# 10 Best Netflix Original Movies Critics Were Wrong About

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When choosing your next movie on Netflix, Rotten Tomatoes might seem like a holy guide. If you see a green spot indicating less than 50%, you’ll likely skip it. On the other hand, a detailed critical consensus feels unquestionable truth. However, film criticism, although enlightening, is influenced by trends, assumptions, and institutional bias – particularly in genre films, teen romances, actor-centric productions, and innovative projects. The critical consensus isn’t infallible; it serves as a foundation. And sometimes, the tomatoes fail to capture the movie’s essence entirely.

Several movies listed here received harsh criticism upon their initial release, but they struck a chord with viewers in ways that statistical analysis sometimes fails to capture. They’ve become memorable through iconic scenes, unexpected emotional impact, or simple entertainment value. These ten Netflix successes are worth revisiting, as it appears the critics may have missed the mark. The streaming numbers, loyal fanbases, and subsequent reevaluations support this notion.

10
‘The Kissing Booth’ (2018)

When The Kissing Booth first came out, it seemed like a reflection of Netflix’s developing teenage-like tendency for algorithmic choices. Directed by Vince Marcello and adapted from a Wattpad novel, this teen rom-com tells the story of Elle (played by Joey King), an eccentric high school junior who develops feelings for her best friend’s older brother, the brooding and extraordinarily tall Noah (Jacob Elordi, in his pre-Euphoria phase). Critics criticized the film for its outdated gender dynamics, repetitive storytelling, and excessive portrayal of the “bad boy” stereotype – all valid points. On Rotten Tomatoes, it has a low score of 17%, with reviews summarizing it as “an unoriginal teen romance”. However, while critics saw it as a marketing strategy, teenagers saw something different: a raw, hormonal understanding in a movie that didn’t pretend to be more intelligent than them.

Teen Horniness Is Not a Plot Hole

As a film enthusiast, one of the key factors that made “The Kissing Booth” connect – and still resonate with its dedicated fanbase – is its raw, unpolished charm that sets it apart from most studio teen productions. Joey King’s portrayal exudes an effervescent authenticity that pierces through the film’s more cheesy moments, while Jacob Elordi’s quiet turmoil hinted at deeper troubles brewing beneath the surface. The movie encapsulates a brand of high school melodrama that feels awkwardly genuine, like revisiting old diary entries with tears and smudged eyeliner in the corners – emotions that are embarrassingly true yet familiar.

Looking back, it’s less about promoting harmful tropes and more about illustrating how effortlessly young people can be drawn into them. And the viewership statistics don’t lie; sometimes, what strikes a chord is exactly what remains unresolved, hormonal, and somewhat naive – just like being sixteen.

9
‘The Ridiculous 6’ (2015)

Critics didn’t merely disapprove of The Ridiculous 6, they considered it as harmful to cinema as malware. Directed by Frank Coraci and produced by Adam Sandler’s Happy Madison Productions, this Western parody stars Sandler as Tommy “White Knife” Stockburn, a man raised by Native Americans who reconnects with his half-brothers (portrayed by Terry Crews, Jorge Garcia, Rob Schneider, Taylor Lautner, and Luke Wilson) for a flimsy treasure hunt. The movie was heavily criticized for being sloppy, offensive, and utterly unfunny. It received a 0% rating on Rotten Tomatoes, with critics labeling it as a compilation of “juvenile jokes and worn-out stereotypes” disguised as satire. At that point, it seemed like a practical joke Netflix played on its own streaming service.

The Art of Throwing Spaghetti at the Wall

Beneath the layer of crude humor and off-color jokes lies an unexpected resilience – not due to the movie being hiddenly excellent, but rather as a reflection of a style of comedy that persists. The cast is remarkably talented, with Taylor Lautner’s portrayal of an unintelligent, acrobatic character showing such dedication it borders on artistry. Like many Adam Sandler productions, the magic lies in loyalty: to the actors, to the jokes, and to a mindset where friends can create odd, mediocre films while still receiving generous paychecks. Critics might have overlooked this, as The Ridiculous 6 wasn’t intended for their approval. Instead, it was crafted to play automatically, to entertain people lounging on sofas, and to be shared in group chats by teenagers who haven’t yet encountered publications like The New Yorker. At times, lowbrow humor succeeds – because it never strived for more.

