Critically Hated Movies That Are Actually Awesome

Film critics are great. But no matter how steeped in cinema they might be, they're still just people — and every so often, they're liable to misinterpret a movie, write a rotten review, and end up panning something that's actually kind of incredible. Sometimes, an ambitious film comes along and manages to draw the ire of nearly every critic on the planet. These unfortunate movies are kicked into the gutter and largely forgotten by audiences, which is a shame because they're secretly amazing. 

Of course, everyone has an opinion, and thanks to the increasingly abundant array of streaming options available to home viewers, many films are never more than a click away — so even if a movie missed its shot at box office glory, there's nothing keeping us from appreciating it now. So today, we're ignoring the haters and looking at films that were wrongly roasted. From stoner romances to mythological adventures, here are some critically hated movies that are actually awesome.

It seems like everybody hates 1991's "Hook." It's widely regarded as one of Steven Spielberg's worst movies, and even the director himself has disparaged the film. Film critics have savaged this Peter Pan story as bloated, messy, and sappy, but maybe that's because they've all grown up and forgotten what it's like to have an imagination.

If you lived through the '90s, then you probably know the story revolves around Peter Pan (Robin Williams) as an adult. He's changed his name, started a family, become a lawyer, and totally forgotten about his adventures in Neverland. But when his children are kidnapped by the notorious Captain Hook (Dustin Hoffman), Peter is forced to fly, fight, and crow if he ever wants to see his kids again.

Granted, "Hook" is nowhere close to being one of Spielberg's best, but for a film about childhood, it deals with some surprisingly mature themes like unrequited love, growing older, and the inevitability of death. It's a film about dysfunctional families and abandoned kids, and in addition to the deep stuff going on behind the surface, "Hook" is pure Spielbergian entertainment. And while a lot of critics piled on Julia Roberts as Tinkerbell, you can't deny that Bob Hoskins, Maggie Smith, and Dustin Hoffman are absolutely perfect in their parts. Plus, the John Williams score is pure magic, and it's always a treat to go back and hang out with the great Robin Williams.

When first-time director David Fincher was hired for "Alien 3," the movie was already majorly behind schedule, there wasn't a finished script, and the studio had lost several million dollars on the project. Worse still, Fincher was severely hampered by micro-managing producers at Fox. When the film clocked in around three hours long, it almost never got released before the studio forced him to cut more than 30 minutes of material.

As a result, the director disavowed the 1992 movie, but he wasn't the only one who hated "Alien 3." Fans are still furious about the deaths of Hicks and Newt, and most critics savaged the film, saying it was style over substance. Today, it's regularly ranked among the worst "Alien" movies. While it's true that "Alien 3" puts a lot of emphasis on atmosphere, that's what makes it one of the most fascinating movies of Fincher's storied career.

Set on a dreary prison planet, this third installment is dark, grungy, and beautifully barren. Fincher's film is so nihilistic that it makes "True Detective" look like "Parks and Recreation." Plus Sigourney Weaver is at the top of her game here, playing a more cynical Ripley who bravely comes to terms with her inevitable fate. True, the xenomorph looks a little janky now and then. And yeah, the forced edits take away from the overall story (of course, you can check out the Assembly Cut to get a feel for Fincher's original vision). But despite the drawbacks, "Alien 3" is a visually brilliant world of criminal monks and fiery hellscapes, a film that could have been the perfect ending for a landmark series.

Directed by Tarsem Singh, "The Cell" is not a movie for everyone. In fact, it wasn't a movie for most critics when it hit theaters in 2000. According to the official blurb on Rotten Tomatoes, the film "is undermined by a weak and shallow plotline that offers nothing new." True, you can tell "The Cell" is borrowing from movies like "The Silence of the Lambs" — but man, it is it borrowing with panache.

Hailed by Roger Ebert – one of the few critics who actually liked it — as "one of the best films of the year," "The Cell" tells the story of Catherine Deane (Jennifer Lopez), a child psychologist who uses some impressive tech to explore the mind of an unconscious serial killer named Carl Stargher (Vincent D'Onofrio). Before suffering from a seizure, Stargher imprisoned a girl in a bizarre death trap, and now she only has hours left to live. Deane is tasked with finding her whereabouts, but Stargher's subconscious is a nightmare world of torture devices, horned monsters, and living dolls, where corpses are bathed in blood, horses are dissected with glass slides, and men have their intestines slowly pulled from their bodies.

Yeah, "The Cell" is totally depraved, but it's oh so gorgeous to look at. If you're into costumes, then you're in for a grotesque treat, as designer Eiko Ishioka has created a world of demonic purple wings, massive golden crowns, and sadistic sci-fi masks. Better still, the sets are practical, the performances are on point, and the result is something big, bloody, and perversely beautiful.

When it comes to nail-biters, William Friedkin is one of the best in the business. After all, he's the guy who made "The French Connection" and "The Exorcist," and in 2003's "The Hunted," he gives us a chase movie for the ages, with a grizzled Tommy Lee Jones tracking a psychotic Benicio Del Toro through the Oregon woods. Sure, the movie has a lousy 29% approval rating on Rotten Tomatoes, but come on. Jones and Del Toro get into a knife fight. What more you do need to know?

As for the plot, the story follows a tired tracker named L.T. Bonham (Jones). He used to teach Special Ops soldiers how to kill, but unfortunately, his training was a little too good. After seeing some pretty horrible things overseas, his old pupil Aaron Hallam (Del Toro) has lost his mind and now spends his time picking off deer hunters. So Bonham is brought in to give his student one last lesson. And did we mention that Tommy Lee Jones and Benicio Del Toro get into a knife fight?

The veteran actor is amazing as the weary survivalist, a man who knows what he has to do, but that doesn't mean he has to enjoy it. As for Del Toro, he's both scary and sympathetic as a man who's seen and spilled far too much blood. Friedkin expertly follows these two as they chase each other down, and when it comes down to the final showdown, there are no showy ninja moves here. It's painful, brutal, and in your face, which pretty much sums up the entire feel of this underrated thriller.

Directed by Tony Scott, 2004's "Man on Fire" is a cool blue revenge story that explodes into flame whenever Denzel Washington gets angry. The two-time Oscar winner plays a washed-up, alcoholic bodyguard named Creasey who gets a shot at redemption when he's hired to protect a nine-year-old girl named Pita (Dakota Fanning) who's living in Mexico City. The two soon develop an adorable bond, but Creasey's happiness is snatched away when gangsters kidnap Pita for ransom.

That's when Creasey transforms into the ultimate badass. True, everybody in this movie — from Christopher Walken to Mickey Rourke — is fantastic, but really, this movie is all about Denzel. His character has suffered too much, felt too much pain over the years, and now he's ready to paint a masterpiece of revenge.

