Love it or hate it, the movie and TV review aggregator Rotten Tomatoes has become somewhat of a boogeyman in Hollywood, compiling both audience and critic opinions of a given title and evaluating its quality in a binary system as either "rotten" or "fresh." Often, the consensus among both regular movie-goers and critics is mostly unified, save for a small percentile difference on either side.

In the years since its inception, however, Rotten Tomatoes has played host to its fair share of divisive films, made evident through a misaligned gap between each demographic’s respective score. So, while critics' opinions often inform that of the general audience (and vice versa), films with divided Tomatometers like Venom and Us prove that in some cases, it’s best to agree to disagree.

15 'Don't Look Up' (2021) — 23% Divide

Directed by Adam McKay

The divisiveness in the discourse surrounding the allegorical satire Don’t Look Up was replicated in the Tomato-verse, where the Adam McKay film currently holds a 22% divide. While the sheer spectacle of Don’t Look Up’s cast may have won most audiences over (earning a 78% score), McKay’s heavy-handed and overly ambitious messaging was critiqued by reviewers with a 55% Tomatometer. It may not be the biggest Rotten Tomatoes gap, but it sure is significant.

Despite the debate (or maybe because of it), Don’t Look Up became one of the lowest-rated Best Picture Oscar nominees on Rotten Tomatoes, an occurrence that undoubtedly didn't surprise its naysayers. That's the thing about these kinds of satires: As long as their themes and sense of humor fit audiences' tastes, it all works out; but it's just as easy for people to find them off-putting.

14 'We're the Millers' (2013) — 28% Divide

Directed by Rawson Marshall Thurber

The comedic tale of a would-be drug dealer and his fake family found its star power in Jennifer Aniston and Jason Sudeikis, with enough zingy one-liners to compensate for a somewhat predictable third act. While audiences seemingly took comfort in We're the Millers' formulaic take on the road movie, giving it a 76%, the film’s inability to make better use of its comedic talent left something to be desired among critics, with a 48% Tomatometer to prove it.

In any case, Jennifer Aniston’s rightful place as America’s sweetheart remained intact among both audiences and critics alike. The problem with the movie doesn't lie in the jokes or the cast, just in the lazily plotted storyline and the way it sort of squanders whatever potential the star-studded cast had.

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13 'The Greatest Showman' (2017) — 29% Divide

Directed by Michael Gracey

Dazzling choreography and costume design were enough to win over general audiences in 2017's The Greatest Showman, only enhanced by energetic performances from the likes of Hugh Jackman, Zac Efron, and Zendaya. It's a feel-good tale of acceptance, with a few fun musical numbers thrown in for extra measure, which 86% of viewers loved. However, only 57% of critics were as approving.

While one of Hugh Jackman’s great performances was enjoyed by both demographics, some were displeased with the depiction of the historical figure he portrayed: P.T. Barnum, a less-than-ethical entertainer and businessman that engaged in lots of shady practices during the course of his career. The film’s inaccurate take on its real-life showman was largely debunked by critics, though audiences didn't seem to mind nearly as much.

12 'Sausage Party' (2016) — 32% Divide

Directed by Conrad Vernon and Greg Tiernan

Comedy is perhaps the most subjective movie genre. The kinds of humor that work for some may be entirely unappealing to others. So, when Seth Rogen’s anthropomorphized groceries came to life in Sausage Party, they left critics salivating at an 82% Tomatometer score, but audiences with a bad taste in their mouths at a 50% rating.

Acclaimed by cinephiles for its raucously profane gags and unexpected intellectual depth, the film faced harsher criticism by general movie-goers, who perhaps sought the kind of thoughtless fun promised by Rogen’s less abstract films. Perhaps, then, this polarizing supermarket comedy is best left on the shelf.

11 'Us' (2019) — 32% Divide

Directed by Jordan Peele

Perhaps it was the curse of the sophomore slump that steered audiences away from Jordan Peele’s Us. The follow-up to Get Out promised all the popcorn-friendly trappings of its predecessor, but Us' take on the home invasion genre may have been too subversive for horror-seeking movie-goers. They gave it a 61%, as opposed to critics' 93%.