8
‘Bright’ (2017)

David Ayer’s movie titled Bright represented Netflix’s initial major foray into blockbuster territory, featuring Will Smith and Joel Edgerton as an unusual police duo – a human and orc partnership – in a depiction of Los Angeles where elves wear high-end Prada and racial undertones are shielded by bulletproof vests. The film’s reception was harshly negative. Critics criticized it as “tone-deaf,” “messy,” and “a confused mix of fantasy and action,” garnering a 26% rating on Rotten Tomatoes. Its endeavor to intertwine mythological genre elements with contemporary racial issues was deemed awkward and self-important by critics, who saw it as an ill-conceived combination of Tolkien and Training Day, a dream that they were not prepared to take seriously.

A Flawed But Fascinating Fantasy Grit Showpiece

In a similar vein to cult favorites, Bright holds an allure that’s hard to resist. Unlike satire or the ordinary, it’s overly sincere yet strangely peculiar. Edgerton offers a powerfully nuanced performance hidden beneath layers of prosthetics, while Will Smith maintains a gripping charisma that binds the film together despite script flaws. The standout aspect of Bright is its ambition, not its polish. It dares to depict a world where mythology and systemic inequality collide in an intentionally awkward manner. Although it’s far from perfect, its world-building surpasses expectations, and the film’s post-release fanbase demonstrates that viewers can be forgiving – even curious – beyond what critics allow. Bright may not reach greatness, but its bold attempt to convey a message prevents it from being written off entirely. It’s a film that dared to speak up, albeit with a magic wand and gunfire.

7
‘A Fall from Grace’ (2020)

The Netflix release “A Fall from Grace” appeared like a vivid dream masquerading as a suspenseful courtroom drama. Filmed in only five days with Crystal Fox as Grace Waters, a modest woman accused of murdering her manipulative husband (Mehcad Brooks), the movie was swiftly criticized for its hasty production, inconsistencies, unrefined dialogue, and over-the-top emotional twists. It garnered a poor 15% rating on Rotten Tomatoes, with headlines focusing more on the background cast members seemingly drinking air than the storyline itself. The harsh reviews focused on Perry’s auteur style – he wrote, directed, and produced the film – and labeled A Fall from Grace as a slapdash vanity project.

Soapy, Sloppy, and Strangely Addictive

Beneath the raw exterior and humorous blunders lies something captivating to watch – a chaotic, stylish thriller that resembles a Lifetime noir more than an elite investigative series. Crystal Fox’s portrayal stands out as remarkable: she injects a quivering emotional heart into a role that could have devolved into stereotype. And Cicely Tyson, in one of her last performances, adds weight to the film’s most unexpected twist. What critics might have overlooked is that Perry isn’t striving for realism – he’s experimenting with pulp, using genre as a megaphone for melodrama. The movie takes big swings and misses more often than not, but when it succeeds – particularly in its eccentric, genre-bending finale – it delivers a shock. A Fall from Grace doesn’t require refinement to be enjoyable. It just needs the right viewers: those who know not to take its final message too seriously.

6
‘The Last Days of American Crime’ (2020)

In simpler terms, “The Last Days of American Crime,” directed by Olivier Megaton, has received universally negative reviews on Rotten Tomatoes. Critics found the movie to be overly bloated, derivative, and excessively violent, suggesting that it uses a dystopian premise as an excuse for constant gunfire and nihilism. The film is based on the graphic novel by Rick Remender and Greg Tocchini, with Édgar Ramírez playing a career criminal planning one final heist before the signal activates. Unfortunately, the movie’s slow pace, complex plot, and release timing during 2020’s racial justice protests have made its depiction of police brutality a controversial political topic.

The Grindhouse Epic Nobody Asked For — And Some Still Loved

If you approach it with an understanding that it’s a stylish, horror-like tale rather than a straightforward political allegory, the film’s over-the-top elements can be surprisingly captivating. Ramírez portrays his character with gritty restraint, while Anna Brewster brings depth to her role as a complex femme fatale. The visual design is dark and expansive, and Michael Pitt delivers each scene with intensity, as if trying to conjure Dennis Hopper from beyond the grave. Critics may have seen its ambition as falling short, but perhaps it’s more fitting to view it as a relic of Netflix’s brief, peculiar phase—a time when they were funding hard-R action projects in hopes of chaos. While it doesn’t fit conventional definitions of a good film, it’s undeniably dedicated to its vision. And in that dedication lies an unusual allure — a two-and-a-half-hour nightmare of excessive violence and bleak near-future imagery.

