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For example, Pulp Fiction is rated at 93%, placing it below movies such as Finding Nemo and Boyhood. That's the nature of sites like RT that aggregate reviews by various people with their own viewpoints. Goodreads is not a bad system for rating books. People enjoy different books, simple as that.
I think it's because so much of the film industry, critics included, are the people projecting what they see as being "woke". Many of the critics support the messages and diversity of shows like live action Cowboy Bebop and Ghostbusters remake, but that doesn't mean ideology is entertaining.
- 15 'Don't Look Up'(2021) — 23% Divide
- 14 'We're The Millers' (2013) — 28% Divide
- 13 'The Greatest Showman'(2017) — 29% Divide
- 12 'Sausage Party'(2016) — 32% Divide
- 11 'Us' (2019) — 32% Divide
- 10 'Passengers'(2016) — 33% Divide
- 9 'Noah' (2014) — 34% Divide
- 8 'Captain Marvel' (2019) — 34% Divide
- 7 'The Super Mario Bros. Movie' (2023) — 36% Divide
- 6 'spy Kids'(2001) — 46% Divide
Directed by Adam McKay
The divisiveness in the discourse surrounding the allegorical satire Don’t Look Up was replicated in the Tomato-verse, where the Adam McKay film currently holds a 22% divide. While the sheer spectacle of Don’t Look Up’s cast may have won most audiences over (earning a 78% score), McKay’s heavy-handed and overly ambitious messaging was critiqued by reviewers with a 55% Tomatometer. It may not be the biggest Rotten Tomatoes gap, but it sure is significant. Despite the debate (or maybe because o...
Directed by Rawson Marshall Thurber
The comedic tale of a would-be drug dealer and his fake family found its star power in Jennifer Aniston and Jason Sudeikis, with enough zingy one-liners to compensate for a somewhat predictable third act. While audiences seemingly took comfort in We're the Millers' formulaic take on the road movie, giving it a 76%, the film’s inability to make better use of its comedic talent left something to be desired among critics, with a 48% Tomatometer to prove it. In any case,Jennifer Aniston’s rightfu...
Directed by Michael Gracey
Dazzling choreography and costume design were enough to win over general audiences in 2017's The Greatest Showman, only enhanced by energetic performances from the likes of Hugh Jackman, Zac Efron, and Zendaya. It's a feel-good tale of acceptance, with a few fun musical numbers thrown in for extra measure, which 86% of viewers loved. However, only 57% of critics were as approving. While one of Hugh Jackman’s great performances was enjoyed by both demographics, some were displeased with the de...
Directed by Conrad Vernon and Greg Tiernan
Comedy is perhaps the most subjective movie genre. The kinds of humor that work for some may be entirely unappealing to others. So, when Seth Rogen’s anthropomorphized groceries came to life in Sausage Party, they left critics salivating at an 82% Tomatometer score, but audiences with a bad taste in their mouths at a 50% rating. Acclaimed by cinephiles for its raucously profane gags and unexpected intellectual depth, the film faced harsher criticism by general movie-goers, who perhaps sought...
Directed by Jordan Peele
Perhaps it was the curse of the sophomore slump that steered audiences away from Jordan Peele’s Us. The follow-up to Get Out promised all the popcorn-friendly trappings of its predecessor, but Us' take on the home invasion genre may have been too subversive for horror-seeking movie-goers. They gave it a 61%, as opposed to critics' 93%. The film's high concept was appreciated by cinephiles, who praised the film’s chess-like attention to detail and its particular comedic flair. Divisive as it m...
Directed by Morten Tyldum
While neither demographic was particularly fond of Passengers (audiences only scored it a wanting 63%), critics seemingly had a harder time getting past the film’s problematic central premise (giving it 30% approval). For general movie-goers, Passengers' big-budget sets and the natural chemistry of its leads might have compensated for Chris Pratt’s concerningly flawed character. Among more critical audiences, however, the protagonist’s decision to wake up Jennifer Lawrence’s character was alm...
Directed by Darren Aronofsky
Darren Aronofsky has dipped his toes in all sorts of genres, including the Biblical epic, though he didn't really have as much success there as he had in others. His Noah stars Russell Crowe as the Biblical figure, a man chosen by God to undertake a momentous mission before an apocalyptic flood cleanses the world. Critics responded relatively well to the film, giving it a 75%, while less-receptive audiences earned it a score of 41%. Arguably the strangest project of Aronofsky's career thus fa...
Directed by Anna Boden and Ryan Fleck
A rare case in which the usually satisfying formula of a superhero film was lost on the general audience but lauded by critics, Captain Marvel will have a hard time recuperating from her lackluster debut. Unable to meet the expectations of its Marvelviewership, fans gave the movie a 45% rating, while critics went for a much more lenient 79%. What was perceived as miscasting on one end of the spectrum was, among critics, considered a progressive move within a male-dominated genre. This infused...
Directed by Aaron Horvath and Michael Jelenic
In a year that in many ways defined the future of video game movie adaptations, a lot of pressure was resting on the shoulders of The Super Mario Bros. Movie, Illlumination's attempt at translating the adventures of the iconic jumping plumber into the silver screen. While critics were indifferent to the result (giving it a 59% score), audiences and their impressive 95% score were much more receptive. Colorful, breezily paced, and filled to the brim with Easter eggs that Nintendo fans were del...
Directed by Robert Rodriguez
Somewhat unprecedented for a film that includes life-sized animated thumbs and flashy CGI, Spy Kids was a surprise critical hit upon its initial release in 2001, receiving a glowing score of 93% among professional reviewers. Audiences, much more unimpressed, gave it a score of 47%. It's not the worst audience score Rotten Tomatoes has seen, but it's certainly nothing commendable, either. While it was the film’s main strength among critics, Spy Kids' sheer absurdity was lost on general audienc...
- Tom Disalvo
Dec 1, 2018 · Our findings show that film critics have a moderate influence on wide releases and a weak influence on limited releases based on reviews from Rotten Tomatoes.
Apr 21, 2023 · As of time of writing, Rotten Tomatoes holds the animated film at a 59% critic score with 245 reviews aggregated, only 1% off from how they determine a film is of a ‘fresh’ rating. Their audience score is sitting at 96% with their site citing 5000+ ratings calculated, indicating universal acclaim from those who have submitted a score.
Sep 19, 2022 · Review data from Rotten Tomatoes, Metacritic, and IMDB track opinion between audiences and critics and are commonly used to suggest disagrements between critics and audiences are getting worse, but how reliable is that data, and is that what the numbers actually mean?
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Aug 31, 2017 · Without any consistent proof, why do people still maintain that a bad Rotten Tomatoes score actively hurts a movie at the box office?
This group of books collects many of these strange phenomena together. There are many contradictions in Science and Strange Events