The film's high concept was appreciated by cinephiles, who praised the film’s chess-like attention to detail and its particular comedic flair. Divisive as it might’ve been, critics and audiences found common ground in their equal appreciation of the award-worthy yet criminally snubbed lead performance by Lupita Nyong'o.

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10 'Passengers' (2016) — 33% Divide

Directed by Morten Tyldum

While neither demographic was particularly fond of Passengers (audiences only scored it a wanting 63%), critics seemingly had a harder time getting past the film’s problematic central premise (giving it 30% approval). For general movie-goers, Passengers' big-budget sets and the natural chemistry of its leads might have compensated for Chris Pratt’s concerningly flawed character.

Among more critical audiences, however, the protagonist’s decision to wake up Jennifer Lawrence’s character was almost universally panned. Many claimed that, through a simple change of perspective, Passengers could have achieved "Fresh" status. Frankly, this is a story that warrants a better-written remake, because its premise could make for a tantalizing psychological thriller.

9 'Noah' (2014) — 34% Divide

Directed by Darren Aronofsky

Darren Aronofsky has dipped his toes in all sorts of genres, including the Biblical epic, though he didn't really have as much success there as he had in others. His Noah stars Russell Crowe as the Biblical figure, a man chosen by God to undertake a momentous mission before an apocalyptic flood cleanses the world. Critics responded relatively well to the film, giving it a 75%, while less-receptive audiences earned it a score of 41%.

Arguably the strangest project of Aronofsky's career thus far, Noah was praised by most critics for its unique approach to the material and willingness to explore complex themes in quasi-surrealistic ways. But while critics found the film's weirdness to be a strength, viewers thought it made it absurd and confusing, brought down by an annoying sense of self-seriousness.

8 'Captain Marvel' (2019) — 34% Divide

Directed by Anna Boden and Ryan Fleck

A rare case in which the usually satisfying formula of a superhero film was lost on the general audience but lauded by critics, Captain Marvel will have a hard time recuperating from her lackluster debut. Unable to meet the expectations of its Marvel viewership, fans gave the movie a 45% rating, while critics went for a much more lenient 79%.

What was perceived as miscasting on one end of the spectrum was, among critics, considered a progressive move within a male-dominated genre. This infused Captain Marvel with enough cultural relevance to offset its clichés and stand on its own within the broader MCU canon, becoming a surprise box office hit.

7 'The Super Mario Bros. Movie' (2023) — 36% Divide

Directed by Aaron Horvath and Michael Jelenic

In a year that in many ways defined the future of video game movie adaptations, a lot of pressure was resting on the shoulders of The Super Mario Bros. Movie, Illlumination's attempt at translating the adventures of the iconic jumping plumber into the silver screen. While critics were indifferent to the result (giving it a 59% score), audiences and their impressive 95% score were much more receptive.

Colorful, breezily paced, and filled to the brim with Easter eggs that Nintendo fans were delighted to see, the film certainly earned its rightful place in the hearts of families around the world, even if critics found the writing way too hollow to enjoy.

6 'Spy Kids' (2001) — 46% Divide

Directed by Robert Rodriguez

Somewhat unprecedented for a film that includes life-sized animated thumbs and flashy CGI, Spy Kids was a surprise critical hit upon its initial release in 2001, receiving a glowing score of 93% among professional reviewers. Audiences, much more unimpressed, gave it a score of 47%. It's not the worst audience score Rotten Tomatoes has seen, but it's certainly nothing commendable, either.

While it was the film’s main strength among critics, Spy Kids' sheer absurdity was lost on general audiences. The Island of Lost Dreams, the first sequel, scored the franchise its second certified "Fresh" rating. However, the kids seemingly lost their mojo by the third film, which was later deemed "Rotten" by both critics and audiences.