For some reason, horror is a really finicky genre when it comes to critical evaluation and general mainstream acceptance. The horror movies that critics loved are often overlooked by general audiences, and may in fact receive poor reviews. On the other hand, the popular movies that receive a good reception from audiences and earn lots of money at the box office are often poorly reviewed.
The 2010s often saw an enormous divide between critics and general audiences, particularly when it came to independent horror films (especially those of A24).
These are ten horror movies from the 2010s that critics loved (but audiences hated).
Hereditary (2018)
Hereditary is now regarded as one of the finest horror films of the decade, but it was detested by general audiences when it was released in 2018. It received a D+ CinemaScore, indicating that most people coming out the theater doors were not impressed. This is somewhat mirrored in the divisive Rotten Tomatoes audience score of 66%. However, critics hailed Hereditary as an instant classic, resulting in an 89% Rotten Tomatoes score and incredible 87 Metascore.
Us (2019)
Jordan Peele's follow-up to Get Out was highly anticipated. Unfortunately, Us failed to make as much of an impact as its incredible predecessor. Critics adored Us, resulting in a stellar 93% on Rotten Tomatoes and 81 on Metacritic. The reception from general audiences was far less enthusiastic. The user score on Metacritic sits at just 6.4 (compared to the 81 Metascore), and the audience score on Rotten Tomatoes is a middling 59%. It was also given a B CinemaScore, a disappointing outcome considering Get Out received an A-.
Midsommar (2019)
Following Hereditary, writer/director Ari Aster was considered the next horror maestro. Opinion was a little more divided when it came to his follow-up - 2019's Midsommar.
Critics enjoyed Midsommar (although not as much as Hereditary), judging by the movie's 83% Rotten Tomatoes score and average rating of 7.6/10. The 63% audience score and C+ CinemaScore indicates that general audiences weren't nearly as keen.
The Witch (2015)
The Witch is another wildly divisive film. Some love its authentic Puritan dialogue and slow pace, while others expected a more "traditional" and fast-paced horror movie.
Critics adored its slow-building horror, exceptional visuals, and thought-provoking story, resulting in a 90% Rotten Tomatoes score and 83 Metascore. Meanwhile, general audiences gave it a C- CinemaScore, and the audience score on Rotten Tomatoes stands at a divisive (and rotten) 58%.
It Comes At Night (2017)
It Comes at Night was the victim of some horrible marketing. While general audiences were expecting something more along the lines of A Quiet Place, It Comes at Night was more of a languid character study in paranoia and isolation. Critics adored its "barebones" approach, and the movie sits at 87% on Rotten Tomatoes and 78 on Metacritic. However, the movie holds a 6.2/10 on IMDb, a 44% Rotten Tomatoes audience score, and a horrid D CinemaScore. Such is the dangers of misguided expectations and misleading marketing.
Unsane (2018)
Unsane is notable for being filmed entirely on an iPhone 7 Plus, further proving that you don't need fancy production values or extravagant filmmaking to make a good movie. That said, the talents of Steven Soderbergh and Claire Foy certainly helped.
The movie holds an 80% on Rotten Tomatoes with an average rating of 6.7/10. General audiences were far more divided (likely owing to the idiosyncratic filmmaking style), resulting in a B- CinemaScore and 58% Rotten Tomatoes audience score.
Cam (2018)
Cam is a little horror movie that premiered at the Fantasia International Film Festival before it was picked up for distribution by Netflix.
Critics praised its techno-thriller atmosphere and Madeline Brewer's lead performance, leading to a 93% on Rotten Tomatoes and 71 Metascore. However, the paltry 54% audience score and 5.9/10 IMDb score indicates that the movie was a little too weird and uninviting for general audiences.
Under The Skin (2013)
Under the Skin was one of the most critically acclaimed films of the year. Critics highlighted the movie's provocative imagery and the lead performance from Scarlett Johansson, leading to its 85% Rotten Tomatoes score and 79 Metascore. It was also listed as the fourth best movie of the year on Metacritic and was ranked #61 on BBC's list of the 100 Greatest Films of the 21st Century.
Meanwhile, general audiences have given it a 55% audience score on Rotten Tomatoes and a relatively meager 6.3/10 on IMDb.
1922 (2017)
Stephen King has enjoyed a very prosperous couple of years, so it makes sense that producers are scouring his bibliography looking for the next big adaptation. They tried with 1922, and according to the critics, their attempt succeeded. The movie sits at 91% on Rotten Tomatoes and 70 on Metacritic thanks to Thomas Jane's incredible lead performance. However, general audiences were divided on the movie's lethargic pace, resulting in a 6.3/10 on IMDb and a Rotten Tomatoes audience score of 57%.
Ghost Stories (2017)
Ghost Stories is a wonderfully meta horror anthology that refreshingly uses horror movie tropes to both tell its own unique story and comment upon the horror genre as a whole. Critics enjoyed the movie's unique take on the horror genre and gave it an average rating of 7.1/10. As a result, it holds a strong 84% on Rotten Tomatoes. Perhaps general audiences were expecting a more traditional "ghost story," as the movie's 6.4/10 IMDb rating and 59% Rotten Tomatoes audience score suggests frustration and disappointment.