2020s Movies Killed by Review Bombing, Not Real Viewers

Early user-score pile-ons can distort a film’s reputation long before regular audiences weigh in, and the 2020s have seen plenty of high-profile examples. Below are forty films that were targeted by organized negative-rating waves on major platforms while still drawing real viewers in theaters or on streaming, often earning solid professional reviews, noteworthy box-office milestones, or strong post-release engagement. Each entry highlights the key facts—who made it, what it’s about, how it was released, and what happened once actual audiences got a chance to see it.

‘Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)’ (2020)

Directed by Cathy Yan and led by Margot Robbie, ‘Birds of Prey’ expanded the Gotham underworld through a smaller-scale, R-rated team-up centered on Harley Quinn. It opened during a transitional theatrical market with a title change in some listings to emphasize the Harley branding. After an initial online ratings hit, the movie sustained steady word-of-mouth and later found a sizable streaming audience through its premium-video-on-demand window. The stunt work and neon-soaked fight choreography became frequent post-release talking points among viewers.

‘Mulan’ (2020)

Disney’s live-action ‘Mulan’ arrived via a premium access release on a major streaming platform alongside limited theatrical rollouts. Niki Caro’s film emphasized wuxia-style action and a more grounded tone than the animated version. The release strategy, combined with geopolitical controversies, triggered large spikes of negative user ratings at launch. Despite that, the film generated strong at-home viewership and sustained engagement metrics on the service through subsequent weeks.

‘Wonder Woman 1984’ (2020)

Patty Jenkins reunited with Gal Gadot for ‘Wonder Woman 1984’, which debuted in theaters and day-and-date on a US streaming service. The hybrid rollout drew an outsized volume of early user scores before many territories had wide access. Even so, the film delivered one of the biggest domestic streaming premieres of its season while topping theatrical charts in open markets. Its dual-release performance later informed studio strategies for tentpoles during phased reopenings.

‘Cuties’ (2020)

‘Cuties’, directed by Maïmouna Doucouré, was acquired after a well-received festival bow and released by a major streamer. Misleading promotional materials sparked backlash and a rapid flood of negative user scores prior to most viewers seeing the film. Professional reviews consistently contextualized its coming-of-age critique and intent, contrasting with early audience brigading. The platform subsequently revised marketing while the film maintained a presence in its international top lists on release.

‘Eternals’ (2021)

Chloé Zhao’s ‘Eternals’ introduced a new ensemble within the Marvel canon, spanning mythic history and cosmic stakes. Before and during opening weekend, the title drew concentrated waves of one-star user ratings tied to representation debates. The movie nonetheless logged a global theatrical run crossing major market milestones and posted strong premium-format attendance. It later recorded high completion rates during its streaming debut window.

‘Shang-Chi and the Legend of the Ten Rings’ (2021)

‘Shang-Chi and the Legend of the Ten Rings’ launched Marvel’s first film led by an Asian superhero, starring Simu Liu and Awkwafina under director Destin Daniel Cretton. Coordinated negative user-rating bursts appeared ahead of wide release, particularly around casting and cultural topics. The film broke multiple Labor Day box-office records and sustained strong week-to-week holds. Its streaming arrival also produced a notable usage spike on the hosting platform.

‘Black Widow’ (2021)

Scarlett Johansson’s long-requested solo ‘Black Widow’ arrived via a theatrical and premium streaming release. Access model debates and platform politics fueled surges of polarized user scores within hours of launch. Despite the noise, the title opened at the top of the box office and charted among the most-watched debuts on its streaming home. The movie’s rollout later became a reference point in industry discussions about windowing.

‘The Matrix Resurrections’ (2021)

Lana Wachowski returned with ‘The Matrix Resurrections’, blending meta-sequel ideas with the franchise’s action and philosophy. A day-and-date US release drew immediate online score brigades that outpaced early verified-viewing data. In theaters, the film performed strongest in premium auditoriums and metropolitan markets, while the streaming window drove extensive conversation and rewatch activity. The title’s experimental structure was widely dissected in post-release analyses.

‘Cinderella’ (2021)

The Camila Cabello-led ‘Cinderella’ launched directly on a global streaming service with a jukebox-musical approach. Prior to release, it saw concentrated negative rating activity tied to casting and style choices. Upon debut, the platform reported high engagement, with the film trending across multiple regions. Its soundtrack also performed well on digital music services, indicating broad reach beyond initial user-score waves.