Quite a few critics feel the last half of the movie is too ugly and violent, but this is a movie about fathers and daughters, and what self-respecting dad wouldn't cut off a dude's finger if it meant getting justice for his kid? If you haven't seen "Man on Fire," just ignore the rotten reviews. Revenge may be a dish best served cold, but this is a movie best watched right now.

Hollywood rarely makes straight-up adventure movies these days, so it's a shame that "National Treasure" was ripped apart by critics. This Jerry Bruckheimer joint was described as "a fortune wasted," "a whole lot of hooey," and "rancid cinematic cheese," but that's more than a little bit harsh. Despite a few drawbacks, "National Treasure" is a lively popcorn flick that's equal parts Indiana Jones, "Ocean's Eleven," and "Hamilton" (without the singing, of course).

The 2004 film follows Benjamin Franklin Gates (Nicolas Cage), a historian searching for a fabled lost treasure, who learns there's a treasure map hidden on the back of the Declaration of Independence. Unfortunately, fellow treasure hunter Ian Howe (Sean Bean) decides to steal the Declaration, forcing Ben and his sidekick Riley (Justin Bartha) to break into the National Archives and get their hands on the document. With the Declaration in hand, Ben sets out across the stomping grounds of America's Founding Fathers, solving riddles and doing his best to avoid a barrage of bullets.

Granted, Nicolas Cage is miscast as the lead, and somebody should've realized there were 56 signers of the Declaration of Independence (not 55), but "National Treasure" really shines when our heroes are puzzling over codes and trying to piece together clues. There's invisible ink, hidden ciphers, and glasses invented by Benjamin Franklin, not to mention conspiracies involving the Masons and the Knights Templar. Plus, Sean Bean, Diane Kruger, and Harvey Keitel are all fun to watch as they help and hinder Cage in his quest to find the world's biggest pile of gold.

When "Constantine" was released in 2005, it had a devil of a time with moviegoers. It lost money at the domestic box office, and critics did their best to exorcise the film from theaters, describing it as "confusing," "torturously slow," and "entirely beyond redemption." Of course, it's pretty clear those critics were in league with Lucifer, as "Constantine" is one hell of a movie.

It doesn't have much in common with "Hellblazer," the comic it's super-loosely based on, but nevertheless, it's an amazingly fun film noir about a chain-smoking cynic who deports demons for entirely selfish reasons. As a kid, he attempted to end his life, and now he's damned for all eternity. So his plan is to exorcise his way to heaven, and he finally gets a chance at saving his soul when a cop (Rachel Weisz) asks him to investigate the death of her psychic sister (also Rachel Weisz).

Directed by Francis Lawrence, "Constantine" plunges our hero into a world that's just as fantastic as the "John Wick" universe. And honestly, John Constantine is one of Reeves' best performances. The man is playing a mash-up between Sam Spade and Neo from "The Matrix," expertly blending a snarky sense of humor, detached detective cool, and secret side of antihero empathy. Then there's Tilda Swinton as an incredibly suave Gabriel and Peter Stormare as the sleaziest Satan of all time. With all that awesomeness, it's baffling the movie did so poorly — although a Reeves-led sequel is supposedly still happening.

In this Lonely Island production, comedian Andy Samberg plays Rod Kimble, a wannabe stuntman who can't even clear the city pool on his moped. But despite his constant failures, Rod refuses to give up on his daredevil dreams. Unfortunately, things get complicated when Rod's stepdad Frank (Ian McShane) needs money to pay for heart surgery. Rod desperately wants to save Frank's life — so he can win his respect by finally defeating him in hand-to-hand combat — so he decides to leap over 15 buses and use the money he'll earn to save his stepdad's life so he can then beat him to death.

With his dedicated group of friends — nerdy half-brother Kevin (Jorma Taccone), laidback Dave (Bill Hader), and TV-snatching Rico (Danny McBride) — Rod prepares for the stunt of his life, all while trying to impress his pretty neighbor Denise (Isla Fisher). Along the way, there's an amazing "Footloose" parody, a peaceful march that descends into anarchy, and perhaps the greatest falling-down-a-hill-scene in cinematic history. We also guarantee that after watching this film, you'll never hear the phrase "cool beans" the same way again, and you certainly won't ever challenge a taco to a fight.

But most importantly, the 2007 movie works so well because it's so darn sincere. It's sweet and strangely touching, portraying Rod as a real hero you want to see succeed so he can punch his stepdad through a wall. In other words, despite most critics blasting the film as "low-witted" and "just plain lazy," "Hot Rod" will live on in the hearts of fans because it's just too legit to quit.

There's no denying that Nicolas Cage has had a checkered career, but faithful fans are rewarded every so often with a legitimately great movie like "Joe," "Adaptation" ... or "Knowing." Yep, we said it. Though almost every film critic wished this 2009 movie would perish in an extinction-level event, "Knowing" is genuinely thrilling and poses some interesting philosophical questions. When it's not freaking you out, it's making you think, and that's exactly what the best science fiction films do. 

The plot revolves around a rational professor named John Koestler whose son (Chandler Canterbury) discovers a 50-year-old document covered in numbers. Despite his skepticism, Koestler realizes these numbers are a code predicting the dates and death tolls of major disasters like 9/11. And as he digs deeper into the mystery, he realizes something bad is looming on the horizon, and with the unsettling appearance of some otherworldly strangers, Koestler begins questioning everything he's ever known about the universe.

With director Alex Proyas at the helm, "Knowing" is just brimming with dread, the same creeping kind of fear you'd find in a movie like "Signs." Plus the film grapples with concepts like free will vs. predestination, as well as a deterministic universe vs. a random universe. You might not like where the movie eventually sides, but it's a film that takes chances and generates ideas that are well worth exploring after the credits roll.

With a lousy 28% approval rating on Rotten Tomatoes, most critics thought "Clash of the Titans" was a mistake of mythological proportions. But honestly, it seems these critics lost their sense of fun, because 2010's "Clash of the Titans" is a good, old-fashioned B-movie, a throwback to a time when Hollywood made adventure flicks that weren't exactly Oscar winners but could still charm you with crazy creatures, over-the-top set pieces, and a whole lot of imagination.

The story itself is pretty simple. Mankind is getting sick of the gods bossing them around, so they decide it's time to rebel. Of course, the gods don't approve, so they threaten to unleash the monstrous Kraken if the human king doesn't sacrifice his daughter. Desperate, the king turns to a demigod named Perseus (Sam Worthington), asking him to find a way to kill the beast. And since Perseus has his own grudge with Mount Olympus, our hero sets out an epic sword-and-sandals adventure.

