Musicals With Terrible Rotten Tomatoes Scores That Are Actually Awesome

Musical movies are truly something extraordinary. From the black and white days of "42nd Street" to 1970s gems like "All That Jazz" to modern classics like "Wicked," "Better Man," and "West Side Story," musical cinema has produced some of the greatest motion pictures in history. However, not every entry in this genre becomes a toe-tapping masterpiece. A key reason certain movie musicals have flopped at the box office is because of dire reviews that steered audiences far away from checking them out at the theater. For so many projects, it's impossible to evade those initial toxic reviews, which is a shame since many musical films with atrocious reviews actually have some real artistic merits. In fact, a number of panned musical movies are outright delightful to watch.

Why were these films so much better than their initial critical reception would suggest? The reasons vary greatly; some were simply misunderstood when they were first unleashed on the general populace. Others were ahead of their time in their approach to how musical movies could operate. Still others have garnered fanbases over time thanks to nostalgic memories people have cultivated. Whatever the reason, dismal reviews were not the end of the road for these films. To the contrary, they were just the beginning of a long, winding path that led to these titles being declared "awesome" by folks far and wide. Turns out you don't have to be initially beloved to become a musical gem for the ages.

When it came to critics, a supporting "Lady Bird" character in 2008's "Mamma Mia!" put it best: "They didn't understand it." Reviews harped on "Mamma Mia!" for offering little substance, featuring principal actors who were unable to sing, and overstaying its welcome with an excessive runtime, resulting in a lackluster 55% freshness rating on Rotten Tomatoes. What these detractions missed was not just the overwhelming fun of "Mamma Mia!" but how it epitomized the potential of musical cinema. This is a domain where the act of human beings harmonizing their emotions means anything can happen — the only limit here is your imagination. Great musicals like "Eega," "Singin' in the Rain," "The Young Girls of Rochefort," and so many others have demonstrated all these enthralling possibilities. "Mamma Mia!'s" most grandiose tendencies continued this tradition rather than reflecting slipshod writing.

A bunch of scuba divers dancing on a pier while singing "Lay All Your Love On Me," for instance, is a striking image that couldn't exist in any other genre. "Mamma Mia!" grinding its plot to a halt so Christine Baranski can croon "Does Your Mother Know" to hunky younger men doesn't contribute to a traditional three-act structure, but it does evoke "Hedwig and the Angry Inch" by prioritizing exciting musical-informed visuals first and foremost. On top of all that, the sheer gusto of actors like Meryl Streep and Pierce Brosnan makes even the warbliest vocals incredibly endearing. Looking back, it's mind-boggling to consider how on Earth critics were able to resist something as fun as "Mamma Mia!"

While "Mamma Mia!" was greeted with negative reviews that miscalculated its creative aims and virtues, "Xanadu's" searing reviews are certainly not wrong in categorizing what this feature provides. Detractors found the feature to be hollow despite all its production value, with many lambasting the choppy performances while finding that its imaginative imagery often exceeded its budgetary restrictions. Eventually, "Xanadu's" reviled reputation resulted in it sweeping 1980's Golden Raspberry Awards, and its Rotten Tomatoes aggregate critics rating is a dismal 31%. While none of those grievances are far off, "Xanadu"  does offer a loopy charm more than 40 years after its release. For starters, it's a musical that combines dance numbers, Greek gods, a roller-skating disco, and Gene Kelly. There are also a ton of Electric Light Orchestra songs that firmly solidify this as a movie of its era.

Such a gonzo mixture can't be found in endlessly monotonous modern musicals like "The Prom" and "Dear Evan Hansen." "Xanadu's" campiest moments have also become legendary for a reason, and its sumptuous costumes and dance choreography are a treat to witness decades later. It's also a rare movie musical that's brief in its runtime, with all of its charming insanity running 93 minutes — with credits. As the cherry on top, "Xanado" features Gene Kelly's last film role. Though it may sound like an embarrassing send-off for the silver screen legend, he still demonstrates his talent and relentless artistic conviction in these silly confines. Watching him take one final cinematic bow amidst such a surplus of creativity gives "Xanadu" far more virtues than its critical reception would suggest.