5
‘The Electric State’ (2025)

In the Netflix lineup, “The Electric State,” based on Simon Stålenhag’s graphic novel and helmed by the Russo brothers, arrived with lofty anticipation and an impressive ensemble: Millie Bobby Brown portraying a teenage escapee seeking her lost brother in a post-apocalyptic U.S. filled with dilapidated drones and rotting consumer electronics; Chris Pratt taking on a less lighthearted supporting role; and Giancarlo Esposito as a sinister corporate antagonist. However, despite its star-studded cast, the film struggled with critics, earning a 15% rating on Rotten Tomatoes and sparking reviews that labeled it “visually impressive but narratively problematic.” Critics criticized its slow pace, perplexing expositional scenes, and inconsistent tone – unable to decide whether it aimed to be like “The Road,” “Wall-E,” or “Stranger Things” while donning a Mad Max outfit.

A Melancholy Moodboard With a Beating Heart

Despite not being overtly thrilling, “The Electric State” has an undeniable allure due to its somber atmosphere. Millie Bobby Brown delivers a deeply rooted performance, displaying exhaustion, emotional reserve, and carrying trauma like an additional burden. The film’s robot companion, who is mute, corroded, and has the eyes of WALL-E, serves as an unanticipated source of emotion. Critics might have overlooked this, but “The Electric State” isn’t primarily a dystopian plot; instead, it’s a narrative exploring grief in silence – a reflection on the consequences when advancement consumes its own young. The film focuses on the tranquil areas of calamity: deserted shopping centers, damaged vending machines, voicemail messages from parents that no longer connect. If “The Electric State” falls short as a blockbuster spectacle, it more than makes up for it – in a peculiar and moving way – as an elegy.

4
‘The Gray Man’ (2022)

As a passionate movie enthusiast, I had the pleasure of watching “The Gray Man,” directed by the dynamic duo, Anthony and Joe Russo. This Netflix production was their costliest film to date, rumored to have cost an impressive $200 million and featuring a star-studded cast: Ryan Gosling played CIA operative Court Gentry, also known as Sierra Six; Chris Evans portrayed a ruthless ex-agent with a mustache that should face international charges; Ana de Armas delivered a strong performance in a role that seemed to have been hastily written and overlooked the presence of women in espionage. The film currently has a 45% rating on Rotten Tomatoes, with critics pointing out its paper-thin plot, generic action sequences, and video game-like logic. In today’s era of meticulously crafted action franchises like “John Wick” and “Mission: Impossible,” “The Gray Man” was criticized as an empty spectacle—all budget, but lacking the bite that makes these franchises great.

Glossy Chaos and One Very Chaotic Mustache

Despite The Gray Man potentially falling short in narrative originality, it excels in an aspect frequently overlooked by critics: style-driven pacing. Ryan Gosling imbues Six with a mix of brooding heroism and action figurine sadness. On the other hand, Evans, freed from Marvel’s stoicism, embraces camp wholeheartedly – his performance is a showy wink, a full-body smirk. The fight sequences, especially the Prague tram scene, are comically elegant, while the sound design seems designed to rouse the neighbors. This film doesn’t aim to revolutionize the genre; instead, it seeks to remind you that sometimes, action is best savored with silk shirts, slow-motion explosives, and a solitary emotion: vengeance. It’s not high art, but it is structurally impressive – the kind that looks great when viewed from a fast-moving vehicle.

3
‘The Ritual’ (2017)

As a movie enthusiast, I recently watched “The Ritual,” a UK horror production directed by David Bruckner, which slipped onto Netflix without much fanfare. While it managed to dodge the harsh critiques, it wasn’t exactly met with thunderous applause either, earning mostly respectful yet subdued reactions. With a 74% rating on Rotten Tomatoes, it steered clear of being bashed, but was frequently compared to a rehash of “The Blair Witch Project.”

