Love it or hate it, the movie and TV review aggregator Rotten Tomatoes has become somewhat of a boogeyman in Hollywood, compiling both audience and critic opinions of a given title and evaluating its quality in a binary system as either “rotten” or “fresh.” Often, the consensus among both regular movie-goers and critics is mostly unified, save for a small percentile difference on either side.
In the years since its inception, however,Rotten Tomatoes has played host to its fair share of divisive films, made evident through a misaligned gapbetween each demographic’s respective score. So, while critics' opinions often inform that of the general audience (and vice versa), films with divided Tomatometers likeVenomandUsprove that in some cases, it’s best to agree to disagree.
15’Don’t Look Up'(2021) — 23% Divide
Directed by Adam McKay
The divisiveness in the discourse surrounding the allegorical satireDon’t Look Upwas replicated in the Tomato-verse, where theAdam McKayfilm currently holds a 22% divide. While the sheer spectacle ofDon’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 of it),Don’t Look Upbecame one of thelowest-rated Best Picture Oscar nomineeson Rotten Tomatoes,an occurrence that undoubtedly didn’t surprise its naysayers. That’s the thing about these kinds of satires: As long as their themes and sense of humor fit audiences' tastes, it all works out; but it’s just as easy for people to find them off-putting.
Don’t Look Up
14’We’re the Millers'(2013) — 28% Divide
Directed by Rawson Marshall Thurber
The comedic tale of a would-be drug dealer and his fake family found its star power inJennifer AnistonandJason Sudeikis, with enough zingy one-liners to compensate for a somewhat predictable third act. While audiences seemingly took comfort inWe’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 rightful place as America’s sweetheart remained intact among both audiences and critics alike. The problem with the movie doesn’t lie in the jokes or the cast, just in the lazily plotted storyline and the way it sort ofsquanders whatever potential the star-studded cast had.
Rent on Apple TV
13’The Greatest Showman'(2017) — 29% Divide
Directed by Michael Gracey
Dazzling choreography and costume design were enough to win over general audiences in 2017’sThe Greatest Showman, only enhanced by energetic performances from the likes ofHugh Jackman,Zac Efron, andZendaya. 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 ofHugh Jackman’s great performanceswas enjoyed by both demographics, some were displeased with the depiction of the historical figure he portrayed:P.T. Barnum, a less-than-ethical entertainer and businessman that engaged in lots of shady practices during the course of his career.The film’s inaccurate take on its real-life showman was largely debunked by critics, though audiences didn’t seem to mind nearly as much.
The Greatest Showman
12’Sausage Party'(2016) — 32% Divide
Comedy is perhaps the most subjective movie genre. The kinds of humor that work for some may be entirely unappealing to others. So, whenSeth Rogen’s anthropomorphized groceries came to life inSausage 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 the kind of thoughtless fun promised by Rogen’s less abstract films. Perhaps, then, this polarizing supermarket comedy is best left on the shelf.
Sausage Party
11’Us' (2019) — 32% Divide
Directed by Jordan Peele
Perhaps it wasthe curse of the sophomore slumpthat steered audiences away fromJordan Peele’sUs.The follow-up toGet Outpromised all the popcorn-friendly trappings of its predecessor, butUs' 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 might’ve been, critics and audiences found common ground in their equal appreciation of the award-worthy yet criminally snubbed lead performance byLupita Nyong’o.
Watch on Fubo
10’Passengers'(2016) — 33% Divide
Directed by Morten Tyldum
While neither demographic was particularly fond ofPassengers(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 forChris Pratt’s concerningly flawed character.
Among more critical audiences, however, the protagonist’s decision to wake upJennifer Lawrence’s character was almost universally panned. Many claimed that,through a simple change of perspective,Passengerscould have achieved “Fresh” status. Frankly, this is a story thatwarrants a better-written remake, because its premise could make for a tantalizing psychological thriller.
Passengers
9’Noah' (2014) — 34% Divide
Directed by Darren Aronofsky
Darren Aronofskyhas 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. HisNoahstarsRussell Croweas 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%.
Arguablythe strangest project of Aronofsky’s careerthus far,Noahwas praised by most critics for its unique approach to the materialand willingness to explore complex themes in quasi-surrealistic ways. But while critics found the film’s weirdness to be a strength, viewers thought it made it absurd and confusing, brought down by an annoying sense of self-seriousness.
8’Captain Marvel' (2019) — 34% Divide
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 Marvelwill 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 infusedCaptain Marvelwith enough cultural relevance to offset its clichésand stand on its own within the broader MCU canon, becominga surprise box office hit.
Captain Marvel
7’The Super Mario Bros. Movie' (2023) — 36% Divide
Directed by Aaron Horvath and Michael Jelenic
In a year that in many ways defined the future ofvideo game movie adaptations, a lot of pressure was resting on the shoulders ofThe 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 delighted to see,the film certainly earned its rightful place in the hearts of families around the world, even if critics found the writing way too hollow to enjoy.
The Super Mario Bros. Movie
6’Spy Kids'(2001) — 46% Divide
Directed by Robert Rodriguez
Somewhat unprecedented for a film that includes life-sized animated thumbs and flashy CGI,Spy Kidswas 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 audiences.The Island of Lost Dreams, the first sequel, scored the franchiseits second certified “Fresh” rating. However, the kids seeminglylost their mojo by the third film, which was later deemed “Rotten” by both critics and audiences.
