Films often gain widespread popularity soon after their premiere in cinemas. They earn massive box office revenues, receive universal acclaim from critics worldwide, or secure Academy Awards that ensure their lasting impact. Fans may purchase related merchandise, don T-shirts bearing the film’s logo, or indulge in themed menus created to tie in with the movie.
Some movies need time to earn their legendary reputation. Critics and viewers often require several years, or even decades, to truly understand a film’s essence. It appears that certain film genres tend to receive less favorable reviews from critics compared to others. For example, in the 1980s, horror sequels, fantasy adventures, comic-book adaptations, broad comedies, and erotic thrillers were frequently judged as guilty until proven innocent by many critics.
Due to review compilation platforms such as Rotten Tomatoes, it’s now feasible to revisit some contemporary critic reviews and notice which films received a collective thumbs-down from critics on a movie that eventually grew into a beloved favorite. The following 12 movies, released in the 1980s, initially garnered negative ratings (a score of 59 or below out of 100) from Rotten Tomatoes’ reviewers but are now considered cult classics, if not ’80s masterpieces. Critics: Sometimes they get it wrong, but they certainly know a lot! (In truth, they know quite a bit! Yet, nobody’s infallible.)
80s Movies That Got Bad Reviews That Are Actually Good
Top Gun (1986)
Rotten Tomatoes Rating for Top Gun – 59
In 1986, the box office smash hit that catapulted Tom Cruise to superstardom was none other than the exhilarating movie about a man choosing to become a teacher – but not a critical darling of its time. Despite receiving more positive reviews in retrospect, Top Gun still holds a rotten rating on Rotten Tomatoes. Initially, critics panned it as all style and no substance. Today, however, it’s appreciated as an iconic ’80s film, a timeless cable movie favorite, and a fantastic representation of the cultural zeitgeist during the Reagan era.
Friday the 13th Part VI: Jason Lives (1986)
As a movie enthusiast, I’d say this:
“I found myself pleasantly surprised by the cleverness of Jason Lives. Decades before Scream, it already poked fun at slasher film tropes, with characters breaking the fourth wall and commenting on the predictable mistakes that lead to their untimely deaths. The majority of Friday the 13th movies are so poorly executed they’re accidentally hilarious. But Tom McLoughlin’s script for Jason Lives was genuinely witty.
It still manages to be scary, though. Unlike most Friday films set at a summer camp, Jason Lives introduced numerous little campers, which significantly increases the tension when Jason starts his rampage. And oh boy, that rampage is wild! He literally snaps one guy in half and throws another into a tree so hard it leaves an imprint of a smiley face on its bark. C.J. Graham did an outstanding job as Jason, with his stiff, robotic movements giving him an eerie, almost supernatural quality – like a zombie Terminator.
Outland (1981)
Title Score: 55 (Rotten Tomatoes)
A few years following the release of “Alien”, director Peter Hyams unveiled this space-western, evidently inspired by its sci-fi precursor’s stylistic elements. The two films seem to be set in distinct corners of the same fictional universe, characterized by ruthless, profit-driven corporations disregarding human life. While Hyams explores classic western motifs such as a new marshal arriving at a corrupt frontier post, he also delves into contemporary themes (for 1981 standards). The film is permeated with themes of surveillance, intercepted communications, and the ubiquitous—or perhaps invasive—screen presence of computers, creating an atmosphere of paranoia and technological overreach. To top it off, Frances Sternhagen portrays a doctor so grumpy she makes Bones McCoy appear as cheerful as Patch Adams. What’s not to appreciate?
Big Business (1988)
Title Score: 52
This initial directorial venture by Jim Abrams, known for his collaborative work on “Airplane!” and “Police Squad”, presents a delightfully exaggerated comedy. In this film, two sets of twins (portrayed by Bette Midler and Lily Tomlin) who were switched at birth live their lives unaware of each other’s existence until they meet in a New York City hotel. The narrative follows the “idiot plot”, a term coined by Roger Ebert to describe a story that could easily be resolved if characters communicated or explained situations to one another, but in this case, it’s so convoluted with numerous misunderstandings and identity mix-ups, it almost seems intelligent. Tomlin and Midler clearly enjoy the opportunity to deliver over-the-top performances in their dual roles.
Spaceballs (1987)
In a surprising turn of events, the movie “Spaceballs” received a PG rating despite its numerous crude humor and colorful language. This was fortunate for my childhood since my cautious parents allowed me to watch it at a young age. It quickly became my favorite film as a kid, surpassing even “Star Wars” in my affection. Though critics of the 1980s may have disapproved, I firmly believe that “Spaceballs” is not a poor movie.
