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10 Times Movie Critics Were Horribly Wrong: Even Brendan Fraser's The Mummy Was Not Safe From Awful Reviews

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10 Times Movie Critics Were Horribly Wrong: Even Brendan Fraser's The Mummy Was Not Safe From Awful Reviews

Movies like Brendan Fraser’s The Mummy have proved that the harsh opinions of critics cannot be entirely trusted. The difference in opinion between critics and audiences may occur due to different factors. Some themes in films would pique the interest of movie lovers no matter what the critics say about its lack of originality. In other cases, performances deemed bad by the critics can turn out to be entertaining for audiences.

Branden Fraser and Rachel Weisz in The Mummy franchise

While critics score has the power to sway the box office results of a movie, here are 10 instances where the audiences did not pay attention to such critical opinions of movies.

10. Uncharted (2022)

Tom Holland as Nathan Drake in a still from Uncharted
Tom Holland as Nathan Drake in a still from Uncharted

Tom Holland and Mark Wahlberg led the action-adventure film Uncharted. Critics were not impressed with the video game adaptation, which echoed other superior adventure films. Owen Gleiberman of Variety best described the film as “Raiders of the Lost National Treasure of the Fast & Furious Caribbean”.

However, audiences found the film largely enjoyable. According to Box Office Mojo, the film grossed $407.1 million at the worldwide box office. A sequel is likely to happen in the franchise if Holland and Wahlberg return to their roles.

The film’s 40% rotten Tomatometer score and 90% audience score clearly indicate the difference of opinion among critics and audiences. Uncharted is now available for streaming on Hulu.

9. Bullet Train (2022)

Brad Pitt in Bullet Train
Brad Pitt in Bullet Train

Bullet Train went off the rails for several critics, who couldn’t help but notice the deeply derivative themes presented in style. THR‘s David Rooney called the film “soulless” and shared that the multitude of characters in the film gets “real tedious real fast”. The film also received criticism for the race-swapping of characters from the original novel Maria Beetle.

However, audiences seemed to enjoy the 2-hour ride, especially when it started streaming on Netflix. The film got decent returns from the box office with a gross collection of $239.3 million (via Box Office Mojo).

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Brad Pitt‘s film received a 54% critics score and a 76% audience score on Rotten Tomatoes. Bullet Train is now available for streaming on Netflix.

8. Saw (2004)

Cary Elwes in Saw
Cary Elwes in Saw

James Wan‘s Saw has since gone on to become a successful media franchise, but the genre was not a critic’s favorite at the time. The 50% critics score on Rotten Tomatoes was accompanied by the website’s consensus statement that read:

“Its lofty ambitions are undercut by a nihilistic streak that feels more mean than profound.”

The small-budget production however struck the right chords with its target audience. It grossed $103.9 million at the box office (via Box Office Mojo) and spawned several sequels.

Saw is now available for streaming on Starz.

7. Mamma Mia! (2008)

Amanda Seyfried in Mamma Mia!
Amanda Seyfried in Mamma Mia!

Mamma Mia! was dismissed by critics as being too campy, however, the musical managed to hook its target audience. The film’s inexperienced singers had some pretty catchy musical numbers to work with, which paid off with the audience eventually.

According to Box Office Mojo, the film collected $694.6 million at the box office. The film has a Tomatometer score of 55% and an audience score of 66% on Rotten Tomatoes.

Mamma Mia! is now available for streaming on Netflix.

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6. Step Up (2006)

Jenna Dewan and Channing Tatum in Step Up (2006)
Jenna Dewan and Channing Tatum in Step Up (2006)

Audiences loved to watch ex-couple Jenna Dewan and Channing Tatum dance in Step Up. However, nothing except the dance worked for critics in this film. Critics had some harsh words for the film that kick-started a dance movie franchise. Empire wrote in their review:

“It’s the usual case of great dancing, bad acting and even worse dialogue in this very guilty pleasure for fans of the genre.”