Along the way, Perseus encounters a murderous Medusa, some oversized scorpions, and a trio of witches, while being forced to deal with all-powerful gods like Zeus (Liam Neeson) and Hades (Ralph Fiennes). The "Schindler's List" stars are an absolute delight, turning the Shakespeare up to 11. Mix that in with a bunch of monsters and magic, and you can see how "Clash of the Titans" is the exact kind of movie that might inspire the next George Lucas to make the next "Star Wars."

Before directing the "Guardians of the Galaxy" trilogy, James Gunn put his stamp on the superhero genre with 2010's "Super," an upbeat version of "Taxi Driver" where Juno and Dwight Schrute murder drug dealers with pipe bombs and Wolverine claws. Seriously, "Deadpool" and "Logan" feel like "Sesame Street" compared to Gunn's demented vision. But if you can stomach the gore, then you'll find yourself nervously chuckling along with one of the best — and nastiest — superhero satires.

The plot follows a schlubby cook named Frank (Rainn Wilson) whose wife (Liv Tyler) has just left him for the world's sleaziest drug dealer (Kevin Bacon). But after receiving a vision from God — one involving razor blades and anime tentacles — Frank believes it's his divine mission to become a superhero, fight crime, and rescue his wife from Bacon's clutches. Accompanying him on his quest is Libby (Elliot Page), a comic book nerd who has way too much fun breaking legs and bashing heads. Disguised as the Crimson Bolt (with his kid sidekick, Boltie), Frank uses a pipe wrench to punish both child molesters and people who cut in line. 

The violence is shockingly hard to watch, and it's that over-the-top bloodshed that angered so many critics. Of course, the violence here is kind of the point. If superheroes existed in real-life, they wouldn't be the most stable people on the planet, and Wilson does an excellent job of showing Frank's pain. Page is equally good (and completely hilarious) as a cackling psychopath, and with Gunn behind the camera, "Super" is a savage, side-splitting response to every comic book movie to ever come out of Hollywood.

Remaking a classic is always an uphill battle, especially when that classic is a beloved sci-fi masterpiece like "RoboCop." But while Jose Padilha's remake doesn't stand a chance against Paul Verhoeven's original, the 2014 version is definitely a film with its own style and its own ideas, taking the premise in some exciting new directions.

Joel Kinnaman plays Alex Murphy, a Detroit cop who's been mortally wounded by a car bomb. With his corpse mangled beyond recognition, he's the perfect candidate for an experimental program that turns him into a sleek super cop. But naturally, there's more going on with the RoboCop program than meets the eye, and soon enough, Murphy sets out to bring down the big bads, dead or alive.

Admittedly, the PG-13 rating means no massive violence. Still, the 2014 film has a lot of thoughts about the 21st-century world, and perhaps the most interesting update involves RoboCop's character arc. In the 1987 film, Murphy starts off as a cold-blooded cyborg who slowly regains his humanity. But here, an emotional Murphy becoming more and more machine as the movie goes on, losing his ability to connect with others. The film also grapples with heady concepts like free will, and while it lags in a few places, it features an amazing in-the-dark shoot-out and a truly horrific sequence where Alex Murphy sees what's left of his body after a near-fatal explosion. While it will never replace the original, the 2014 "RoboCop" takes enough bold chances that we'd totally buy it for a dollar.

Starring Jesse Eisenberg and Kristen Stewart, 2015's "American Ultra" was budgeted for $28 million but only made around $27 million worldwide. Critics weren't wild about the film either, and did their very best to execute the stoner spy flick. But perhaps the haters were just too baked to fully comprehend what was happening onscreen. Directed by Nima Nourizadeh and written by Max Landis, "American Ultra" is one of the best relationship movies ever made — plus a whole lot of people get killed in really cool ways. 

The film follows a slacker named Mike (Eisenberg) who's wasting his life by working in a convenience store and constantly getting high. His girlfriend Phoebe (Stewart) totally realizes Mike is a bit of a loser, but she's crazy about him anyway, despite his downsides. And that's good news for Mike, because he's going to need all the support he can get when a team of assassins shows up on his doorstep.

Unbeknownst to an amnesiac Mike, he's the only remaining member of a secret government project, and now the CIA wants to tie up loose ends. But the bad guys aren't aware that Mike has recently been activated, and now he's able to kill anybody with any object he can get his hands on, even though he's still totally confused about what's happening. It's a blast watching Mike murder people with spoons and skillets, but the real highlight of the film is the relationship between Stewart and Eisenberg. So while the Bourne-style battles are loads of fun, the glue that holds this film together is the sweet and sexy chemistry between this cannabis-loving couple.

"Lost River" was Ryan Gosling's 2015 directorial debut, and critics didn't like it — in fact, they hated it. According to Entertainment Weekly, when the film played at Cannes, "Boos reportedly drowned out the applause." And admittedly, "Lost River" has its problems, but it's bold, chancy, and ambitious — qualities we all want to see coming out of Hollywood. If you're into beautifully surreal images, or if you just want to see an evil version of Doctor Who, then maybe this movie is right up your alley.

Starring Christina Hendricks, Ben Mendelsohn, and Saoirse Ronan, "Lost River" feels like a fairy tale, as it follows the plight of a small family surviving in a dystopian Detroit. Ultimately, what's so striking about the movie is the breathtaking imagery Gosling paints with his camera. We watch a flaming bicycle roll past the screen. A bloody Eva Mendes performs a macabre murder show. Matt Smith holds court atop his automobile throne. A boy sails onto a river full of half-submerged street lights.

It's pretty clear that Gosling has an eye for amazing visuals, and despite the vitriol hurled his way, "Lost River" is a worthy film for a first-time director, one that shows he might have a successful future if he ever steps behind the camera again.

Ana Lily Amirpour's second feature film, 2017's "The Bad Batch," feels like George Miller, Sergio Leone, and Alejandro Jodorowsky all met up one blisteringly hot day, dropped a lot of acid, and decided to make the bloodiest, most brutal, craziest post-apocalyptic western ever. Set in the future, "The Bad Batch" follows a young woman named Arlen (Suki Waterhouse) who's been exiled from the U.S. Condemned to wander the wastelands, she ends up as the main course for a group of bodybuilding cannibals. 

Even though she loses a few limbs, Arlen manages to escape her captors, and after a bit of bloodshed, she picks up a little girl played by Jayda Fink. Unfortunately, the kid's dad is Miami Man (Jason Momoa), cannibal king and artist extraordinaire who will do anything to find his missing daughter. In true Wild West fashion, Arlen and Miami Man eventually cross paths, along with The Dream (Keanu Reeves), a cult leader surrounded by an army of Uzi-packing pregnant women.

