One man’s trash is another man’s treasure—or in this case, one Disney fan’s favorite film is another reviewer’s reason to rage online. Even some of the most iconic animated classics haven’t escaped the wrath of one-star reviews, with critics calling out everything from plot holes to questionable character choices.

Think you can see past the roasting and still recognize the movies? From timeless favorites to a few you might have forgotten, these brutally honest reviews put your memory of Disney movies to the test.

Take the quiz below and see if you can get a perfect score by matching each scathing review to the right film:

How did you do? Whether your own Disney rankings lined up with the one-star reviews or led you completely astray, there are plenty more quizzes to test your knowledge. Share this one with your friends and see if they can beat your score!

Box Office Bummers

Some Disney movies don’t just get roasted in one-star reviews—they also struggled to find an audience when they first hit theaters. While a few of these films have since earned cult followings, their initial box office runs tell a very different story.

Atlantis: The Lost Empire (2001) follows Milo on an adventure to uncover the sunken city, standing out for its bold visual style and action-packed approach. But when it came out, it didn’t quite catch on with audiences—especially with major competition at the time, including Shrek (2001).

The film ultimately didn’t perform as Disney had hoped, and its disappointing returns led to canceled plans for follow-ups and related projects as well as an estimated $54 million loss at the box office. What’s interesting, though, is how its reputation has shifted over time. Today, Atlantis is often revisited as an underrated gem, with fans appreciating its animation and nostalgic appeal. 

Meanwhile, The Black Cauldron (1985) aimed to bring a darker, fantasy-driven story to Disney animation, following a group of unlikely allies as they set out to stop the evil Horned King, with elements pulled from Welsh mythology. Based on The Chronicles of Prydain, the film underwent major changes during production, including cuts that impacted its final story and pacing.

As the first animated film to feature Dolby sound and early computerized animation, it pushed into new territory, but that didn’t translate into success at the box office. The film struggled to connect with fans and ended up as one of the studio’s more notable financial disappointments, bringing in just $21 million—less than half of its $44 million budget. Still, it holds a unique place in Disney history and has gained a second life among viewers who value its moody atmosphere and departure from typical Disney formulas.

Clearly, not every Disney film was destined for success. But that just makes these one-star reviews all the more fun to decode.

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By PAYTON McCARTY-SIMAS

Starring Lili Reinhart, Lola Tung and Victoria Pedretti
Directed by Meredith Alloway
Written by Lily Houghton Meredith Alloway
IFC/Shudder

When we’re first introduced to Pumpkin (Lola Tung), the new-girl lead of Meredith Alloway’s pop-witchy debut feature, FORBIDDEN FRUITS, she’s holding a sample tray of knockoff Auntie Anne’s pretzel bites. Anyone who’s ever been to a mall can practically smell them through the screen: a blast of pure sugar, thick dough and hot grease. This suburban staple is overwhelmingly sweet and full of delicious, comfortingly familiar empty calories. As you get older, it’s likely you can’t eat this kind of high-calorie food court snack anymore; those yummy bombs of gluten and fat sit heavy in your stomach, and their one-note flavor no longer satisfies. But as a tween, they’re heavenly. Arguing about the merits of Auntie Anne’s, then, is a little beside the point. I doubt you could find someone who hates a cinnamon sugar pretzel. Really, you either like ‘em or you don’t. But at one point, I bet you probably did.

FORBIDDEN FRUITS is like that, too. This movie is, in essence, a Y2K mall-stalgic rerun of The Craft and Mean Girls, pure and simple, with dashes of catty confections like  Jawbreakers and The Devil Wears Prada thrown in. It’s produced by Jennifer’s Body scribe Diablo Cody, and Alloway has cloned her signature style of wittily ratatat, long-acrylic-nails-on-a-keyboard dialogue with eerie, devotional precision. For younger viewers looking for more of this kind of film (fans of Scream Queens, for example), FORBIDDEN FRUITS will likely be a light, gossipy sugar rush. Older viewers nostalgic for this particular flavor of Teavana tea will almost certainly feel the same way.

On a technical level, this movie is admittedly in need of, like, a major makeover. Unlike the glittery Claire ’s-a-like charm bracelets its protagonists take as their talismans, FORBIDDEN FRUITS certainly isn’t pretty to look at, even on the unabashedly kitschy terms it openly embraces. While the props and costumes shine like the rhinestones the characters drop like acid, the shooting style is bizarrely perfunctory for such a surface-loving genre. The color grading is the same grey sludge that’s vexed audiences for years, a fact made more actively infuriating by the lovingly pastel teen-girl source material being drawn upon here. 

Its plotting is similarly paper-thin, its twists as obviously, blaringly signposted as the path from Sephora to Forever 21 on a mall directory. YOU ARE HERE: A Free People clone at a mall in Texas. Three young, fabulously dressed women, all named after fruits, run it like a private kingdom, using witchcraft to keep their (fr)enemies in line and their hair looking fabulous. Pumpkin, their latest She’s All That-style project, ingratiates herself with the resident queen bee, Apple (a note-perfectly bitchy Lili Reinhart), only to sew drama in the coven. Spells are cast, Olive Gardens are visited, butterfly clips are traded, gossip and one-liners are hurled – and blood is eventually spilled. On Wednesdays, we secretly fuck guys in sporting goods changing rooms. You get it.