"The End" may just be the strangest movie from 2024 that you've never heard of. Written and directed by documentarian Joshua Oppenheimer, this narrative feature follows a rich family in a lavishly decorated bunker — Mother (Tilda Swinton), Father (Michael Shannon), and Son (George MacKay) — after the apocalypse has left Earth uninhabitable. The arrival of newcomer Girl (Moses Ingram) throws everything into chaos, with everybody's emotions largely expressed through songs belted out against salt mines. Critics admired the title's ambitions, but most found "The End" too much of a good thing and in dire need of better original tunes, resulting in a weak 54% on Rotten Tomatoes.

There's absolutely no denying that "The End" is bloated in terms of its runtime, but it's also a fascinatingly idiosyncratic concoction that's hard to shake off. Part of that is through a deeply precise George MacKay performance. This actor's physicality in the musical numbers is tremendously impressive, as is his depiction of Son as a stunned 20-year-old, having existed only around his parents and a handful of their rich friends for decades.

The bleakest moments of "The End," meanwhile, are incredibly evocative. Here is a movie about wealthy people who are responsible for the planet's demise acting like they're victims having to contend with reality in the form of Girl. Oppenheimer's lack of self-consciousness over having characters exchange musical numbers is a welcome sight. "The End" won't be for everyone, and it's hard to say it fully works. However, this audacious glimpse at the apocalypse deserves more attention and praise than it's received.

In many respects, "Quest for Camelot" is yet another 1990s Disney Animation knock-off trying to make that fairy tale musical lightning strike outside of the House of Mouse. Scoring a mere 41% on Rotten Tomatoes, it's got an overabundance of characters trying too hard to be the next Genie or Timon & Pumbaa, and its character designs aren't especially inspired. What it does have that other '90s Disney pastiches like "A Troll in Central Park" or "The Swan Princess" lack, though, is that "Quest for Camelot" actually sports a solid soundtrack. Surprisingly, given that its musical numbers were allegedly hastily added late into production, there are a couple of catchy ditties in here. Leading man Garrett's (Cary Elwes) big song, "I Stand Alone," is appropriately soaring, while comedic, two-headed dragon, Devon (Eric Idle) and Cornwall (Don Rickles), get a zany tune called "If I Didn't Have You" that complements the most exciting animation of the whole film.

Then there's "The Prayer," a massively popular song most known for being performed by Celine Dion and Andrea Bocelli. There's a reason this track has taken on such an extraordinary life of its own, well beyond "Quest for Camelot" — it's a keeper. Considering even Disney dropped clunker soundtracks, like some of the "Pocahontas" songs, during its '90s Golden Age, "Quest for Camelot's" musical numbers register as extra impressive. They're not enough to mitigate the derivative and overly loud elements of the overall film, granted. However, "Quest for Camelot's" songs alone make it a diverting watch, one that's arguably better than its critical reception would indicate.

Just like how director Joel Schumacher's "Batman & Robin" earned universal scorn from Batman fans in 1997, the director's 2004 "Phantom of the Opera" film adaptation was also despised when it hit theaters, garnering a terrible 33% on Rotten Tomatoes. Longtime fans of the show were appalled at how his adaptation contorted and undercut its source material, not to mention casting actors like Gerard Butler, who seemed comically ill-suited to their respective roles. There's a reason why folks ranking every Gerard Butler movie won't encounter further song-and-dance routines in his filmography — these dire reviews actually led the film's leading man to subsequently abandon the musical genre. However, much like how "Batman & Robin" eventually garnered a passionate following, "The Phantom of the Opera" has also grown its own cult fanbase willing to defend this take on the material.

Over the last two decades, a new generation has grown up with Schumacher's "Phantom of the Opera" as their default version of Andrew Lloyd Webber's play. That's a sharp contrast to 2004, when all anyone knew was the original musical, and this movie seemed like a rebuke to it. For these younger fans, "The Phantom of the Opera's" luscious production design, swoon-worthy moments, and its grand displays of emotions have proven irresistible. Schumacher's trademark dedication to distinctive filmmaking isolated moviegoers at the dawn of the 21st century. Over time, though, his bold "Phantom of the Opera" vision has secured plenty of devotees who'd eagerly dub it awesome, even if it features Butler singing show tunes.

