick-Up Artist, Fresh Horses, and For Keeps. I wrote that these three films likely failed with critics and audiences due to the high level of angst and the amount of crap that Ringwald's characters seem to go through in them. Does the level of angst and hardship qualify them for the trope? I also think that I could re-word the entry a bit, just to be on the safe side.
Edited by AnonymousBosch