It's just as incredible as it sounds, and honestly, we have no clue how this flesh-fueled fever dream wound up with a 43% critical rating. "The Bad Batch" is a stark, disturbing throwback to '70s exploitation, one that's interested in ideas like who's evil, who's good, and what's in between. Plus there's the eclectic soundtrack, an unrecognizable Jim Carrey, and a disgusting dinner scene that would make Leatherface gag, making "The Bad Batch" one of the craziest, coolest sci-fi films of 2017.

Directed by Tony Scott, 1991's "The Last Boy Scout" had an infamously troubled production, largely thanks to the enormous number of rewrites that screenwriter Shane Black was forced to make. As a result, we're left with a movie that's messy, disjointed, and nowhere near as tight as "Lethal Weapon" or "The Nice Guys." But even though it's a bit jumbled, "The Last Boy Scout" is a fascinating slice of action cinema, a movie full of insane little moments involving car bombs, helicopter blades, and foul-mouthed cat puppets.

It starts off with one of the most compelling openings you'll ever see in an action movie, with a drug-addled football player pulling a pistol in the middle of a game. From there, we're introduced to our heroes — cynical private investigator Joe Hallenbeck (Bruce Willis) and has-been quarterback Jimmy Dix (Damon Wayans) — as they investigate the brutal murder of Dix's stripper girlfriend (Halle Berry).

As the duo dig deeper into the case, they uncover a plot involving gambling and the NFL, but what's really important here is that Shane Black's dialogue is still clever as ever and the dynamic between Willis and Wayans is crackling with frenemy energy. True, the movie has a bit of a problem when it comes to its female characters, but on the positive side, Taylor Negron shows up as one of the very best Shane Black villains, and we're treated to a scene in which Bruce Willis murders a dude with the palm of his own hand.

With a 38% approval rating on Rotten Tomatoes, "Anaconda" is generally considered pretty awful. For proof, just check out the reviews. Steve Newton of The Georgia Straight slammed the 1997 movie, writing, "Just to show, early on, how much danger [the characters] are in, we get to see the film's titular star squeeze a black panther so tight that one of its eyeballs pop out."

But this kind of stuff is what makes "Anaconda" so amazing. Sure, if you go into the movie expecting something classy, you might walk away disappointed. But if you're expecting the best B-movie ever, then you'll have the time of your life. It's the kind of movie where a guy falling from a waterfall gets snatched out of the air by a snake hanging from a tree branch.

What's better than that? Well, in addition to the killer creatures, there's Jon Voight, who's completely crazy as Paul Sarone, a madman who wants to capture a snake and chew up all the scenery in sight. Every one of his lines is an over-the-top gem, and he strangles somebody with his own legs before dousing Jennifer Lopez with a bucket of monkey blood. And if you're not convinced yet that "Anaconda" is worth your time, just know that Voight gives perhaps the greatest wink in cinematic history in a scene so epic that Roger Ebert wrote it would "be remembered wherever great movie exits are treasured."

Antoine Fuqua certainly knows how to film an action scene. For proof, look no further than "Shooter," a 2007 conspiracy thriller starring Mark Wahlberg as Marine Gunnery Sgt. Bob Lee Swagger. Years ago, he was left to die while running a covert mission in Africa, and now the disillusioned sniper spends his days in the mountains, hanging out with his (doomed) dog, reading about 9/11, and remembering a fallen comrade.

But when a shady government agent (Danny Glover) frames Swagger for an assassination he didn't commit, the sergeant grabs a rifle and goes on the run, hoping to teach the bad guys a thing or two about American values. Playing like a souped-up version of "Three Days of the Condor," "Shooter" is a bullet-riddled cornucopia of amazing action scenes. There's the opening African shootout, and then there's the wintry standoff atop a snow-covered mountain. There's a brutal black site showdown involving a terrifying death contraption, and of course, there's the mind-blowing (literally) farmhouse battle featuring liberal use of napalm, pipe bombs, and intense helicopter action.

Wahlberg is perfect as Swagger, completely inhabiting the role of a rogue American hero. In fact, the actor even went to boot camp and trained with an actual sniper to prepare for the part. It's also just a lot of fun watching Wahlberg go full MacGyver, improvising everything from his silencers to IVs. So just ignore that 48% on Rotten Tomatoes because, if nothing else, this movie has Michael Pena, and Michael Pena makes everything better.

Directed by Jon Favreau, 2011's "Cowboys & Aliens" has one of the most straightforward movie titles of all time. What you see is what you get: cowboys fighting aliens (with the help of some Apache warriors). You can imagine watching something like this being made in the 1950s, and Favreau manages to take the wacky premise and turn it into a rollicking good time.

The plot involves an outlaw (Daniel Craig) who wakes up in the wilderness one day with no clue who he is, how he got there, or why there's a metal bracelet on his arm. But that bracelet comes in handy when UFOs abduct the citizens of a nearby town. As it turns out, this hunk of metal is an otherworldly weapon, giving our outlaw an edge against the alien invaders. And in true western fashion, Craig must saddle up and ride out to rescue the missing townsfolk, accompanied by an enigmatic woman (Olivia Wilde) and a rival rancher (Harrison Ford).

Quite a few critics, however, were upset the movie took its silly plot so seriously. But really, that's why "Cowboys & Aliens" works so well. The movie never winks at you. It's not trying to be ironic. This is a straight-up Western where the bad guys just so happen to be from outer space, and because the movie treats the sci-fi sincerely, the film is far more engaging than if we were watching self-aware schlock. We also get to watch as James Bond and Han Solo team up to kill an alien. The creature design is great, the action scenes are intense (especially that first invasion scene), and it's fun to watch how these 19th-century characters react to the sci-fi elements.

"Snow White and the Huntsman" has been accused of being too dark, too long, and too boring, but while the film certainly has its flaws, it's worth watching for the visuals alone. Directed by Rupert Sanders, this dark, gritty fantasy has images on par with something you might see in a movie directed by Tarsem Singh or Guillermo del Toro. There's the moment when Snow White (Kristen Stewart) is fleeing down a misty beach and stumbles upon a beautiful white stallion, or the scene when Queen Ravenna (Charlize Theron) bathes herself in a milky brew, right after munching on a bird's heart.

With sequences like these, "Snow White and the Huntsman" is equal parts dreamland and nightmare fuel, and it doesn't hurt that Theron throws herself into playing the world's most evil witch, cranking up the volume and turning on the terror every time she walks on-screen.