The movie “Spaceballs,” with its profanity and jokes about butts, was rated PG, which enabled me to watch it at a young age. It became my favorite film as a kid, even surpassing “Star Wars.” Although some 1980s critics didn’t like it, I still think “Spaceballs” is a great movie.
Crimes of Passion (1984)
Initially met with controversy upon its theater debut, this provocative erotic thriller garnered a mediocre score of 50 on Rotten Tomatoes. However, over time, it has gained popularity due to an enthusiastic cult following and being added to the Criterion Channel. Despite its unexpected appearance on the prestigious streaming service, it is a fitting choice, thanks to Ken Russell’s daring direction and captivating performances by Kathleen Turner and Anthony Perkins. The plot is best experienced without prior knowledge; just prepare yourself for an intriguing, steamy adventure.
Road House (1989)
Title Rating: 44 (Rotten Tomatoes)
Initially, the original “Road House” was met with mockery by most critics, often used as a joke. However, over time, it has transformed into an extraordinary and unbelievable joke that has amassed a dedicated cult following of enthusiasts who can’t resist revisiting the chaotic Double Deuce bar and its unusually violent patrons. The film’s director, Rowdy Harrington, aimed to create a “cartoon” with exaggerated style, blending elements of the Western genre in a contemporary setting, filling a gap left by the absence of this genre and its stories about lone heroes taming lawless frontiers. While these influences help explain some of “Road House’s” bizarre decisions, they only scratch the surface. For instance, I don’t remember many Westerns featuring frontier heroes who are well-known to everyone they meet and can stitch their own wounds. Yet, Patrick Swayze’s character, Dalton, does just that, contributing to “Road House’s” quirky allure.
Ishtar (1987)
Rotten Tomatoes Rating: 40
In the 1980s, one of Hollywood’s most infamous flops was a comedic take on the Crosby-Hope Road pictures. Despite its troubled and expensive production that saw director Elaine May, producer/star Warren Beatty, and star Dustin Hoffman frequently clashing, it’s hard to pinpoint where the money spent on this movie, titled “Ishtar”, actually went. Critics who covered Ishtar’s chaotic production may not have been able to trace the funds, but what truly matters is Beatty and Hoffman’s exceptional comedic partnership as bumbling songwriters who stumble into the heart of a covert conflict over Middle Eastern control.
The 1980s saw one of Hollywood’s biggest bombs – a comedy resembling Crosby-Hope movies, titled “Ishtar”. Despite its complex and costly production, it’s unclear where the money went. However, what’s important is that stars Warren Beatty and Dustin Hoffman had great comedic timing as hapless songwriters caught in a Middle Eastern power struggle.
Dune (1984)
Despite its initial failure and David Lynch’s dissatisfaction with the final product (he even withdrew his name from certain scenes he disliked), Dune stands out as one of the most peculiar high-budget blockbusters ever produced in Hollywood. More bizarre, chaotic, and otherworldly than the more recent and acclaimed Denis Villeneuve adaptations, Lynch’s Dune is unique among sci-fi films for its genuine alien feel; as if it were created by a space creature just the right amount of “spiced up” to think, “Yeah, I can make a movie! This is how you do it!”
(Note: The phrase “pleasantly strange” was replaced with “bizarre, chaotic, and otherworldly”, and “almost nothing good to say about the finished product” was changed to “dissatisfaction with the final product”. Also, the last sentence was rephrased for clarity and emphasis.)
A View to a Kill (1985)
Title Rating: Rotten Tomatoes Score – 36
For decades, A View to a Kill, Roger Moore’s final Bond film, was often criticized as the worst in the franchise. Some of these criticisms seem ageist, implying that men in their 50s can’t find Grace Jones attractive. Come on! Was Roger Moore too old to portray the world’s greatest secret agent at 57? Perhaps, if A View to a Kill was meant to be a realistic portrayal of international espionage. But it wasn’t; by this point in the series, Bond bore little resemblance to a real spy, more akin to the cartoon character Danger Mouse.
However, Duran Duran provides an excellent theme song, and every scene featuring Christopher Walken as Zorin and Jones as his henchwoman May Day is a small gem. Even in late middle age, Moore exudes an air of enjoyment, savior of the world and baker of quiches for beautiful young women. Moore was the ideal choice for this Bond, a light-hearted adventure about a globetrotting action grandfather. Unlike most Bond films that cater to boys’ desires, A View to a Kill feels like an older man’s fantasy, and a rather good one. That’s probably why I find myself enjoying it more each time I watch it.
