By Ali Teske
Thread 4
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No harsher line has been drawn than between renowned critic Roger Ebert's fiery opinions about movies that audiences adored and deemed classics, genre-definers, and pop culture icons. In writing his critical thoughts about fan-favorite movies he hated, Ebert eviscerated Oscar-winners, quotable comedies, adaptations, and more, sparing no genre. He refused to give movies a pass because he enjoyed the filmmaker's previous work or adored the breakout performances from certain stars. Ebert remained brutally objective, seeing some films more than once to make sure he hadn't missed the point.
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In the era of newspaper review sections, Ebert's comments would often determine if the readers would head to the box office, wait for home viewing, or skip a movie altogether. In the case of these movies, his negative take didn't dissuade viewers from falling in love with the twists, over-the-top comedy, or horrific violence. These titles are deemed "fan-favorites" for a reason because, while critics (including Ebert) may have missed the memo, audiences are staunch defenders of the narratives and the elicit reactions to the movie-going experience each movie provided.
10 'Happy Gilmore' (1996)
Directed by Dennis Dugan
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Ebert called this sports comedy classic "the latest in the dumber and dumbest sweepstakes." Happy Gilmore is one of Adam Sandler's most memorable comedies about a young wanna-be hockey player who takes his heavy-handed swing to golf, hoping to win enough tournament money to pay off his grandmother's back taxes to the IRS. In his one-and-a-half star review, Ebert called Sandler's antics "tiring," labeling the titular character "a violent sociopath."
"'Happy Gilmore' is filled with so many plugs it looks like a product placement sampler in search of a movie."
This is one of the many Sandler features built specifically for his audiences, who find every charade, tirade, and bit hysterical, while those seeking a narrative-fueled movie infused with comedy tend to turn away. Audiences know what to expect with Sandler's name attached to the project, but for Ebert, reviewing Happy Gilmore was an occupational hazard.
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Happy Gilmore
9 'Napoleon Dynamite' (2004)
Directed by Jared Hess
This awkward indie classic may have won over fans but had no place in Ebert's canon of what he deemed "good movies." Napoleon Dynamite is a teen comedy about the inept titular high schooler (Jon Heder) as he escapes his chaotic home life by befriending the new kid, Pedro (Efren Ramirez), and launching a campaign to elect Pedro class president. Ebert gave the inevitable cult classic one-and-a-half stars while he explained his distaste for Napoleon: "I certainly don't like him, but then the movie makes no attempt to make him likeable."
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"Truth is, it doesn't even try to be a comedy. It tells his story and we are supposed to laugh because we find humor the movie pretends it doesn't know about."
Ebert dissected the comedy genre into two means of producing laughter, because the audience feels superior to the characters or because the audience likes and/or pities them; the former being the main strategy of Adam Sandler movies, which Ebert disliked. Napoleon Dynamite fell into neither category for the brutally honest critic, finding no entertainment in the outlandish Uncle Rico (Jon Gries) or the internet escapades of Kip (Aaron Ruell). Ebert's parting hot take was that the film's positive reception at the Sundance Film Festival was merely a peer-pressured response to look cool watching a film he felt was anything but.
Napoleon Dynamite
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8 'Raising Arizona' (1987)
Directed by Joel Coen & Ethan Coen
A movie he deemed all over the map made by filmmakers he respected, Raising Arizona left Ebert struggling with its blatant separation from reality and inability to set expectations that comedy would allow it to break later. The Coen Brothers movie stars Nicolas Cage as an ex-con and Holly Hunter as an ex-cop who, after marrying, realize they are unable to have a baby of their own. The pair kidnap a baby from a family who recently had quintuplets, which sets off a chain reaction of events and inquiries that make raising their new son all the more complicated.
"Here's a movie that stretches out every moment for more than it's worth, until even the moments of inspiration seem forced. Since the basic idea of the movie is a good one and there are talented people in the cast, what we have here is a film shot down by its own forced and mannered style."
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Ebert's one-and-a-half-star review took issue with more than just the film's structure, but also the dialogue style he called "distracting and unconvincing." In his opinion, the movie was slowed down by not only the strange narrations, but its inability to show restraint to allow the comedy of the premise to naturally entertain audiences instead of slipping into unbelievabilty.