‘The Power of the Dog’ (2021)

Jane Campion’s ‘The Power of the Dog’ rolled out with a limited theatrical run followed by a streaming debut. The Western drama’s awards momentum coincided with sudden downvoting surges on user-rating sites. Professional accolades and guild honors continued to mount, boosting viewership in prestige-film circles. The title maintained long-tail relevance through awards season watchlists.

‘Turning Red’ (2022)

Pixar’s ‘Turning Red’ premiered directly on a major streaming platform, focusing on adolescence, friendship, and family dynamics. Early brigading centered on subject-matter misconceptions and release-platform debates. The film quickly placed among the service’s most-watched family titles and spurred robust merchandise and music engagement. Educators and parent groups later circulated discussion guides, extending its reach in school and community settings.

‘Lightyear’ (2022)

‘Lightyear’ reframed the ‘Toy Story’ universe through a sci-fi adventure starring Chris Evans as Buzz. Representation-related discourse triggered abrupt spikes of negative user ratings near launch. The film nonetheless posted strong global admissions in premium formats and became a high-traffic title upon its streaming arrival. Ancillary markets, including home media and airline entertainment, reported sustained viewership afterward.

‘Doctor Strange in the Multiverse of Madness’ (2022)

Sam Raimi’s ‘Doctor Strange in the Multiverse of Madness’ leaned into horror-tinged spectacle with Benedict Cumberbatch and Elizabeth Olsen. Pre-release leaks and character debates led to concentrated downvoting flurries. The film set multiple opening-frame records for its franchise and maintained strong premium-screen sales. Its streaming debut drove a surge in viewership for related titles within the same universe.

‘Thor: Love and Thunder’ (2022)

Directed by Taika Waititi, ‘Thor: Love and Thunder’ continued the Asgardian storyline with Natalie Portman’s Mighty Thor arc. Leading up to release, coordinated negative user-rating waves focused on tone and character direction. The movie delivered one of the year’s top global grosses for a comic-book title and excelled in IMAX and other large-format screens. It remained a top performer on its streaming platform during the initial weeks online.

‘The Woman King’ (2022)

Viola Davis headlines ‘The Woman King’, an action-drama inspired by the Agojie of Dahomey and directed by Gina Prince-Bythewood. Online campaigns attempted to depress user scores by disputing historical framing and casting. In theaters, the film over-indexed with diverse audiences and achieved strong legs relative to its budget. Awards-season recognition and educational screenings extended its discovery window.

‘Strange World’ (2022)

Disney’s ‘Strange World’ introduced a pulp-adventure family exploring a surreal ecosystem. The title attracted user-rating brigades tied to inclusion themes and release strategy questions. While its theatrical run was brief, the film found a sizable audience after moving to streaming, where completion rates climbed. Its distinctive production design and creature concepts drew continued interest from animation enthusiasts.

‘The Little Mermaid’ (2023)

Rob Marshall’s live-action ‘The Little Mermaid’ starred Halle Bailey as Ariel, with a theatrical-first strategy followed by streaming. The film faced heavy pre-release and opening-weekend downvoting tied to casting controversies. It delivered robust family attendance, strong repeat viewing, and standout grosses in several international markets. The soundtrack and music videos accumulated significant streams that outlasted the initial rating waves.

‘Indiana Jones and the Dial of Destiny’ (2023)

‘Indiana Jones and the Dial of Destiny’ reunited Harrison Ford with the iconic adventure series under director James Mangold. Leading up to wide release, the film received polarized early user ratings amplified by franchise culture-war narratives. It topped charts in multiple territories during opening frames and played particularly well in premium large-format venues. The film later benefited from franchise-wide viewership boosts on streaming.

‘Barbie’ (2023)

Greta Gerwig’s ‘Barbie’ blended satire and fantasy with Margot Robbie and Ryan Gosling. Online brigading targeted the film’s themes and marketing voice during its global rollout. Despite that, it broke multiple contemporary box-office benchmarks and set records for its studio. The title continued to dominate digital rentals and streaming leaderboards after its theatrical run.

‘The Marvels’ (2023)

Nia DaCosta directed ‘The Marvels’, pairing Captain Marvel with Ms. Marvel and Monica Rambeau in a cosmic team-up. Pre-release discourse and coordinated negative-rating activity centered on franchise fatigue and representation. The film maintained strong viewership in its early streaming window, driving spikes for connected series. Its cross-character structure also boosted catalog engagement across earlier entries.