Meanwhile, Stewart anchors the film with a much more realistic and empathetic performance, and even Chris Hemsworth steps up his acting game. While it would've been preferable if they'd used actual little people, the dwarfs are played by some of the very best British character actors — e.g. Bob Hoskins, Nick Frost, and Ian McShane — and they lighten things up every time they appear. Sure, it doesn't compare to the Walt Disney classic, but then it's not really trying to. This is a Snow White movie that's more about the dark side of fairy tales — the blood, the mud, the horror, and the wonder.

In between Stephen King adaptations, Frank Darabont decided to make a movie in the style of Frank Capra. The result was "The Majestic," a film so sweet and nostalgic that it's shocking to think the same director would later make "The Mist." But while that grisly creature feature is about as pessimistic as movies get, "The Majestic" believes in old-fashioned ideas like right vs. wrong and freedom of speech. While cynical critics felt it was "bloated" and "manipulative," it's actually a big-hearted throwback to movies like "Mr. Smith Goes to Washington."

The story follows Jim Carrey as Peter Appleton, a blacklisted screenwriter who get amnesia and winds up in a sleepy little town where he's mistaken for a long-lost World War II vet. Since he can't remember who he is or where he came from, Peter bonds with his new dad (Martin Landau) and a wary love interest (Laurie Holden). Eventually, Peter's memories come flooding back, threatening his new existence, and things get even more complicated when he's called upon to testify before the House Un-American Activities Committee. But in true Jimmy Stewart fashion, Peter rises to the occasion and delivers a rousing speech in defense of the right to say and believe whatever you want. 

Carrey is on the top of his game here, delivering a dramatic performance that's right up there with his roles in "The Truman Show" and "Eternal Sunshine of the Spotless Mind." "The Majestic" is an inspiring little film about patriotism, defending civil rights, and sticking up for the little man. In these contentious times, that's an incredibly relevant message.

Based on the 1998 Spanish film "Open Your Eyes," Cameron Crowe's fifth feature marks the spot where many believe he started losing his touch. For years, he'd impressed audiences with movies like "Jerry Maguire" and "Almost Famous," but after 2001's "Vanilla Sky" took a drubbing from critics, Crowe started making films like "Aloha" and "We Bought a Zoo."

But while it's true that Crowe's later output can't compare to his earlier work, it's unfair to blame "Vanilla Sky." Despite its reputation, this Tom Cruise vehicle is a massive mindbender with more layers than "Inception" and more twists than "Memento." Cruise really earns his paycheck here as David Ames, an ultra-rich playboy who has his life ripped apart and then starts losing his mind ... maybe. Cruise really sells David's growing fear and paranoia, and his relationships with Penelope Cruz and Cameron Diaz are masterfully done, highlighting two very different sides of the same man.

The movie is also filled with some pretty horrific images and genuinely disturbing moments, from bizarre bedroom bodyswaps to grotesque shots of Cruise's face (just watch the movie; you'll understand later). Then there's Kurt Russell, Tilda Swinton, and Noah Taylor shining in supporting performances. Plus, when you're watching that unsettling opening scene, remember that what you're seeing is real: Crowe actually shut down Times Square for this sequence, and you've got to give the director credit for having the guts to tick off a bunch of busy New Yorkers.

Ever wonder what would happen if Batman were to square off against Smaug? Well, are you in luck. Released in 2002, "Reign of Fire" finds Christian Bale teaming up with Matthew McConaughey and Gerard Butler to fight a legion of winged lizards. Doesn't that sound like the most incredible fantasy premise to ever grace the big screen? Most critics didn't see it that way, as the movie has a 40% approval rating on Rotten Tomatoes.

The bad reviews are baffling. Directed by Rob Bowman, "Reign of Fire" immerses viewers in a post-apocalyptic world of modern-day knights and fire-breathing dragons. A small ragtag band of survivors — led by Bale — have set up shop in a moody Northumberland castle, filled with wax candles and steampunk pipes. Forced to live in a world of fire, the survivors have created flame retardant suits and armored water trucks to extinguish beastly blazes. When it comes to technology, it's a clever mix of the Middle Ages and World War II, complete with falconers and field telephones.

Then there's bald Matthew McConaughey as a cigar-chomping dragon-slayer, a tatted-up commando with his own private army. And let's not forget the parachutists with 17-second life-spans who snare dragons with badass net guns. But while the scenery is shrouded in smoke and the world is covered in ash, the movie has a quirky sense of humor that offsets all the grit and grime. And true, the CG dragons occasionally look dated, but when the alpha male shows up in the end, we're willing to overlook any 2002 effects because we're so invested in this story of man vs. beast.

Set in the post-apocalypse, "The Book of Eli" plays like "Mad Max" meets "A Fistful of Dollars" meets the Gospel of John, and things only get crazier from there. It takes place in a world where moist towelettes are used as currency, people pay to charge their iPods, and the local saloons make their money selling water. It's a dusty and depressing world where those who can read hold all the power, and faith is more powerful than a loaded gun.

Directed by the Hughes brothers, this sci-fi Western follows Denzel Washington as Eli, a holy warrior wandering across what's left of the United States. Accompanied by a machete and Mila Kunis, Eli is carrying the last remaining copy of the King James Bible, and he hopes to get the holy book to a safe place on the coast. Unfortunately, a small-town dictator (Gary Oldman) wants the book for himself, knowing it can help him establish his evil empire. But instead of turning the other cheek, Eli is prepared to take eye for an eye to make sure the relic makes it safely across America.

In addition to some masterful action scenes, "The Book of Eli" is a powerful commentary on the power of religion. The movie admits that religion can be used for both good and evil, and it all depends on who's holding the Bible; it's also all about the power of the written word, and how books can shape entire civilizations. And it's kind of awesome to hear Denzel recite Scripture before beating a bunch of dudes to death.

Clint Eastwood has a strange track record when it comes to directing. On one hand, he's made amazing movies like "Unforgiven" and "Million Dollar Baby." On the other hand, he's made less-than-stellar films such as "J. Edgar" and "Jersey Boys." However, despite what critics say, the director's 2010 film, "Hereafter," sits solidly in the middle. It doesn't reach the heights of "The Outlaw Josey Wales," but it's far superior to something like "Space Cowboys."

Actually, "Hereafter" is an incredibly thoughtful film, a beautiful exploration of spirituality that you might not expect from the Man with No Name. Described by The Boston Globe as "'The Sixth Sense' for grown-ups or 'Crash' for the credulous," the film follows three separate storylines about desperate people searching for answers. There's the French journalist (Cecile de France) obsessed with the afterlife after a near-death experience. There's a young English boy (Frankie and George McLaren) trying to contact his dead twin. And then there's an American psychic (Matt Damon) who's gone into hiding because he can't stand the pain associated with his powers.

