10 Movies That Hated You For Watching

Almost all movies, by their design, are amenable to the idea that you took the time, money and effort to watch them

But evidently, there are peculiar exceptions to this rule. And that is absolutely the case with these films

each of which failed to veil their contempt for the fact that you actually bothered to see them at all

So with that in mind, I'm Ellie for WhatCulture and here are movies that hated you for watching

The Matrix Resurrections The Matrix Resurrections is a film that exists in spite of itself

Director Lana Wachowski made no qualms about voicing her disdain for the fact that Warner

Brothers decided to dust off her long-dormant sci-fi IP, even straight up having characters

vocalise the studio's desperation within the movie itself. Warner Brothers were going to make a new Matrix movie with or without the Wachowski's involvement

And so Lana hatched an unhinged plan to make a scorched earth sequel that's basically the

furthest thing from what the bean counters, or indeed most fans, actually wanted

This sledgehammer subtle meta sequel feels like a quasi-parody of most legacy sequels

fully aware of its own redundancy and the creative bankruptcy which motivates its existence

Is it any good? Well, most fans seem to think not, many feeling that the film is more of a

cinematic protest against Warner Bros. than an earnest attempt to make a fourth Matrix

which would be absolutely right. But audiences responded by rejecting the sequel outright

resulting in a massive box office flop, probably put a perverse smile on Wachowski's face

The Wolf of Wall Street The genius of Martin Scorsese's The Wolf of Wall Street

is that it's at once a deliciously entertaining biopic of fraudster Jordan Belfort

and a searing indictment of our interest in this story. Scorsese has a history of depicting criminal life

in a manner that's disconcertingly appealing to some, even while also condemning it

And The Wolf of Wall Street extends to more blatantly point its finger at the audience

for being seduced by Belfort. This is best exemplified in the movie's final scene

where Belfort is released from prison and makes a living hosting seminars on sales techniques

where the doting audience is very clearly likened to us, the viewer, wrapped with fascination at

this man and his admittedly magnetic powers of persuasion. That we can sit through three hours

of this man's scumbaggery and still come away desiring the lifestyle, indicated by the uptick

of interest in stockbroker jobs after the film's release, is a depressing indictment of human nature

and Scorsese knows it. Natural Born Killers Oliver Stone's Natural Born Killers was marketed as an edgier than edgy riff on the classic Bonnie

and Clyde formula luring bloodthirsty audiences in with the promise of a brutally violent crime only to force them one of the most sensorily disorientating experiences ever committed to film Stone goes out of his way to make every scene in the movie abhorrent

to mainstream taste, edited with all the chaotic verse of a music video, intentionally garish

confrontingly vulgar, and frequently surreal. None of the violence here is entertaining

as Stone shoots it to be as unpleasant and unsexy as possible, focusing instead on human

suffering through as ugly a lens as one can imagine. And even audiences eager to see

protagonists Mickey and Mallory blown away at the end are spared that catharsis, given that it

concludes with them getting away. Natural Born Killers is a film with a loud disdain for the

media's glorification of violence, and our own complicity in it as viewers. Amping said violence

up to almost unbearably nasty levels just to make its point. Blonde. To the casual movie fan

scrolling through Netflix in late 2022, a Marilyn Monroe biopic starring Ana de Armas probably

seemed like a must-watch. But anyone expecting a glossy, sexy, melodramatic encapsulation of

Monroe's life and untimely death were firmly slapped around the face by director Andrew Dominic

who effectively made an anti-biopic which chides audiences for seeking entertainment in a troubled

woman's deeply sad life story. Largely eschewing the glitz and glamour of Monroe's Hollywood career

Blonde is instead an extremely dark and upsetting character study, which actively attacks the very

idea that audiences knew anything about Monroe, the human being, at all. It is a film filled with

imagery intended to turn off all but the most ardent cinephiles, especially a controversial

sequence in which Monroe talked to her unborn CGI fetus. By the end of the grueling 166-minute

runtime, it couldn't be clearer what Dominic thinks of our collective desire to see Monroe's

life story adapted into ephemeral content. Only God Forgives Only God Forgives was massively hyped as Nicholas Winding Refn's follow-up to the hugely acclaimed