In November 2010, Christina Aguilera and Cher joined forces for "Burlesque," the story of a small-town Iowa waitress (Aguilera) trying to become a star at a scrappy burlesque lounge run by a legendary lady played by Cher. As if it couldn't be already more geared towards queer sensibilities, this musical also featured Kristen Bell, Stanley Tucci, and lots of glittery, extravagant costumes. "Burlesque" was nothing short of trashed when it hit theaters, with critics lamenting that its plot was just reheated leftovers of traditional musical movie plotlines from the mid-20th century. The dialogue was also universally skewered, as were many of the supporting performances. But since the days of those toxic reviews — it has a 37% on Rotten Tomatoes — "Burlesque" has proven unstoppable in its cult following.

On its 10th anniversary in 2020, Cher observed that many young girls had become enamored with "Burlesque," which would explain its re-evaluation. Plotlines that were incredibly familiar for older film critics circa 2010 were totally fresh for younger moviegoers who stumbled across "Burlesque" through streaming and home video in the 2010s. The extravagant musical numbers and unabashedly maximalist melodrama of the film have further increased its fanbase, along with the grand memories people have created through revisiting the film at rowdy revival screenings. Oh, and there's also the tremendous affection many have for its two leading ladies, which has also helped "Burlesque" develop a cultural reputation that's profoundly deeper than its initial terrible reviews.

Perhaps it's true that, as The Beatles once crooned, "All You Need is Love." However, for many critics who saw Julie Taymor's 2007 film "Across the Universe," which featured a deluge of tunes by the Fab Four, the feeling was that this was a movie in dire need of more than just sentimentality and familiar tunes. Reviews lambasted Taymor's vision for lacking a coherent storyline, its lengthy runtime, and dearth of involving characters, resulting in a 53% critics rating on Rotten Tomatoes. The funny thing is, those are all unquestionably facets of "Across the Universe." This is an excessive motion picture driven by visuals rather than characters. However, those are precisely the qualities that have turned "Across the Universe" into a beloved musical experience for many.

An unabashedly pathos-driven narrative that centers on trippy imagery above all else won't satisfy those looking for a traditional three-act structure. However, those qualities have made "Across the Universe" a special cinematic gem for countless viewers who groove to Taymor's motion picture aesthetic, something as unusual as those Beatles songs were in 1960s pop culture. Plus, "Universe" has a killer soundtrack full of iconic tracks brought to life with endless visual imagination under Broadway legend Taymor's deft hand. The critics weren't necessarily wrong about the jagged concoction that is "Across the Universe." However, for many, its reliance on familiar pre-existing pop culture and eschewing of standard narrative elements is a grand boon, not a reason to call it an all-time failure.

When "Camp Rock" first sang its way into people's homes via the Disney Channel, it had a hard time evading the shadow of its spiritual predecessor, "High School Musical." But while "High School Musical" was changing Zac Efron forever and pop culture at large as well, "Camp Rock" got negative marks over perceptions that it was just a "High School Musical" knock-off. This union between Demi Lovato and the Jonas Brothers undoubtedly came from a Disney marketing meeting and was intended to mimic the success of the Efron and Vanessa Hudgens-led 2006 Disney Channel Original Movie, no question. However, as the years have passed, more and more people have staked their loyalties to "Camp Rock." It turns out this feature has more to offer than just being a backup option for when you can't stream "High School Musical."

For one thing, the intentionally arch performances have inspired countless memes, a testament to how much these performers and writers dipped their work in cynicism-free conviction. For another, the soundtrack has become iconic for a generation of musical cinema lovers. "This is Me" has especially garnered notoriety over time as a flat-out good musical number and not just "okay by Disney Channel Original Movie standards." Plus, the bubbly and frizzy aesthetic, while not for everyone's tastes, can certainly be a welcome dose of escapism from a brutal world. Its appeal may be most obvious with Jones Brothers fans, sure, but "Camp Rock's" grooving virtues make it more than just a "High School Musical" clone despite its tepid 50% critics score on Rotten Tomatoes. 