If this stock plot appeals, you’ll have a lot of fun with FORBIDDEN FRUITS. If it doesn’t, skip it. Highlights include Victoria Pedretti as Cherry, the Bubbles to Apple’s Blossom, who brings more soul to her sweet, simple Southern belle with a troubled past than she has to. Alexandra Shipp is game as Fig, the ambitious one who just wants to go to grad school and maybe even text her love interest in words instead of the emojis Apple mandates for all boy-related interaction. The soundtrack is appropriately bitchin’. Most of the jokes land with a pleasantly chummy wink. As a witch movie (a subject I’ve personally spent years investigating), there’s not a lot going on here. “Our magic isn’t some WitchTok ripoff fluffy bunny bullshit,” Cherry tells Pumpkin during her initiation ceremony. It is. But it’s still a pleasure to see women playing in this particular teen-girl-black-comedy garden. As Apple puts it, “Women who don’t have a garden won’t grow. What did that one bitch say? ‘A room of one’s own’?”

See FORBIDDEN FRUITS in limited theaters beginning March 27.

The bustling street scenes and seaside images that open and are interspersed throughout Annemarie Jacir’s Palestine 36 are not period-movie re-creations. They are real archival images shot by the British occupying forces at the time and that the filmmaker restored and colorized for this movie. An intriguing way to get around budgetary limitations, perhaps, but also a subtle rebuke to the idea that Palestine was sitting barren and uninhabited before the creation of Israel and its supposed blooming of the desert. The whole movie could be seen as an attempt to push back against some common historical misconceptions. The title says it all: We hear so much about 1948 — whether one thinks of it as the post-WWII establishment of Israel, or the Nakba (“catastrophe”), as it’s known to Palestinians — that the crucial period before it is often ignored.

Jacir’s absorbing film takes place during the 1936–39 Arab revolt, which was a response to British rule and the colonial authority’s partnership with newly arriving Jewish refugees from Europe. Indeed, the British are the primary villains here, favoring the newcomers and regularly humiliating the Arabs; the Jewish settlers go mostly unseen save for some archival footage showing them arriving on ships. The locals at first regard the newcomers with curiosity, but soon rumors spread of settlers arming themselves, burning villages, and taking jobs away from workers. Caught between town and country is Yusuf (Karim Daoud Anaya), a young well-educated villager who takes a job in Jerusalem working for Amir (Dhafer L’Abidine), a wealthy businessman and publisher who often entertains British officials at his parties. At night, Yusuf goes back to his village, where his family is regularly brutalized by the local authorities, led by the snarling protomillenarian Captain Wingate (played by Robert Aramayo, whom some will recognize as the young actor who scored an upset win at the BAFTAs last month for I Swear).

As the gentle Yusuf, Anaya doesn’t quite have the charisma to pull off such a passive character. He spends much of the film observing, and his initial inaction is supposed to be frustrating — but we can’t quite read curiosity or compassion or fear or much of anything in his eyes. Even when he eventually joins the resistance, we can’t get a handle on the character, largely because he hasn’t been given much shading or dimensionality; his expression barely changes throughout. The supporting cast, which includes such legends as Saleh Bakri and Hiam Abbass, is tremendous, but in a way their presence highlights Yusuf’s inadequacy as a protagonist. We spend more time wondering about them than we do about him. Jeremy Irons shows up as General Arthur Wauchope, Britain’s notorious high commissioner for Palestine, who oversaw the collective punishment of Arabs during the revolt and the massive transfer of land to the settlers, and he makes a perfectly smug, patronizing official, pretending to appease both sides while clearly favoring one.

Palestine 36 offers an interesting and valuable perspective on a relatively unknown period in history, though I wish it wasn’t so thinly spread out. Jacir wants to show a cross section of people’s responses to these events, but the result often feels like scattershot scenes from a longer miniseries, flitting from one character to another with little narrative thrust or cohesion. This results not just in a dilution of the drama, but it also leads to confusion: When the narrative picks certain characters back up, we may have forgotten who they were. And the decision not to show the Jewish settlers, while understandable — Jacir wants to focus on the Arabs’ struggle against the British, who were the prime movers behind the events of 1936 — feels like a misstep. Not for reasons of both-siderism but because by consigning the other side to the shadows, the director undermines her thesis: The film posits (accurately) that the British were manipulating and exploiting these settlers and playing them off the Palestinians, but because we never see the settlers, we never actually see this process in action.

Palestine 36 is worth seeing, but it also feels like a compromised work. Jacir, the talented filmmaker behind Salt of This Sea (2008) and When I Saw You (2012), had to ditch many of her locations after October 7 and the ensuing war in Gaza. Something similar happened to Cherien Dabis and her excellent epic Palestinian drama, All That’s Left of You, which premiered at Sundance last year. There’s something to be said for the persistence of these artists in grinding through and realizing such elaborate historical films in the face of enormous, unforeseen, catastrophic logistical challenges. At a time when our movies feel as though they’re getting smaller and more meaningless, it’s refreshing to see works of such sweep and ambition, whatever their flaws may be.