‘Peter Pan & Wendy’ (2023)

‘Peter Pan & Wendy’ debuted as a direct-to-streaming fantasy adventure from director David Lowery. The film encountered early user-score brigades related to casting and adaptation choices. At launch, it reached top-position viewership on its platform across multiple regions. Family-profile accounts and kids’ viewing hours supported sustained performance beyond premiere week.

‘The Flash’ (2023)

DC’s ‘The Flash’, directed by Andy Muschietti, featured a multiverse story with legacy cameos. Controversies surrounding off-screen issues prompted concentrated negative user-rating activity ahead of and during release. The movie still secured leading market share during its opening days and later drew significant attention in its home-release window. Its streaming debut produced one of the platform’s largest week-one spikes for a superhero title that season.

‘Ghostbusters: Frozen Empire’ (2024)

‘Ghostbusters: Frozen Empire’ continued the legacy ensemble with returning and new cast members under director Gil Kenan. The title saw online brigading tied to franchise direction debates as previews rolled out. It opened at number one domestically and showed strong family and nostalgia-driven attendance. Subsequent digital and streaming availability extended its reach well beyond theatrical play.

‘Furiosa: A Mad Max Saga’ (2024)

George Miller’s ‘Furiosa: A Mad Max Saga’ offered a standalone prequel anchored by Anya Taylor-Joy and Chris Hemsworth. Leading up to release, coordinated downvoting targeted perceived franchise shifts and casting. The film earned robust premium-format grosses and sustained interest among action aficionados through word-of-mouth. Its technical craft—stunt coordination, production design, and sound—was widely cited in post-release coverage and craft-guild spotlights.

‘The Color Purple’ (2023)

‘The Color Purple’ musical adaptation, produced by Oprah Winfrey, Steven Spielberg, and Quincy Jones, brought the Broadway version to the screen. The film faced early negative user-rating surges linked to culture-war narratives rather than viewer-verified reactions. It posted strong turnout among target demographics and performed well over the holiday frame. The soundtrack and cast performances drove charting placements on music platforms, reinforcing audience engagement.

‘Don’t Look Up’ (2021)

Adam McKay’s satire ‘Don’t Look Up’ stars Leonardo DiCaprio and Jennifer Lawrence as scientists trying to warn the world about an approaching comet. The film launched with a limited theatrical run before streaming worldwide and quickly climbed platform viewership charts. Polarized discourse online produced bursts of extreme user scores within hours of release access. Awards nominations and a large ensemble cast kept it in conversation well beyond its debut window.

‘Glass Onion: A Knives Out Mystery’ (2022)

Rian Johnson’s ‘Glass Onion: A Knives Out Mystery’ reunited Daniel Craig’s Benoit Blanc for a new whodunit set on a private Greek island. After a short exclusive theatrical engagement, it premiered globally on streaming and dominated the service’s top lists. The release drew sudden waves of low user ratings tied to character and thematic debates. Strong completion rates and broad international reach were reflected in platform-reported engagement.

‘Prey’ (2022)

‘Prey’ repositioned the ‘Predator’ franchise with Amber Midthunder as a Comanche warrior facing an early-era Predator, directed by Dan Trachtenberg. It bypassed theaters in many regions for a direct-to-streaming launch, immediately topping internal trending rows. Early brigading centered on casting and franchise expectations. Positive professional coverage and word-of-mouth drove sustained viewership across language options, including the Comanche dub.

‘Bros’ (2022)

Nicholas Stoller’s romantic comedy ‘Bros’ stars Billy Eichner and Luke Macfarlane and was released by a major studio with a nationwide theatrical rollout. The film saw concentrated downvoting on user-rating sites during opening weekend. Marketing emphasized historic milestones for studio-backed LGBTQ rom-coms, generating extensive media coverage. It later found additional audiences through digital rental and subscription streaming.

‘Black Panther: Wakanda Forever’ (2022)

‘Black Panther: Wakanda Forever’, directed by Ryan Coogler, introduced new characters while honoring Chadwick Boseman’s legacy. Pre-release and opening-weekend rating waves focused on casting and story direction. The film led box-office charts for multiple frames and drew strong premium-format attendance. Streaming availability boosted library engagement for earlier franchise entries.