Family Business (1989)
Title Score: 35 (Rotten Tomatoes)
The unconventional choice of Sean Connery, Dustin Hoffman, and Matthew Broderick to portray three generations of a family might seem outlandish, yet the film “Family Business” is generally well-received as a family crime drama. Director Sidney Lumet meticulously captures the nuances of New York City life, often criticized for being a dull craftsman by some cinephiles. Personally, I appreciate his camera work, particularly in the lengthy scenes during the Irish wake in “Family Business,” where the mourners sing “Danny Boy.”
Long shots tracking through the crowd effectively convey the main characters’ relationships without relying on dialogue. Lumet’s style is not flashy by design, as his films focus on ordinary individuals, such as low-level criminals, police officers, and lawyers. He portrayed these characters truthfully, mirroring their everyday lives in his stories.
Conan the Destroyer (1984)
Title Rating: 29 (out of 100)
Initially, it seems that “Conan the Destroyer” received a less favorable reception than it truly merits – both from critics and viewers. This could be due to the fact that fans of the dark, violent original were not prepared for a sequel that bore more resemblance to a lively Marvel comic book adaptation. When judged independently of its predecessor, however, I believe “Conan the Destroyer” holds up quite well. The action sequences are solid, the fantasy elements are enjoyable (the story was conceived by two long-time Conan comic book writers), and the humor is genuinely amusing. Schwarzenegger’s portrayal of a drunken character stands out as particularly noteworthy. It’s hard to argue that “Destroyer” deserves the lowest rating on Rotten Tomatoes among the 12 films in this collection.
90s Movies That Got Bad Reviews That Are Actually Good
Twin Peaks: Fire Walk With Me (1992)
The Rotten Tomatoes rating for David Lynch’s Twin Peaks prequel, Fire Walk With Me, is only 65 points. However, this score doesn’t truly reflect its quality as most recent reviews on the platform are favorable. Initially, when it was released in 1992, the film was largely panned by critics and audiences alike. It was met with boos at its Cannes Film Festival premiere, underperformed in theaters, and was often seen as a misstep following the success of the initial Twin Peaks season. Over time, ardent David Lynch enthusiasts have championed Fire Walk With Me, asserting that its dark portrayal of Laura Palmer’s final days is crucial for understanding the TV series and potentially even Lynch’s entire career. In 1992, many viewers found it too enigmatic and strange.
The Naked Gun 2 1/2 and Naked Gun 33 1/3 (1991, 1994)
The initial “The Naked Gun” received generally favorable reviews, albeit for a broad, silly comedy genre which critics often find hard to appreciate. However, the sequels received mixed to negative feedback. Interestingly, critics seem to underestimate not only the original films but also their sequels in this genre. Now, do “The Smell of Fear” or “The Final Insult” match the humor of the first “The Naked Gun”? No, they don’t. But that doesn’t mean they’re poor productions. In fact, “The Naked Gun” might be the most consistently funny comedy series ever made. It seems there’s some truth to the saying: movie comedies and critics don’t always go hand in hand, much like consuming Drano – it may clean you out, but leaves you feeling empty inside.
The Quick and the Dead (1995)
G.I. Jane (1997)
Sudden Death (1995)
Sudden Death – A Noteworthy Knockoff of Die Hard
In the ’90s, numerous movies attempted to mimic the success of Die Hard. It’s understandable that such blatant imitations might be dismissed as unoriginal. However, every once in a while, a film can be so skillfully made that it surpasses its predictable foundation. This is true for Sudden Death, a movie where Jean-Clude Van Damme attempted to replicate the John McClane character in a Die Hard-style storyline set during an NHL playoff game.
The film is self-aware, offers thrilling action sequences, and even incorporates the phrase “sudden death” into its plot, with characters using it casually while suggesting that they might meet a sudden, tragic end. This clever twist alone earns it my approval.
MouseHunt (1997)
Title Score: 44
By the 2010s, Gore Verbinski had amassed a dedicated fanbase among cinephiles who appreciated his diverse blockbusters such as The Ring, Rango, and the Pirates of the Caribbean series. However, Verbinski’s quirky directorial debut, MouseHunt, has yet to receive the same level of acclaim – perhaps because, similar to The Naked Gun, it is a film filled with physical comedy. This movie follows the tale of two brothers (portrayed by Nathan Lane and Lee Evans) as they endeavor to capture a mischievous mouse causing havoc in their ancestral home. With hilarious slapstick humor and advanced visual effects, the film feels like a live-action Looney Tunes cartoon, and Verbinski delivers his usual level of technical finesse. If you haven’t watched it yet, give MouseHunt a try.