If you thought "Xanadu" epitomized a different era in time, just wait until you get a load of "Can't Stop the Music." A Nancy Walker directorial effort that merged musical cinema with the disco scene, this title focused on a fake origin story of the Village People, where they rise up as underdogs and prove skeptical music executives wrong about their powerful tunes. The whole thing was already out of date when it hit theaters in 1980 (disco was already on its last legs), so one can only imagine how alien it feels in the modern world.  Savaged by critics upon release, something this distinctive was bound to eventually attract loyal followers. Lo and behold, "Can't Stop the Music" has indeed secured a fanbase that adores its unique brand of glittery disco ball nonsense and doesn't care about its 22% Rotten Tomatoes rating.

While "Can't Stop the Music" was intended to achieve mainstream musical cinema success like "Grease" and "The Sound of Music," it's instead garnered a cozy nook in the world of kitsch cinema. Campy movie devotees have fallen in love with the spectacularly ridiculous nature of this movie, which is centered on brawny scantily-clad men belting out toe-tapping pop songs as musical numbers. Depicting a band as goofy as the Village People as subversive artists striving to "stick it to the man" is also a bizarre piece of dissonance that only serves to make it more entertaining to midnight movie junkies.  "Can't Stop the Music" is a failure, sure, but it's no ordinary forgettable failure!

Sometimes, being a remake is more of a curse than a blessing. Take the special case of the 2005 musical comedy "The Producers," which was simultaneously an adaptation of a Broadway show and a 1960s Mel Brooks comedy starring Gene Wilder. This Nathan Lane/Matthew Broderick movie had a tremendous pop culture legacy to live up to, and most reviews said it fell short of that esteemed pedigree, resulting in a critics score of 51% on Rotten Tomatoes. Many detractions were based on the feeling that this musical failed to really take advantage of the film format; instead, most felt it came off as too much like a stage show. However, in the years since "The Producers" presented moviegoers with the worst in-universe possible musical imaginable, it's developed a fanbase that has learned to appreciate the project on its own terms, beyond its relationship to either the Broadway source material or the original, esteemed movie.

What's primarily ensured that this new "Producers" movie has entranced so many folks who consider it "awesome" is the transfixing rapport between Lane and Broderick. The two have worked together for so long that their mesmerizingly naturalistic comedic flow just sizzles on the screen. Plus, it's always just fun to watch Lane and Broderick go for broke as repulsive schemers. Scene-stealing supporting turns from a bevy of talented comedic icons like Will Ferrell have also helped "The Producers" score its share of modern defenders. Though far from a hit in 2005, "The Producers" has secured a spot in the hearts of many.

You will never see another musical train wreck like "Cats." A movie even original "Cats" lyricist Andrew Lloyd Webber had a hilariously dismissive response to, everything about this Tom Hooper directorial effort is staggeringly miscalculated. The way human faces are just superimposed on ungodly CG feline bodies. The strangely grim backdrops devoid of color or flashy flourishes. Actors ranging from Judi Dench to Jason Derulo crooning about milk and paws. There is no single reason why "Cats" bombed at the box office, nor is there a sole defect that informed its toxic critical reception. Literally everything went wrong with "Cats," which is also, paradoxically, why it's so watchable.

"Cats" is a failure, make no mistake about it. But it's also a bizarre concoction that uncovers unintentional layers of entertainment on its own merits as a boondoggle you can't turn your eyes away from. Horrifying imagery like Rebel Wilson as a cat peeling off her skin like it's a suit, not to mention other inexplicable moments, like Ray Winstone as a grizzled harmonizing dock cat or Judi Dench staring at the viewer while intoning how a cat "is not a dog," are the kind of misguided sights you won't see in any other movie musical. "Cats" is an expensive testament to madness, a distinctively costly disaster that stands out in a sea of focus-grouped box office duds like "Gigli" or "The Flash." Entertaining in none of the ways it was intended to be, "Cats" is the stuff cinematic nightmares and delightful movie nights with friends are made of.