Eventually, the three characters cross paths in their quest to discover what happens after shuffling off this mortal coil, and while "Hereafter" doesn't necessarily have the answers, at least it's willing to consider the question. In addition to its heavy themes, the movie features several incredible sequences involving tsunamis and psychic readings, moments that are totally devastating for completely different reasons. "Hereafter" might have been savaged when it hit theaters for being too sentimental, but we're certain this film will manage to find cinematic life after its critical death.

When "The Ghost and the Darkness" roared into theaters, critics weren't exactly crazy about the R-rated safari adventure. Roger Ebert actually gave the movie less than one star, saying it "makes the Tarzan movies look subtle and realistic." But hey, if you want realistic, go watch "Out of Africa." If you want a bloodsoaked thriller in which Val Kilmer and Michael Douglas tag-team a couple of man-eating lions, it's time to hunt down this 1996 action flick.

Based on an incredible true story, "The Ghost and the Darkness" finds Kilmer playing Col. John Henry Patterson, a soldier brought into the African bush when two hungry cats start turning railroad employees into fast food. But there's something strange about these felines — it's almost like they're evil spirits in animal form, and if you're going to fight demons, then you just might need to team up with the devil himself, a.k.a. big game hunter Charles Remington (Douglas).

With a screenplay by the legendary William Goldman, the movie is filled with some heart-pounding set pieces, including a brutal hospital massacre and the world's creepiest cave. The film plays out like the African version of "Jaws," and while Steven Spielberg's film is an absolute masterpiece, "The Ghost and the Darkness" has enough thrills and chills to keep you glued to the screen ... or constantly checking over your shoulder to make sure your house cat doesn't get any ideas.

Based on the novel by Richard Matheson, "What Dreams May Come" stars Robin Williams in a movie about grief and death. Granted, watching it could be especially painful in light of the actor's own death in 2014. But instead of detracting from the film, Williams' story adds a whole new layer to this hopeful tale about what might happen after we die.

Drawing its name from Hamlet's immortal monologue, "What Dreams May Come" follows the spiritual journey of two soulmates, Chris (Williams) and his wife Annie (Annabella Sciorra). Life has not been kind to these two lovers: both of their children were killed in a car accident, and just four years later, Chris himself is shuffled off this mortal coil. Instead of vanishing into the void, he reemerges in a world of paint and dreams where he learns to accept his new existence. But when he learns Annie has killed herself and is lost in hell, Chris sets out to rescue her and bring her back to paradise.

Sadly, the film received mixed reviews from critics, who skewered the movie for its "insubstantial plot." But while it doesn't have the most complex story in the world, it has to be one of the most beautiful movies ever made. From its flowery heaven to its medieval underworld, we're given one magnificent living painting after another. Plus, Robin Williams will absolutely wreck you with one of the best dramatic performances of his career — in an otherworldly movie that may leave you feeling a little less fearful about what might be waiting for us all.

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Directed by Rod Lurie, "The Last Castle" is basically "The Shawshank Redemption," only instead of digging a tunnel, Andy Dufresne decides to lead a prison riot, and instead of Tim Robbins in the lead, we've got Hollywood legend Robert Redford, who'd last played a character behind bars over 20 years before in "Brubaker." This time around, Redford is playing Lt. Gen. Eugene Irwin, a decorated soldier who winds up in a military prison known as the Castle. This place is a modern-day fortress (it's strong enough to hold the Hulk), and unfortunately, it's led by a sadistic warden (James Gandolfini) who doesn't mind murdering inmates to keep things under control.

Naturally, this doesn't sit well with Irwin — a survivor of the Hanoi Hilton – and he begins instilling the convicts with a sense of pride, whipping them back into shape and reminding them they're soldiers. Soon, he's created his own army, and he plans on restoring some order to the Castle through any means necessary. Redford and Gandolfini are excellent here as an unstoppable force and an immovable object. They're two chess masters, each trying to outsmart the other in a game where pride, honor, and hope (not to mention human lives) are on the line.

When "The Mothman Prophecies" fluttered its way into theaters, quite a few critics tried their best to swat it down. But do you know who really liked this Richard Gere horror flick? The master of monsters himself, Guillermo del Toro. The guy behind modern-day classics like "Pan's Labyrinth" and "The Shape of Water," del Toro described himself to Fangoria (via Games Radar) as "a big fan" of the film. And sure, as the critical consensus on Rotten Tomatoes points out, the film "poses more questions than it answers," but that doesn't mean it won't make you nervous to step outside once the sun goes down.

Based on a rather questionable book by John Keel, the film follows Gere as a Washington Post reporter who discovers some creepy things happening in a West Virginia town. People are having disturbing dreams of impending doom, while others are receiving mysterious phone calls from supernatural beings. Plus there's a winged creature with red eyes flying around. It all combines to create — as pointed out by Entertainment Weekly – "a mood of hushed apocalyptic creepiness that earns comparisons to 'Don't Look Now.'" If you've seen that terrifying classic, — which features one of the best horror movie endings of the 20th century — you know it's quite a compliment.

Three years after "Ocean's Eleven," director Steven Soderbergh returned to the world of con men and crooks with 2004's "Ocean's Twelve." But evidently, critics weren't quite ready for a sequel. While the original sits with an 82% approval rating on Rotten Tomatoes, part two only has a measly 55%, making it the worst-reviewed entry of the original franchise. We're baffled by all the hate, as the sequel is a slick romp full of clever heists and witty banter.

After spending all their ill-gotten gains from the first film, Danny Ocean (George Clooney) and his merry band suddenly find themselves in serious debt when fleeced casino owner Terry Benedict (Andy Garcia) shows up at their doorsteps. Desperate for cash, the crew heads off to Europe, where they encounter a vengeful master thief (Vincent Cassel) and a savvy Europol detective (Catherine Zeta-Jones) who's got a lot of history with Brad Pitt's perpetually hungry Rusty Ryan.

Just like the first film, the chemistry between the crooks is absolutely hilarious, and the long-running jokes (Matt Damon worrying about his parents, Shaobo Qin's easily understood Mandarin, the ridiculous names for each con job) are still going strong. We've got a cat burglar dancing his way through a room full of lasers, and the gang goes so far as to lift an entire house so they can crack a safe. On top of all the criminally fun activity, the stormy, sexy relationship between Pitt and Zeta-Jones is the heart of the film. Granted, the big reveal at the end falls flat, but the movie is so entertaining that it's easy to overlook the weak climax.