Alien 3 (1992)
As a fan who appreciates the artistry behind films, I can’t help but admit that even though director David Fincher himself wasn’t pleased with the end result, “Alien 3” remains a captivating watch. Despite being made under challenging circumstances, it left such a lasting impression on Fincher that he chose to distance himself from the series. However, the film’s grim portrayal of a woman entangled within a suffocating corporate system, complete with a terrifying xenomorph, carries an undeniable artistic imprint that is distinctly Fincher’s.
Tommy Boy (1995)
In the ’90s, Saturday Night Live was met with a fair amount of skepticism from TV critics and even harsher criticism from film critics when its stars moved to the big screen. While some Saturday Night Live films (and comedies featuring ’90s SNL stars) were less than stellar, there were also many that were genuinely humorous. One such example is Tommy Boy, a hilarious movie that served as an excellent showcase for Chris Farley, who played the heir to a brake-pad manufacturing company who had to go on a sales trip to save his family’s business with the help of a slick co-worker (David Spade). It’s hard to imagine giving a negative review to Tommy Boy. It’s like saying “Tommy wants wings!” – I just don’t know how.
Last Action Hero (1993)
Title Score: 42 (Rotten Tomatoes)
Initially overshadowed by the massive success of Jurassic Park, which premiered a week prior and became the top film of 1993, Last Action Hero has since fallen into obscurity. However, it’s worth revisiting this blockbuster. It’s not every day you come across such an introspective action movie, penned by Shane Black who humorously critiques the high-octane films that made him wealthy, and Schwarzenegger questioning his own on-screen persona as both character Jack Slater and Arnold Schwarzenegger, the actor portraying Slater. In a captivating scene, even his fictional counterpart is encountered. The film’s child sidekick may not be as strong as the one in Terminator 2, but the satire and parody trailers are spot-on.
Last Action Hero, released in 1993, was overshadowed by Jurassic Park at the box office but deserves a second look due to its unique self-critical perspective. Writer Shane Black pokes fun at action movies that made him rich, while Schwarzenegger questions his on-screen persona as both character Jack Slater and himself. The film has some weaker elements compared to Terminator 2, but the satire and parody trailers are well done.
Guilty as Sin (1993)
Title Score: 38
Sidney Lumet, renowned for his gritty New York crime dramas and socially-conscious films, and Larry Cohen, master of exploitation, might seem an unlikely pair. Yet, they successfully collaborated in the film “Guilty as Sin“. Cohen introduces a clever concept, a reverse version of “Basic Instinct“, where a female lawyer becomes attracted to the prime suspect in the murder of his wife. Lumet largely maintains a straightforward approach and allows his actors to guide the narrative. Interestingly, he transforms the entire film into a platform for Don Johnson’s portrayal of an ultimate playboy, providing plenty of humor as one of the most infuriating characters ever seen on screen. (In one scene, a woman offers to buy him a drink at a bar. He refuses her offer, suggests she pay for the drink he already has, and then promptly abandons her with his empty glass and the bill.) The 90s’ wave of erotic thrillers didn’t receive much critical acclaim, often deservedly so. However, “Guilty as Sin” is a delightfully wicked gem.
Congo (1995)
In a previous analysis, I delved into the comedic attempt to mimic the success of Jurassic Park through the adaptation of another Michael Crichton novel, Congo. The film’s screenplay, penned by John Patrick Shanley, maintains a light-hearted approach, leading to a deliberately absurd thriller with moments of sincere emotion. (Tim Curry’s reaction to the Lost City of Zinj is one such moment!) Congo, undeniably, is a B-movie masterpiece—it’s nothing but B-movie gold.
Dirty Work (1998)
Title Score: 14 (Rotten Tomatoes – “Dirty Work”)
Despite never fully receiving the recognition he deserved during his lifetime, Norm Macdonald’s comedic talent was undeniable. His termination from Saturday Night Live seemingly due to being too amusing, he went on to create a wealth of quality content across various platforms until his passing in 2021. One such project, his foray into cinema as a leading man, received a less-than-impressive rating of 14 on Rotten Tomatoes. This film is “Dirty Work,” where Norm portrays a character who establishes a business specializing in revenge, alongside his friend (Artie Lange). Directed by another underappreciated ’90s star, Bob Saget, “Dirty Work” lacks a compelling narrative and contains some questionable humor. However, it is consistently laugh-out-loud funny, far funnier than many of the critically acclaimed comedies of the era. Norm’s performance is excellent in this film, albeit his wardrobe choices are quite peculiar – why are his shirts so oversized? Reminder to self: Re-watch “Dirty Work” this weekend.
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2025-06-04 16:57