Raising Arizona
7 'The Usual Suspects' (1995)
Directed by Bryan Singer
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Even after two screenings, Ebert still wasn't impressed with The Usual Suspects. The Oscar-winning movie earned only one-and-a-half stars in addition to winding up on his Most Hated List. After a multi-million dollar heist goes south, Verbal Kint (Kevin Spacey) recounts the lead-up, describing to federal agents how the enigmatic drug lord, Keyser Soze, recruited Kint and four others (Gabriel Byrne, Stephen Baldwin, Benicio Del Toro, and Kevin Pollak) for the job. Ebert first screened the film at the Sundance Film Festival but chalked up initial thoughts to having seen too many movies in one day.
"...so when I went to see it again in July, I came armed with a notepad and a determination not to let crucial plot points slip by me. Once again, my comprehension began to slip, and finally I wrote down: 'To the degree that I do understand, I don't care.' It was, however, somewhat reassuring at the end of the movie to discover that I had, after all, understood everything I was intended to understand."
Despite the critical acclaim the red herring film earned, Ebert preferred "to be amazed by motivation, not manipulation." The ending twist in The Usual Suspects has continued its mind-blowing landing for decades; however, Ebert's outlying opinion preferred a linear crime narrative instead of the juicy reversal first-time viewers are still dazzled by today.
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The Usual Suspects
6 'Armageddon' (1998)
Directed by Michael Bay
In a wild departure from logic and science, Armageddon wound up on Ebert's Most Hated List with its zero-star rating. The movie features an A-list cast led by Bruce Willis who stars as an oil drilling expert tasked with drilling a hole in an asteroid the size of Texas to explode and dismantle it before its impact destroys Earth. Ebert's scathing review warned that if the movie delivered on the promise from the movie posters to "obliterate your senses," then "consider it a mercy killing."
"Take almost any 30 seconds at random, and you'd have a TV ad. The movie is an assault on the eyes, the ears, the brain, common sense and the human desire to be entertained. No matter what they're charging to get in, it's worth more to get out."
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The audience reviews and reception of the film was quite the opposite of Ebert's critical consensus-leading review. Armageddon features the trifecta for fans who want an action-packed diaster movie directed by Michael Bay with Bruce Willis leading the way, making it easy to ignore the plot holes and scientific inconsistencies. For Ebert, there were too many "dramatic" platitudes and one-liners, making it the film, "loud, ugly, and fragmented."
Armageddon
PG-13
Action
Adventure
Sci-Fi
Thriller
Where to Watch
*Availability in US
- Release Date
- July 1, 1998
- Director
- Michael Bay
- Cast
- Bruce Willis , Billy Bob Thornton , Liv Tyler , Ben Affleck , Will Patton , Peter Stormare , Keith David , Steve Buscemi
5 'Fast Times at Ridgemont High' (1982)
Directed by Amy Heckerling
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Ebert called this teen comedy cult classic a "scuz-pit of a movie." Fast Times at Ridgemont High is a decade-defining film about a group of high school students who, through interweaving narratives, navigate the complexities of relationships, sex, and drugs. Despite his distaste for the movie, Ebert acknowledged the solid acting from its young cast, including Sean Penn's breakout performance as the stoner surfer Jeff Spicoli. He credited the cast for "struggl[ing] valiantly" as they "walk a tightrope between comedy and sexploitation."
"The whole movie is a failure of taste, tone, and nerve -- the waste of a good cast on erratic, offensive material that hasn't been thought through, or maybe even thought about."
Even with Ebert's one-star harsh criticism of the movie, including calling it sexist during one rant, Fast Times at Ridgemont High remains a staple in the genre, laying tropes and character foundations used over four decades later. One thing the critic made abundantly clear is that he wasn't against vulgarity in comedies, providing examples of where it worked, like National Lampoon's Animal House, but tone is the key to delivering a rip-roaring film, something Fast Times writers failed to do in his opinion.
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Fast Times At Ridgemont High
4 'Zoolander' (2001)
Directed by Ben Stiller
The opening line of Ebert's one-star review offered Zoolander as a reason why the United States is hated in parts of the world. He wasted no time shredding the Ben Stiller-directed film for the narrative of a male fashion model, Derek Zoolander (Stiller) being brainwashed into murdering a prime minister who opposes child labor. With the understanding movies are a form of escapism, Ebert stuck to his opinion that movies joking about matters like this would never be deemed funny if it were reversed and a U.S. politician was the target (remember the backlash of The Interview?).