The film has a pretty low critics score on Rotten Tomatoes with 21%, but the audience score stood at an impressive 83%. The film spawned four sequel films and a television series. The film, made on a budget of $12 million, grossed $114.2 million at the box office (via Box Office Mojo).

Step Up is available for rent on AppleTV+.

5. Empire Records (1995)

Empire Records
Empire Records

Empire Records was largely dismissed as a silly and predictable teen drama. Starring the likes of Liv Tyler and Renée Zellweger, the film explored the lives of a group of record store employees. The critics weren’t the only ones who failed the film.

Audiences ignored the film completely in theaters, as it faced major box office losses after grossing just $303,841 at the box office (via The Numbers). However, the film became a cult hit and the lead stars went on to build successful Hollywood careers.

The rotten 31% critics score was a stark contrast from the impressive 83% audience score (via Rotten Tomatoes). Empire Records is now available for streaming on Paramount+.

4. National Treasure (2004)

Nicolas Cage in National Treasure
Nicolas Cage in National Treasure

Nicolas Cage plays historian Ben Gates who unveils clues buried in the history of the United States to find a treasure. Cage’s adventure was satisfactory for the audience, though the same could not be said for critics. One of the harshest comments for the movie read (via BBC):

“This movie couldn’t be more stale if it’d been dug up by archaeologists”

The film has a 46% critics score and a 76% audience score on Rotten Tomatoes. It became a box office success, garnering $347 million (via Box Office Mojo) and spawning a sequel film and a Disney+ series.

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National Treasure is now available for streaming on Disney+.

3. Constantine (2005)

Keanu Reeves in Constantine
Keanu Reeves in Constantine

Keanu Reeves as John Constantine was a nightmare for critics at the time. The DC Hellblazer was a blonde-haired British guy in the comics, but Reeves played a black-haired American version of the supernatural exorcist.

The critics gave a 46% rotten score for the film on Rotten Tomatoes, with the website consensus sharing that the film lacked focus despite its solid production values. However, the audience score for the film stood at 72%.

Box Office Mojo reported that the film collected $230.9 million worldwide against a budget of just under $100 million. The film achieved cult status in the years following its release and a sequel is currently in development.

Constantine is now available for rent on AppleTV+.

2. Venom (2018)

Tom Hardy as Eddie Brock in Venom
Tom Hardy as Eddie Brock in Venom

When Sony announced that Tom Hardy was playing the anti-hero Venom in a standalone movie, fans had no big expectations from the film. Topher Grace had already set the bar too low for the character with his performance in Spider-Man 3. However, Hardy managed to make the interaction between Eddie Brock and Venom more fun.

Critics were generally not happy with the half-decent attempt, with a major point of contention being the badly rushed second half. Variety‘s Owen Gleiberman criticized the film to be “unexciting in its ho-hum competence.”

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The film grossed a massive $856.1 million according to Box Office Mojo. The critics score for the film was 30% and the audience score stood at 80% (via Rotten Tomatoes). Venom is now available for streaming on Disney+.

1. The Mummy (1999)

Brendan Fraser as Rick O'Connell in The Mummy
Brendan Fraser as Rick O’Connell in The Mummy

Stephen Sommers’ The Mummy was not exactly a great movie. But the Indiana Jones-style filmmaking, the charming Brendan Fraser, and the chemistry between Fraser and Rachel Weisz made it one of the iconic films. The critics definitely rolled their eyes at the film, but Roger Ebert’s review perfectly summed up the film’s fate:

“I cannot argue for the script, the direction, the acting or even the mummy, but I can say that I was not bored and sometimes I was unreasonably pleased.”

The film was a commercial hit and grossed over $416.4 million at the box office (via The Numbers). The film spawned multiple sequels and spinoff films. According to Rotten Tomatoes, the critics score stood at a low 61% while the audience score stood at an impressive 75%.

The Mummy is now available for rent on AppleTV+.