With movies like "mother!" in his filmography, Darren Aronofsky is no stranger to controversy. But while he's sparked debate with movies about religious figures and drug addicts, none of his films have ever taken a critical beating like 2006's "The Fountain." The worst reviewed movie of his career, this psychedelic fantasy has a 52% approval rating on Rotten Tomatoes and bombed hard at the box office. It just goes to show that fortune doesn't always favor the bold, because Aronofsky's movie is nothing if not big, daring, and ambitious.

"The Fountain" feels like "2001: A Space Odyssey" smashed together with "The Seventh Seal," and it tries its best to hold its own against those classics. The movie is divided in three parts, with each segment focusing on an adventurer (Hugh Jackman) who's desperately trying to save the woman of his dreams (Rachel Weisz). One storyline takes place in the 16th century, one involves a modern-day cancer researcher, and one is set in space, with a Buddha-like Jackman traveling through the cosmos in a giant bubble.

As Jackman battles Mayan warriors and Weisz battles cancer, "The Fountain" revolves around mankind's never-ending quest to defeat death and live just a little bit longer. The performances are heartbreaking, the visuals are dreamlike, and as The Boston Globe put it, the whole thing is "a throwback to the visionary personal filmmaking of the 1960s and early '70s." So if you're looking for a movie about conquistadors, starstruck lovers, floating space monks, and the search of eternal life, visit "The Fountain."

Years before finding blockbuster success with "Thor: Ragnarok," Taika Waititi broke onto the scene with "Eagle vs. Shark," a 2007 film that feels like Jared Hess directed an episode of "Flight of the Conchords." But while it drew quite a few comparisons to "Napoleon Dynamite" – all of them negative – this New Zealand comedy has a lot more heart than its American counterpart.  

"Eagle vs. Shark" follows Lily (Loren Horsley), a lonely fast food worker who's smitten with a candle-making nerd named Jarrod (Jemaine Clement). After bonding over their shared love of predatory animals and video games, the two head off to Jarrod's hometown, where he plans on getting revenge on a childhood bully.

In true Waititi fashion, what starts off as a quirky comedy involving shark outfits and martial arts becomes a surprisingly moving story about grief, loneliness, and the need to belong. While it's Waititi's weakest film (after all, this is the guy who made "Hunt for the Wilderpeople" and "What We Do in the Shadows"), Clement and Horsley bring a lot of humanity to their quirky characters, creating an endearingly oddball couple who struggle to find romance, shuck off the past, and find the perfect animal costume.

Directed by Ben Stiller, 2013's "The Secret Life of Walter Mitty" is Hollywood's second crack at James Thurber's short story, and by far the most scenic. Eschewing your typical exotic locales, Stiller's film is set in some of the most beautifully spartan places in the world, including Iceland, Greenland, and Afghanistan. The film takes its viewers across the icy Atlantic, up the snowy Himalayas, and through vast stretches of wide open European nothingness. As our hero — the imaginative Walter Mitty (Stiller) — marvels at all the new sights and sounds, we can't help but get caught up in his wanderlust.

So what's Walter doing traveling the world? Well, when the movie opens, he's working as a negative assets manager at Life magazine, and when he's not pining away for his coworker (Kristen Wiig), he's dreaming up all sorts of imaginary ways to make his life more exciting. But while he's good at fantasizing crazy scenarios, Walter isn't the kind of guy who's ever going to leave his boring office job. Not until he loses a valuable negative, anyway — one that captures the "quintessence of life."

Desperate to find the photo, he travels across the world searching for the photographer (Sean Penn), and as a result, we get a film that's simple and sincere and far more than just travel inspo. It's a movie with a message, one that wants us to see the world, draw closer, find each other, and feel. After all, that's the purpose of life.

Combine "Rain Man" with "The Bourne Identity," and you get 2016's "The Accountant," a mathematical and murderous thriller that's admittedly messy but still a lot of fun. Directed by Gavin O'Connor, it follows an autistic accountant named Christian Wolff (Ben Affleck) who uses his savant skills to help big-time criminals like arms dealers and drug cartels. He's also pretty handy when it comes to beating up bad guys and blasting fools from incredible distances.

But just because he's working for the "scariest people on the planet," that doesn't mean Wolff is entirely evil. He's the kind of guy who'll help a down-on-their-luck couple outsmart the IRS, or protect a new friend (Anna Kendrick) when hitmen show up at her door, even as treasury agents try to track him down. He's also a dude with serious daddy issues, as his old man (Robert C. Treveiler) was an effective parent but never won the "Father of the Year" award.

Granted, the plot wanders a bit, and involves everything from a robotics company and family drama to revenge against the Mafia, but despite the script's meanderings — J.K. Simmons' character is pretty much pointless — "The Accountant" is an exciting, badass flick, one largely powered by Affleck's understated performance as a man who can multiply any numbers you give him ... and then murder you with his own belt. Plus, the movie has Jon Bernthal playing a snarky assassin, and you can't really ask for much more.

All due respect to director John Hillcoat — the filmmaker behind "The Proposition," "The Road," and "Lawless" — but when you watch "Triple 9," you're watching it for the cast. Everybody in Hollywood is in the movie. And we mean everyone, from Oscar winners like Kate Winslet and Casey Affleck to blockbuster stars like Gal Gadot and Anthony Mackie. There's the legendary Woody Harrelson, "that guy" character actor Clifton Collins Jr., plus TV stars like Aaron Paul, Norman Reedus, and Michael K. Williams.

Leading this incredible roster is Chiwetel Ejiofor as Michael Atwood, a criminal mastermind up against the Russian mob. After carrying out a bank heist for a backstabbing Mafia boss (Winslet, like you've never seen her before), Atwood and his gang are forced to pull off one last job in a nearly impregnable building. Knowing their lives are on the line — the place is crawling with guards, plus the Russians want results — Atwood and his thugs decide to go for a "Triple 9," which means killing a police officer to draw attention away from their upcoming robbery.

Of course, this causes a bit of tension in Atwood's crew, especially since two of his lackeys are crooked cops. As D-Day gets nearer, the airtight plan starts falling apart, and needless to say, a lot of people end up violently murdered. While it never reaches the levels of heist classics like "Heat," "Triple 9" still grabs hold and never lets go, largely thanks to its insanely talented cast.

Not only was the Vietnam War one of the most divisive conflicts in American history, but it was also very difficult to get proper refreshments in some parts of Vietnam. There's hope on the horizon, however, in the form of John "Chickie" Donohue (Zac Efron), a merchant marine living in New York. When he learns about a friend who's killed in action, he decides the best way to help his surviving buddies is to bring them a beer.