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"A serious political drama would be one thing, but why take such an offensive shot in a silly comedy?...The movie is a satirical jab at the fashion industry, and there are points scored, and some good stuff involving Stiller and Owen Wilson, who play the world's two top male models--funny in itself."
Zoolander is the subject of some of pop culture's quotable moments, and is considered by audiences as an outlandish comedy worth overlooking what Ebert deemed poor taste. There's a clear divisive line drawn between fans of the film for not taking itself too seriously and the Pulitzer Prize-winning critic who felt the premise needed to be taken seriously or not done at all.
Zoolander
3 'Kick-Ass' (2010)
Directed by Matthew Vaughn
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Where other critics and comic audiences hailed this superhero film, Ebert found it "morally reprehensible" and was not interested in understanding the world in which moviegoers inhabited who enjoyed Kick-Ass. The R-rated dark comedy is the story of an introverted teenage comic book fan, David Lizewski (Aaron Taylor-Johnson), who one day dons a cape and costume, becoming a superhero, and one who lacks any sort of special powers. Ebert was saddened by the film's approach to graphic violence inflicted upon and by both teenagers and adults, concerned about how it would come across to much younger viewers who would no doubt see it.
"This movie regards human beings like video-game targets. Kill one, and you score. They're dead, you win. When kids in the age range of this movie's home video audience are shooting one another every day in America, that kind of stops being funny."
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His one-star review was unwilling to give Kick-Ass the pass that other critics and viewers gave it, questioning just what exactly it was supposed to be satirizing. While the cast, including Nicolas Cage, Chloë Grace Moretz, and Mark Strong, was a draw, the premise took a backseat to the visually appealing design and high-energy pacing of the bloody violence. It was deemed a superhero movie of the real world, but its roots in reality were something Ebert refused to commend.
Kick-Ass
2 'Hellraiser' (1987)
Directed by Clive Barker
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In a divisive hot take that horror audiences staunchly disagree with, Ebert awarded Hellraiser a half-star rating, dubbing it one of the worst horror movies of all time. The body horror feature follows Frank (Sean Chapman) and his violent supernatural end, accidental resurrection, and campaign to consume flesh to revitalize his body and escape the underworld. Ebert's befuddled review couldn't wrap his mind around how Stephen King called the film and its director "the future of horror."
"What fun is it watching the movie mark time until the characters discover the obvious? This is a movie without wit, style or reason, and the true horror is that actors were made to portray, and technicians to realize, its bankruptcy of imagination."
Hellraiser is "a movie without wit, style or reason" in Ebert's eyes, despite audiences' awe of the special effects and unique world view. Horror movies find their niche audiences, with viewers often needing no existential explanations or reasoning for why the terrifying events on onscreen take place. Searching for that explanation with Hellraiser, Ebert failed to understand why moviegoers and genre audiences went to see a movie like this one.
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Hellraiser
1 'Police Academy' (1984)
Directed by Hugh Wilson
Ebert's zero star, thumbs down opinion of the satrical Police Academy was downright criminal to loyal fans of the franchise. The Airplane!-inspired comedy takes audiences through an open call for police academy recruits, the standards of practice go out the window, forming a class of future officers like no other. Ebert felt the film suffered from an identity crisis and misunderstood the entire point of satirizing the institution, a complete missed opportunity making it one of the worst comedies of all time.
"It's really something. It's so bad, maybe you should pool your money and draw straws and send one of the guys off to rent it so that in the future, whenever you think you're sitting through a bad comedy, he could shake his head, and chuckle tolerantly, and explain that you don't know what bad is."
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Police Academy is a movie Ebert called "the pits of the genre," as it failed to produce comedic twists or palpable punch lines. While the genre contains a roster of movies that pull off the stupid comedy shtick, the critic consensus on this satire was not a positive one. Audiences adored the Police Academy for its simplicity as an enjoyable mindless watch that allowed viewers to travel through nostalgia to a much different time in cinema.
Police Academy
NEXT: The 10 Worst Superhero Movies of All Time, According to Roger Ebert
- Movie
- Roger Ebert
- Napoleon Dynamite
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