‘No Time to Die’ (2021)

Cary Joji Fukunaga’s ‘No Time to Die’ closed the Daniel Craig Bond era with a global rollout that navigated shifting market reopenings. Online discourse about character choices triggered concentrated negative user-score bursts near release. The film set franchise records in several territories and performed strongly in IMAX and other large formats. Home media and streaming windows extended its reach to viewers who skipped theaters during reopening phases.

‘Cruella’ (2021)

‘Cruella’, directed by Craig Gillespie and led by Emma Stone and Emma Thompson, reimagined the ‘101 Dalmatians’ villain’s origin. It debuted with a hybrid access model that included premium streaming alongside theaters. Coordinated low user ratings appeared around launch, tied to adaptation choices. Fashion-forward production design and soundtrack placements helped the film maintain cultural visibility across platforms.

‘Hocus Pocus 2’ (2022)

‘Hocus Pocus 2’ reunited Bette Midler, Sarah Jessica Parker, and Kathy Najimy for a direct-to-streaming sequel. The release quickly topped the platform’s trending rows across multiple regions. Organized negative user ratings surfaced around nostalgia debates and franchise direction. Seasonal timing and family co-viewing drove repeat engagement throughout its initial availability window.

‘Red, White & Royal Blue’ (2023)

Prime Video’s ‘Red, White & Royal Blue’, adapted from Casey McQuiston’s novel and directed by Matthew López, centers on a transatlantic romance between a First Son and a British prince. The film premiered directly on streaming and rapidly climbed internal top-10 lists. Online brigading led to sharp swings in user ratings early in its run. Social-media-driven watch parties and cast interviews sustained attention through subsequent weeks.

‘Elemental’ (2023)

Pixar’s ‘Elemental’, directed by Peter Sohn, opened modestly in theaters before developing strong holds and international momentum. Early negative user-score spikes coincided with debates about studio strategy and franchise expectations. As the weeks progressed, admissions grew in key markets and family word-of-mouth improved turnout. Its streaming debut produced large viewership surges, with notable completion-rate metrics.

‘Blue Beetle’ (2023)

‘Blue Beetle’, directed by Ángel Manuel Soto and starring Xolo Maridueña, introduced a new Latino superhero within the DC lineup. Leading up to release, the title experienced coordinated downvoting tied to representation topics. The film led domestic box office during opening and played well with family and teen quadrants. Streaming availability later broadened reach among audiences who missed its theatrical run.

‘The Creator’ (2023)

Gareth Edwards’ ‘The Creator’ blended original sci-fi worldbuilding with large-format cinematography on a comparatively moderate budget. Online rating waves targeted its themes and comparisons to legacy franchises. The film over-indexed in IMAX and premium auditoriums relative to its size and drew strong interest from tech and VFX communities. A rapid digital and streaming rollout helped long-tail discovery.

‘Pathaan’ (2023)

Bollywood action thriller ‘Pathaan’, directed by Siddharth Anand and starring Shah Rukh Khan, Deepika Padukone, and John Abraham, launched to record-setting interest in India and overseas markets. Organized online campaigns attempted to depress user ratings around its release. Despite that, it achieved major milestones in international territories and drove premium-format attendance. Music videos and dance numbers accumulated extensive streams, amplifying global visibility.

‘Laal Singh Chaddha’ (2022)

‘Laal Singh Chaddha’, starring Aamir Khan and Kareena Kapoor Khan and directed by Advait Chandan, adapted ‘Forrest Gump’ for an Indian context. Prior to release, boycott calls and online brigading led to sharp negative swings in user scores. The film maintained a significant footprint on streaming platforms after its theatrical run, reaching diaspora audiences. Its soundtrack and locations sparked extensive behind-the-scenes and travel-content interest.

‘Black Adam’ (2022)

Jaume Collet-Serra’s ‘Black Adam’ featured Dwayne Johnson in a long-gestating antihero vehicle within the DC slate. The title drew concentrated low user ratings during opening frames as franchise debates intensified. It nevertheless opened at number one domestically and secured strong premium-format grosses. The subsequent digital and streaming windows brought sustained viewership, aided by curiosity about its mid-credits setup.

Share your take: which titles here do you think were hit hardest by brigading, and what did you see in your own circles—drop your thoughts in the comments!