10 Criticisms Of Great Movies That Don’t Hold Up

There are lots of great movies out there that still receive their fair share of criticism, however, sometimes these criticisms just don’t hold up. Film audiences and critics can be very quick to judge and sometimes take aim against movies that don’t deserve such harsh treatment, this can be caused by faulty logic or misunderstandings and end up leading to takes about movies that just can’t be fully justified but yet continue to prevail. While filmgoers are of course always entitled to their personal opinions, there are some criticisms of movies that when looked at a little bit closer tend to fall apart.

Common criticisms include viewers taking issue with the way a film is being presented, despite that being the exact intention of the filmmaker and acting as an essential aspect of the movie’s success. For example, there are those who criticize movies for a perceived glorification of violence, when in fact the intention of the movie was to portray the exact opposite idea. Other times, audiences find movies pretentious or too long when these issues are more down to personal preference than truly justifiable criticism.

10 Forrest Gump Is Not An Oversimplification of History

Forrest Gump (1994)

While some may criticize Forrest Gump for its oversimplification and misrepresentation of historical events, part of its innate charms lies in its deliberate disregard for accuracy because simply having Forrest present changes the true story. The true stories behind historical events in Forrest Gump vary wildly from Forrest inspiring Elvis Presley’s dance moves to him meeting President John F. Kennedy. By blending Forrest into events such as these, Forrest Gump becomes a microcosm of the United States in the 20th century, and rather than being an oversimplification of history, becomes a tongue-in-cheek celebration of it.

9 E.T The Extra-Terrestrial Is Not Traumatic

E.T. the Extra-Terrestrial (1982)

E.T. the Extra-Terrestrial is a notorious tearjerker that is commonly considered one of the greatest family movies of all time. However, some publications such as The Things have pointed out that the movie could be considered traumatic due to the emotionally heavy nature of some of its scenes. While it is true that moments such as E.T. nearly dying can be difficult to take, especially for younger viewers, overall these moments contribute to the emotional resonance of E.T. the Extra-Terrestrial and are an essential addition to its reputation as an iconic and timeless film.

8 The Irishman Is Not Too Long

The Irishman (2019)

One criticism that was very prevalent after The Irishman was released on Netflix was that at 209 minutes it is just too long. While viewers may find an almost three-and-a-half-hour-long film a daunting prospect, The Irishman’s runtime was necessary to fully explore the complex story that director Martin Scorsese wanted to tell. The Irishman was also a reunion between Scorsese and his long-time collaborator Robert De Niro, which also features performances from Al Pacino and Joe Pesci in a rare cinematic event that may never be repeated. Today, Scorsese stands as one of the most important living filmmakers and he has earned the right to make whatever length film he wishes.

7 Asteroid City Is Not Too “Wes Anderson-y”

Asteroid City (2023)

Wes Anderson’s Asteroid City ended up splitting viewers some of whom responded very well to the director’s unique voice and carefully constructed style of filmmaking, while others felt he was becoming too self-indulgent and playing too strongly into his distinctive aesthetic. However, there is only one Wes Anderson and as such then he is entitled to explore his style as far as it will take him. Even though he may lose some viewers along the way, Wes Anderson’s admirers can be thankful that he is staying true to his unique voice and delivering the type of projects that only he is capable of.

6 2001: A Space Odyssey Is Not Pretentious

2001: A Space Odyssey (1968)

Stanely Kubrick’s 2001: A Space Odyssey is sometimes criticized as an abstract and needlessly challenging piece of filmmaking that turns viewers off through its overtly pretentious nature. However, these dismissals ignore just how revolutionary 2001: A Space Odyssey was for pioneering use of special effects and expert use of classical music. While ambitious and difficult films such as 2001: A Space Odyssey may not be for everybody, that is no reason to dismiss it entirely, and viewers who are willing to put the work in really attempt to understand the film are rewarded with an insightful story about artificial intelligence, extraterrestrial life, and what it means to be human.

5 Casablanca Is Not A Mediocre Romance

Casablanca (1942)

Casablanca is commonly cited as one of the best romance movies ever produced, but some criticize it for having a predictable plot and featuring characters who lack depth. This is a take that overlooks the enduring popularity of Casablanca and ignores what has made it such a popular movie for the past 80 years. What makes Casablanca stand apart as the crown jewel of the Hollywood studio system is not the uniqueness of its plotline but its powerful depiction of love and sacrifice, memorable characters who utter unforgettable dialogue that is ingrained in popular culture, and superb direction and iconic visual style.

4 Jack In The Shining Does Not Stray Too Far From His Character In The Book

The Shining (1980)

Some criticize Stanley Kubrick’s The Shining for veering too far away from the characteristics of Jack Torrence as seen in the original book. The author of the original novel, Stephen King really hates The Shining movie felt that the movie version of Jack already appears unhinged at the beginning of the movie, instead of the slow descent into madness he presented in his book. However, Stanley Kubrick’s version works much better on the screen as the ticking time bomb nature of Jack only makes the movie more tense and means that the horror in The Shining is on display from start to finish.

3 Pulp Fiction Is Not Incoherent

Pulp Fiction (1994)

The non-linear nature of Quentin Tarantino’s Pulp Fiction has led to a perception from some that it is an incoherent and quite scattered film. While the storytelling structure of Pulp Fiction might be quite jarring to viewers, the story of the film itself is not the point. Pulp Fiction is a film about characters, and the style in which it is presented allows audiences to briefly inhabit their world and get a sense of who they are. What may come across as meandering dialogue to some, such as Jules and Vincent’s discussion around McDonald’s, to others is exactly what Pulp Fiction such an enjoyable and iconic piece of postmodern filmmaking.

2 Fight Club Is Not A Glorification Of Violence

Fight Club (1999)

Fight Club was one of the most controversial and talked about movies of the 1990s and received its fair share of criticism for its perceived glorification of violence. However, to say this completely misses the entire point of Fight Club as the message of the movie is the opposite of that and acts as a response to toxic masculinity and consumerism. While the cool guy persona of Brad Pitt as Tyler Durden may look aspirational to a certain demographic of men, Fight Club is actually a cautionary critique of globalization and the emotional disconnection people feel from others in modern times.

1 The Lord Of The Rings: Return Of The King Does Not Have Too Many Endings

The Lord of the Rings: The Return of the King (2003)

The fact that there is an almost 30-minute epilogue in The Lord of the Rings: The Return of the King after the Ring is destroyed in the fires of Mount Doom has led to common criticism that the film has too many endings. Later moments, like the reuniting of the fellowship, Aaagorn being crowned King of Gondor, and the departure at the Gray Havens led to a perception that there was too much screen time given after the main action had concluded. This criticism fails to consider that these moments are not just wrapping up one film, but three movies based on a 1261-page story. The extra time is justified.