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Movie Reviews

‘Balaramana Dinagalu’ review: A restrained look at the gangster mind

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‘Balaramana Dinagalu’ review: A restrained look at the gangster mind

In K M Chaitanya’s Aa Dinagalu (2007), actor Atul Kulkarni, playing gangster Agni Sreedhar, says man is the biggest weapon in the underworld. “The rest are just properties,” he adds. The yesteryear Kannada crime drama, based on the real incidents from a big chapter of the Bengaluru underworld, stood out for its understated storytelling.

In Balaramana Dinagalu, which has the skeleton of a sequel to Aa Dinagalu, weapons are seen in the first scene. As the film progresses, we encounter an arsenal of knives, razors, machetes, and guns — each an extension of the gangsters’ identities and an indispensable tool in their quest to remain feared and lethal. Chaitanya attempts to make the movie a mix of reality and entertaining tropes.

Balaramana Dinagalu (Kannada)

Director: K M Chaitanya

Cast: Vinod Prabhakar, Priya Anand, Atul Kulkarni, Ashish Vidyarthi, Ramesh Indira

Runtime: 151 minutes

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Storyline: Balarama, an ordinary young man from a remote village in Karnataka, becomes a dreaded gangster who rules Bengaluru

The director has roped in the same cast, who played the dreaded gangster trio of Kotwal Ramachandra (essayed by Sharath Lohitashwa), Jayaraj (Ashish Vidyarthi), and Agni Sreedhar (Atul) in Aa Dinagalu. That’s what makes one instantly curious about Balaramana Dinagalu. The only difference in the latest movie from the previous one is the fictionalised names of the real dons. Jayaraj becomes Jayaram, Sreedhar is Shashidhar, and Muthappa Rai is called Monnappa Rai (played by Ramesh Indira).

Even if these characters are the big draw in the movie, the plot revolves around the journey of Balarama, a character with a small yet significant presence in Aa Dinagalu. Vinod Prabhakar’s portrayal of the titular role is the film’s biggest takeaway. He makes us feel for the character, and is quite impressive in the final portions of the movie, where Balarama struggles to break free from the underworld’s trap.

Balaramana Dinagalu is impressive when it reflects the psychology of a gangster. Jayaram is shown helping the needy while Balarama urges young boys to focus on education. It’s as if these men who commit heinous acts, have a heart as well. Shashidhar is often called “intellectual gangster”, as the film reflects how the underworld fears well-read men in the field. Politicians and policemen, the supposedly the protectors of people being part of the crime nexus, strengthen the movie’s world-building.

The film falters in its inability to rise above the plot’s predictability. Balarama’s journey is no different from the often-seen life of an innocent man from a small town who becomes a gangster owing to uncontrollable circumstances. I wish the film had delved a bit more into Balaram’s personality. Why does he not resist becoming a gangster? What dreams did he have when he moved to Bengaluru from a small town?

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“My hands speak louder than my words,” says Balarama. This signals that he is someone who settles conflicts with fists rather than conversations. Despite this detail, Balaram’s entry into the underworld feels too sudden. The predictability strips the sheen away from the well-shot action sequences, as the result of every fight is known beforehand.

Chaitanya is careful not to glorify the act of violence. He wants to portray the negative effects of violence on the children in a family, as the movie ends with a hard-hitting frame. It’s impressive that the actor-director duo has delivered a non-hero-worshipping gangster saga.

That said, the movie could have benefited from a couple of gripping episodes. While it’s important not to romanticise the life of a gangster, there is no harm in delivering moments of peak tension, the biggest plus of the genre. 

The assassination of Jayaram, the impact of Kotwal’s elimination on the underworld, or the Sakleshpura incident involving Monnappa Rai, had the potential to offer edge-of-the-seat, high-stakes portions, but they are rushed. The love story is simple, but it lacks emotional intensity between the lead couple. Santhosh Narayanan’s dance numbers are forgettable (despite it being his forte) while his montage melodies are beautiful.

Balaramana Dinagalu adopts a restrained, almost clinical approach to the gangster genre. While that keeps it from glorifying violence, it also leaves the narrative feeling a touch too neat and emotionally muted.

