Some movies are so-bad-they’re-good. Some are just bad. But there’s a third category I keep coming back to: films that get panned by critics and audiences alike, but then turn out to be far better than their reputation suggests. Having watched thousands of titles under the so-bad-it’s-good banner, I’ve made a habit of seeking out the ones everyone wrote off. In doing so, I’ve both unearthed hidden gems and also confirmed that the crowd often gets it right.
These ten films all became infamous for being “bad.” Some suffered from poor timing, others needed to be viewed through a different lens. None of them are masterpieces, and most still have real faults, but they don’t deserve their reputations. If you skipped them, give them another look. They aren’t great. They’re just a lot better than you were told.
‘Mars Attacks’ (1996)
Seeing Mars Attacks in theaters was quite the experience, with my younger brain thinking it was an awful movie; when you remember something being horrible as a kid, it is often insultingly bad as an adult. Yet Tim Burton’s box office flop (and one of his most maligned works) is charming if you place it within the era of cinema he was paying homage to. Burton enjoys cheesy movies, which was already evident from when he adapted the story of director Ed Wood in 1994. This is proven even further by the fact that Burton is also attached to direct the upcoming remake of 1958’s Attack of the Fifty-Foot Woman. Mars Attacks celebrates that same era and its aesthetic very well.
Mars Attacks is essentially a B-grade schlock fest with a budget, but that was its intent in the first place. It’s silly, dumb, shiny, and bloated to create a one-of-a-kind spectacle, which I would argue Burton nailed. Also, the cast is highly entertaining, with a wide swathe of actors hamming it up to capture that sort of overwrought, dramatic but valueless vibe that dominated early sci-fi and horror. It isn’t among Burton’s best, but it’s much better than the hate suggests.
‘Return to Silent Hill’ (2025)
I have been a huge fan of the Silent Hill games since the second one terrified me as a teen. Yet unlike Resident Evil, I always knew that the franchise would never really get a competent remake. Silent Hill falls into the metaphysical horror niche, a genre that seldom makes a convincing jump to the screen. Plus, there are very high expectations from gamers who love the property; I had friends who were not even willing to give it a chance in theaters.
Return to Silent Hill isn’t a great video game adaptation, and it isn’t quite a great horror film either. However, French director Christophe Gans, who also directed the 2006 movie, brings a very ‘European art house’ approach to the franchise, giving it a unique visual presence. The CGI in the film is the same quality as in 2006, but for me, it’s oddly nostalgic, since I was a fan of the original adaptation despite its flaws. The movie is a visual mess with unnecessarily abstract plotlines, but it is wholly unique and has moments of visual flair and frightening sequences that work well; it is more a 2.5/5 than a 0/5, but most viewers would make it out to be the latter.
‘The Fanatic’ (2019)
The Fanatic got dragged by the public. Fred Durst’s directorial film debut starred John Travolta, and both men were confident they had crafted an Oscar-worthy movie (Durst’s actions behind the scenes, including obsessive public behavior toward various female celebrities and an awkward press tour, certainly did not help). The movie follows Moose, a man with mental health issues, who lives in Hollywood and is starstruck by the stars of classic genre movies. When one of his favorite action stars (Hunter Dunbar) goes to a signing, and Moose does not get a rare item signed, it sends him on a mission that escalates with each encounter with Dunbar.
There is a difference between bad acting and misguided acting, which I stand by as a major misunderstanding here. Travolta’s Moose is awkward and uncomfortable to watch because of who he is, but the veteran actor really commits to the role, making much of the film engaging. You will cheer for him, up to a point, as he is just a movie nerd who doesn’t understand social cues and is a bit slow. The direction is rough in spots, but the film is competently constructed and worth a look.
‘The Beaver’ (2011)
Jodie Foster’s The Beaver could not have come at a worse time. Mel Gibson was the hot seat over leaked audio and, for a period, was persona non grata in Hollywood. It did not help that the film’s tone was geared more towards an indie crowd and asked viewers to buy into a sympathetic portrayal of a struggling father. Specifically, Mel Gibson plays Walter Black, a troubled husband and executive who adopts a beaver puppet to work through his feelings.
The dark comedy did not mesh well with Gibson’s image at the time, and many were quick to disregard its premise and his involvement; The Beaver never stood a chance, as people were quick to dismiss it as horrible and misguided before it was even released. There are undeniable elements that just don’t work, but at its core, The Beaver is a thoughtful film with real things to say about depression and the masks people wear. Gibson also gives one of the most committed performances of his career, and Jodie Foster’s direction is sharp. With some distance from the controversy softening the focus around Gibson, The Beaver is a competent, well-acted drama about a family struggling with a depressed father.
‘Waterworld’ (1995)
Waterworld was one of the most expensive movies ever made at the time of its release, in part due to various reported disasters. While it is hard to believe now, there was once a stronger sentiment against Hollywood excess, and the film was seen as an embarrassing money pit. It is no surprise, then, that the movie flopped at the box office (though it made its money back on home video).