This movie follows four college friends as they embark on a hiking adventure through the chilling wilderness of Sweden’s untouched forests. They are not only haunted by their shared traumatic past, but also by a literal Norse death deity. Critics appreciated the film’s spooky ambiance and creature design, but often criticized it for being formulaic or slow-paced – more of a mood piece that failed to deliver a powerful thematic punch. Some even argued that its exploration of male vulnerability was superficial, hidden beneath genre stereotypes.

Grief, Guilt, and the Terror of Being Perceived

A key aspect that has gone underestimated in the general opinion is that the horror in “The Ritual” stems from something deeper than typical jump scares: it delves into survivor’s guilt. Rafe Spall, playing Luke who miraculously survived a robbery by hiding behind a shelf, gives an emotionally resonant performance that serves as the film’s foundation even amid its more fantastical elements. The forest in this movie is symbolic of repressed masculinity, where grief doesn’t present as sadness but as divine retribution. The creature design in “The Ritual,” a colossal, elk-like deity-creature with human faces for arms, is remarkably original in modern horror. However, the true terror lies in the suggestion that trauma doesn’t merely tag along; it constructs an altar. In essence, “The Ritual” explores fear not just as a feeling, but as how shame metamorphoses it.

2
‘Secret Obsession’ (2019)

In a suspenseful film titled “Secret Obsession”, Brenda Song portrays Jennifer, a character who regains consciousness after a car accident, with amnesia. She is taken care of by a man who claims to be her husband (Mike Vogel), but as the story unfolds, it becomes clear that he is not. The movie has been criticized for its heavy reliance on tropes, to the point where it seems almost AI-generated. With a 29% rating on Rotten Tomatoes, critics have lambasted it for being overly predictable, poorly directed, and unintentionally humorous. Critics argue that it rehashes every twist from Lifetime thrillers without the necessary self-awareness, resulting in a production that falls between the level of “Sleeping with the Enemy” and an extended episode of “Criminal Minds”.

So Bad It’s Binge-Worthy

Despite its questionable quality, “Secret Obsession” thrives as a fascinating backdrop for cinema. Brenda Song delivers a sincere performance that lends credibility to the film’s absurdity, transforming camp into cult-worthy material. On the other hand, Vogel offers a performance that straddles the line between a Stepford husband and a menacing stalker, making it thoroughly enjoyable. Critics seem to have overlooked this: “Secret Obsession” isn’t aiming for the level of “Gone Girl”; instead, it’s the “The Room” of psychological thrillers – flawed yet captivating. The sets resemble a homeware catalog, the rhythm is strangely hypnotic, and the climax involves an attic brawl and a conveniently placed shovel. “Secret Obsession” isn’t high art; it’s lowbrow art. And that’s why it’s managed to outlive the algorithm’s cull: it’s the kind of film you finish watching, puzzled and asking, “Is that it?

1
‘Hillbilly Elegy’ (2020)

Ron Howard’s “Hillbilly Elegy” aimed to portray a deep-rooted drama surrounding generational trauma, the ideology of self-reliance, and the allure of the American dream, as observed from within a run-down Chevy. However, it transformed into something unexpected – a topic of widespread intrigue, often misinterpreted by critics who sought understanding and received spectacle instead. The film bears some resemblance to J.D. Vance’s controversial memoir, but has since been debunked as both an accurate sociological account and personal narrative. Rather than a biographical portrayal or propaganda piece, it feels more like a politically puzzling dream sequence. It isn’t factual. It isn’t propagandistic. It’s a narrative. And much like many American myths, it’s emotionally complex, politically incongruous, and inadvertently revealing.

A Melodrama in a Suit, Masking as Memoir

As a film enthusiast, I’d say the performances of Glenn Close and Amy Adams are what make “Hillbilly Elegy” worth watching, despite its shortcomings in sociological accuracy. Glenn Close portrays Mamaw as an explosive embodiment of rage-filled grandma, her tough love transformed into something captivating through her genuine emotions and oversized glasses. On the other hand, Amy Adams delivers a fractured reflection of the opioid crisis in her character Bev – raw, emotional, and traumatized, constantly battling to tame the wildness that the script tries to contain.

While “Hillbilly Elegy” falls short as a sociological study, I encourage you to revisit it as an unintentional camp or cultural performance art piece. It offers a unique insight into America’s perception of its underprivileged classes, revealing aspects that perhaps Ron Howard didn’t initially intend but are certainly intriguing.

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2025-04-24 02:04