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Balaramana Dinagalu is currently running in theatres

Published – June 28, 2026 07:58 pm IST

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Movie Reviews

A New Dawn Anime Film Review

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A New Dawn Anime Film Review

Perhaps there’s a certain irony in a story about a fireworks factory mostly keeping away from explosive drama. Yoshitoshi Shinomiya‘s lowkey feature directorial debut A New Dawn is at the very least visually captivating, comprised of lush and rather hypnotic production design. The story is small scale focusing on a trio of friends who try to save a fireworks factory in their hometown, but the imagery feels expansive and lush. A New Dawn begins with a beautiful and vaguely familiar display of this beauty: the flowing, painterly imagery of its opening sequence recalls Shinomiya’s work on the flashback sequence in Makoto Shinkai‘s your name., immediately showing that the film’s visuals might transcend its small town drama.

A background artist himself on films by Makoto Shinkai as well as the similarly resplendent Pompo: The Cinéphile, it makes sense that this history would be felt in the background works of A New Dawn. They’re dense with detail, rich with almost luminous color and illustrative texture. Shinomiya, who also wrote and storyboarded the film, veers away from the photorealism associated with someone like Shinkai through some impressionist touches – like the splotches of green paint which represent treelines – which sometimes turns into outright abstraction like when a character begins to run through the space. Sometimes there are swaying, morphing textures in the background as splotches of paint subtly shift around. On a more intimate level, the cluttered and characterful interior spaces tell a story too. This is a long-winded way of saying A New Dawn looks really, really good.

It’s not just in the tableaux of its countryside habitats and ramshackle living spaces carved out of abandoned warehouses, but there’s a sense of invention permeating through A New Dawn‘s various experiments with visual languages of animation. The most prominent is an incredibly charming stop motion animated sequence using a cardboard diorama and real human hands invading the shot in a creative reflection of a drunken character’s perspective. Even though it broadly still looks “anime” through its character design, there are also smaller details which work to set A New Dawn apart from its contemporaries, touches like its occasional lineless artwork or the way rain is defined through smudged black brushstrokes.

It’s in the screenwriting where A New Dawn begins to feel more run of the mill. Its story about the constant chasing of the majesty of a fabled firework “Shuhari” feels both familiar in its premise but also a little bit alienating in its structure. The importance of the firework itself never feels clear – the moment its mystery is unravelled hardly feels like a revelation as a result, something amplified by how the writing often obfuscates what anyone is talking about. The whole story feels a little distancing, and despite the allure of the background art and design of the spaces the characters inhabit, the people themselves feel constantly at arms length.

It almost pulls things back with its climax – the detonation of the “Shuhari” goes a long way in justifying the circular conversations about its nature and origins – a painted streak of light launches into the sky before turning into something otherworldly, suddenly tripling down on the film’s captivating exaggerations.

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Hollywood Pariah Kevin Spacey Opens in a Straight to Video Movie with 25 Producers, 1 Review, No Theaters, No Press – Showbiz411

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Hollywood Pariah Kevin Spacey Opens in a Straight to Video Movie with 25 Producers, 1 Review, No Theaters, No Press – Showbiz411
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As we know, Kevin Spacey is a pariah in Hollywood.

He’s in a rare club with Mel Gibson, Armie Hammer, Nate Parker, Jonathan Majors, and James Franco.

Spacey has managed to avoid jail time by reaching settlements with various accusers of sexual malfeasance, all men.

His film career — which included two Oscars and a Tony Award — has been destroyed.

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Spacey has been reduced to appearing in straight to video films, made for whatever reason the various producers involved know only to themselves.

On Friday, a new Spacey movie surfaced against its will, but not in theaters. It also went straight to video. “1780” is a period piece set during the Revolutionary War. Spacey plays a toothless Pennsylvania country trapper.

There is no rating on Rotten Tomatoes, largely because there is only one review. The review by Alan Ng of Film Threat is positive. Ng recently reviewed “World War Bigfoot,” which he also liked. He seems to specialize in reviewing films no one has heard of.

“1780” does boast 25 producers who will probably not see a return on their investment. But they can say they made a movie with Kevin Spacey.

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