The pacing of Waterworld can be tedious, but that is the only major drawback. The money that went into the project comes through, delivering a grimy, lived-in post-apocalyptic world that puts Hollywood CGI snoozefests to shame. Kevin Costner’s reluctant mutant drifter is the ideal protagonist to navigate the world, while Dennis Hopper is enjoyably robust and over-the-top. It is a solid middle-of-the-road action/adventure movie; it’s not perfect, but Waterworld does not deserve the reputation it still has.
‘Southland Tales’ (2006)
After Donnie Darko became a cult phenomenon, Richard Kelly was given a much bigger budget and creative freedom on his next project, Southland Tales. The result certainly confounded audiences with its non-linear blend of sci-fi, political satire, musicals, and time travel. This could not save it from critique despite the phenomenal cast that included The Rock, Seann William Scott, Sarah Michelle Gellar, and Justin Timberlake, to name a few. Southland Tales even got booed at Cannes.
Southland Tales isn’t totally coherent, but there’s a lot to admire in its ambition and willingness to be as weird as possible. A young director with a budget and total freedom will never be bad, as even if there are mistakes, it almost always turns out to be something unique within the Hollywood system. Also, some sequences work particularly well, with Timberlake’s drugged-out narration throughout his segments being genuinely intriguing and entertaining.
‘Freddy Got Fingered’ (2001)
Anti-comedy is a niche unto itself, and not everyone is going to vibe with the comedic styling of people like Andy Kaufman, Tim Heidecker, Eric Wareheim, Nathan Fielder, Tim Robinson, etc. There is certainly a larger audience for that brand of humor now than there once was. Truthfully, Freddy Got Fingered just caught everyone off guard, as they expected a very different movie from the Canadian comedian than what they got. It was a purposely bad comedy movie making fun of comedy films of the MTV era.
Freddy Got Fingered is not meant to make the viewer laugh as much as it is to make them question why they are watching it in the first place. It is meta, and while I don’t fault those who still find it insufferable, with the right crowd, it will be appreciated. The movie has been reassessed since its debut, which ended Tom Green’s directorial ambitions.
‘The Beach Bum’ (2019)
Director Harmony Korine was never really fit for the mainstream, and while his first major theatrical movie, Spring Breakers, did get some love, the follow-up, The Beach Bum, did not. Here, Matthew McConaughey plays a perpetually stoned poet named Moondog drifting through the Florida Keys and living life on his terms. There is little in the way of conflict, and instead, the viewer kind of flows along with Moondog.
For fans of the actor, The Beach Bum is the most McConaughey-like performance the actor has ever given, with the movie focused solely on his character, devoid of a moral tale, major conflict, or genre trappings. Snoop Dogg, Zac Efron, and an unhinged Martin Lawrence also help add to the movie’s vibes. It’s not for everyone. Harmony Korine’s Gummo is one of my favorite films, so I bring some grace to this one (fair warning). Regardless, it is not nearly as bad as it was first made out to be, as long as you approach it for the vibes and a charismatic Matthew McConaughey.
‘Morbius’ (2022)
No, no, I am not trolling, though I certainly loved those “Morbin’ Time” memes. Morbius is not a good superhero film, but it is certainly not as awful as people made it out to be, specifically comparing it to Kraven and Madame Web. Notably, fans who liked those rough-around-the-edges superhero flicks of the 90s will find the beats here enjoyable.
There are some plot holes, and Jared Leto is a bit static, but you can feel how much Matt Smith had a blast stepping into the role of the villain. The effects are inconsistent, but there are some cool moments, including the smoke effects. I know that in an alternative timeline where this came out alongside Blade in 1998, adult me would feel similar nostalgia for this imperfect Marvel flick. Morbius feels more like a relic of superhero films, which gives it enough appeal to warrant a watch; it is not the utter failure it was made out to be.
‘Speed Racer’ (2008)
The trailer for Speed Racer was headache-inducing. Early reviews and audience feedback also stated it was as overwhelming and garish as it looked. Coming off of the original Matrix trilogy, The Wachowskis hyperkinetic and bright family-friendly Speed Racer (on a property whose bankability was questionable) did not connect with audiences and was a box office bomb.
However, time has been kind to Speed Racer. Looking back, it stands as one of the most unique films of its decade. Notably, the Wachowskis translated anime kineticism into live action a decade before anyone else tried, layering races with swirling color, impossible camera moves, and split-screen editing. The cast brings genuine cartoon charm, anchored by Emile Hirsch’s earnest lead, a warm John Goodman, and Susan Sarandon. Roger Allam also makes a delightful villain. Michael Giacchino’s score is also among the best of the 2000s. Speed Racer borders on great, and certainly didn’t deserve the public lashing it got.
There are many movies that people are quick to label awful, and everyone has their own experiences of being charmed by a film that everyone else disliked. So, let us know in the comments what movies you think the audiences and critics got wrong when they called them bad.
This story originally appeared on Movieweb