While you might think the hardest part of Chickie's plan is getting to Vietnam, you'd be mistaken. "The Greatest Beer Run Ever" tells the true story of how Chickie makes it into Vietnam with a duffle bag filled with cans of Pabst Blue Ribbon fairly easily, and with some help, gets to where he needs to go. Getting into Vietnam is a cakewalk, but actually finding his buddies on the battlefield, spread across the country, and then getting out — that's the trick. Eventually, Chickie accomplishes his mission and delivers beers to his buddies in their foxholes. 

Critics weren't as enthralled as audiences, amounting to a split between the two of 43% and 91% on Rotten Tomatoes. But while critics were happy to pass on the film, viewers found the story charming, exciting, and honest. The movie ultimately offers a surprisingly grounded story of friendship amidst the backdrop of a deadly and divisive conflict.

"Jackpot!" is set in a dystopian California, but not in the far future — more like a few years into the 2030s. Katie (Awkwafina) is a former child actor who struggles to find work. Having just returned to California, she's entirely ignorant of the Grand Lottery, but through a touch of happenstance and quasi-serendipity, she wins $3.6 billion. Unfortunately, what Katie doesn't know is that the lottery winner isn't the luckiest person in California.

That's because whoever wins the lottery must survive to the end of the day as everyone in the state tries to kill her. Whoever ends Katie's life wins her prize without having to fight for their lives. As her situation becomes painstakingly clear, she's saved by Noel Cassidy (John Cena), a lottery protection agent who offers to keep her alive for 10%. What follows is a series of over-the-top action mixed with inept would-be assassins hunting Katie to claim her prize.

"Jackpot!" didn't earn a generous critical response, but the important thing to know about the movie is that it doesn't try to take itself seriously. The film is more of a commentary on the corrupting nature of money, as it drives 99.99% of people to murder. On its face, however, "Jackpot!" is a fun movie with an arguably silly premise that works because it's more than the sum of its parts — it's a funny, entertaining film with a great cast.

The writing-directing team of Anthony and Joe Russo has helmed several high-profile films, including "Avengers: Endgame," "Captain America: Civil War," and others. In 2022, the brothers released "The Gray Man," which follows the CIA's most skilled agent, known as Sierra Six (Ryan Gosling), as he uncovers an agency conspiracy and earns a target on his back from a former associate, Lloyd Hansen (Chris Evans, cast as the bad guy after a decade as Captain America). 

The film admittedly has some pacing issues as it follows Sierra Six on his quest, but ultimately comes together via the kind of massive action sequences you'd expect to see from the directors of the last two "Avengers" epics. The film also has a packed cast that includes Ana de Armas, Billy Bob Thornton, and Alfre Woodard, to name a few.

Critics weren't especially kind to "The Gray Man," focusing on its derivative plot, but aren't most action movies derivative? Meanwhile, audiences loved "The Gray Man" because it does deliver a star-studded rollercoaster ride filled with incredible action sequences. None of the actors phone in their performances, and it's clear everyone involved wanted to produce a fun, action-packed movie, which is precisely what they did.

Hollywood has a long history of poorly adapting video games to the big screen. There are some outliers, of course, and the advent of CGI has improved some adaptations over the years. "Uncharted" is one of PlayStation's best exclusive franchises, and because the games are incredibly cinematic already, adapting them to the screen isn't as challenging as making a movie off a 2D side-scroller.

"Uncharted" is a rare gem of a video game movie that includes as much as possible from the franchise without going over the top. It's also shot in such a way that you don't need to have played any of the games to enjoy it — although you'll probably want to dive into them after you watch "Uncharted." The film follows Nathan "Nate" Drake (Tom Holland), who embarks on a quest to find his brother, Sam (Rudy Pankow), with the help of Victor "Sully" Sullivan (Mark Wahlberg). They land in some trouble, launching a series of grand set pieces and beautifully choreographed action sequences.

"Uncharted" is a fun, often thrilling action-adventure movie, but critics didn't see it that way. The film garnered a 44% rating on Rotten Tomatoes, considerably lower than the 89% audience response. The critics' consensus suggests that the film doesn't live up to the game's legacy, while falling short of similarly-themed adventure movies. But audiences enjoyed "Uncharted" because it is a proper adaptation of the game, and stands on its own as an excellent adventure movie.

Disney's penchant for producing live-action updates of its classic films has been hit or miss with fans. Some despise the House of Mouse for remaking classics, while others enjoy jumping back into their favorite stories with new actors or images. Remaking "The Lion King," with a cast of talking animals, wasn't as easy as hiring a bunch of actors, so Disney opted for CGI to recreate the story. "The Lion King" follows the same plot as the original 1994 release, though there are some story and song changes.

Still, if you sit down to watch the newly-released "Lion King," you're going to watch one of the most brilliantly animated movies ever made. The attention to detail regarding the nuances of animal movements, including the autonomic motions of ears, tails, and underlying muscles, makes the animals come to life on the screen. They may be animated, but they look incredibly real — despite their ability to talk, of course.

Audiences clearly accepted the remake because the film's Popcornmeter on Rotten Tomatoes sits at 88%. Conversely, critics weren't impressed, giving the film a rating of 51%. Critics appreciated the visual achievement of creating realistic animals but didn't love how the film retells a familiar story with few changes. On the other hand, "The Lion King" is more than a remake — it's an update to the original that uses modern technology to realize the story in a way it could never have achieved when the original animated film entered into production in the early 1990s.

While Hollywood's inability to make decent video game adaptations was on full display in 1993's "Super Mario Bros." – one of the worst movies ever made — that cannot be said of the franchise's latest offering. Three decades later, "The Super Mario Bros. Movie" managed to take over 40 years of video game content and combine it into a single film in a way that somehow doesn't make it feel narratively bloated or encumbered with lore.

"The Super Mario Bros. Movie" is an origin story that shows how Mario (Chris Pratt) and Luigi (Charlie Day) find their way to the Mushroom Kingdom to take on the evil Bowser (Jack Black). The story is straight out of a "Mario Bros." video game, but it doesn't stop there. The film throws in plenty from the "Donkey Kong" franchise and mixes it all into one consistent story that offers the best of what made and continues to make Nintendo special — its massive catalog of fun characters.

The film features plenty of Easter eggs and tropes from the franchise and is the kind of film everyone loves — except for critics, of course. They didn't like the film's plot, giving it a 59% on Rotten Tomatoes. Seeing as the Popcornmeter is at 95%, there's something of a disconnect there. The movie wasn't made for the critics; it was made for the fans, and that's also why it blew everyone away at the box office, with an eventual global box office haul of $1.36 billion.