Drive, as Refn reunited with star Ryan Gosling for what seemed to be another deliriously stylish

ultra-violent action flick. But audiences were left dumbfounded that Only God Forgives was

basically the anti-Drive, with Gosling instead playing a not-remotely-badass character who gets

his arse kicked numerous times throughout the film, and ultimately is defeated. More surreal

and simply peculiar than Drive, it felt like Refn cackling at audiences who expected him to repeat

his prior success, taking all the clout he earned from that film to make something deeply weird with

one of the most recognizable actors on the planet. Now that's certainly one way to react to success

and while Refn clearly could have milked the Gosling partnership for a string

of accessible genre films he instead scoffed at the notion and made something for himself rather than for audiences Only God Forgives does admittedly have its defenders but for most it was a crushing bewildering disappointment

Following the brilliance of Drive, The Dead Don't Die. The Dead Don't Die was sold as a quirky indie zombie film starring Adam Driver, Bill Murray and Chloe Sevigny

with the great Jim Jarmusch directing. I mean, what's not to like here

Well, there's the fact that Jarmusch actually hates zombie movies and straight up admitted as much in an interview with Rolling Stone, released the very same day that the movie came out

Jarmusch said he was, quote, sick of zombie films and described The Dead Don't Die as a, quote, angry piece of work in that respect

Which makes sense given that the movie is an aggressively deadpan stab at the zombie genre

An almost intentionally boring effort which offers its charismatic leads little to sink their teeth into

You wanted a kooky zombie movie with a bunch of beloved actors in it? Well, here you go

Seemed to be Jarmusch's sentiment while making this film. Which baffled critics and general audiences alike upon release

Wanted. Comic book writers don't come much edgier than Mark Miller, and the big screen adaptation of his hit comic series Wanted certainly stayed true to his provocative ethos

The slick action thriller revolves around Wesley Allen Gibson, a timid 20-something loser working a dead-end job while his girlfriend cheats on him with his best friend

Over the course of the film, Wesley transforms into a badass action hero after learning that his recently murdered father was an assassin

And by film's end, Wesley triumphantly murders the man attempting to kill him, Mr. Sloane

But in the movie's final moments, after Wesley shoots Sloane, he turns to the camera, breaks the fourth wall and asks us

quote, this is me taking back control of my life. What the F have you done lately

It's as though the movie is basically calling all of us losers for living ordinary, even boring lives

perversely encouraging each of us to turn the movie off, to get the hell out of the house

and seek some gosh darn adventure for ourselves. The End of Evangelion

The End of Evangelion served as an alternate ending to the beloved anime series Neon Genesis Evangelion

after the series' ambiguous abstract conclusion left most of the fanbase confused

And fans being fans, of course, they directed their ire at Hideaki Anno

in wholly unreasonable ways, even sending death threats to the filmmaker for how he chose to end the TV show

As a result of this, Arno was persuaded to make a film to give fans a more satisfying ending

but he decided instead to double down and make the movie just as heady and perplexing

albeit at least visually gorgeous. It's a great film, yet one clearly made

with a red-hot contempt for every fan who raged at Arno for how he chose to end the original series adopting a bleaker tone and only offering up answers which invite more audience debate And to top it off Arno even included replicas of some of the threatening

mail he received in the movie's live-action sequence. Arno basically got to have his cake

and eat it too here, flipping the bird at his overzealous, even entitled fanbase while delivering

one of the most acclaimed anime movies of all time, Joker Foliadur. Joker Foliadur is one of

the most fascinatingly contemptuous sequels ever made. After Todd Phillips' gritty original 2019

take on The Clown Prince of Crime grossed over $1 billion at the box office and won Joaquin Phoenix

a well-earned Best Actor Oscar, it was only inevitable that Warner Brothers would be hungry

for a sequel. While Joker felt like a standalone one-off project, money talks, and it's fair to

assume that both Phillips and Phoenix were enticed to return with enormously fat paydays. All the

same, just as he transitioned the Hangover sequels into a more mean-spirited brand of

crime comedy, Phillips decided to get very, very weird with Joker folie a deux, crafting a film

that takes unsubtle aim at the very fans who propelled the original to such success

Beyond the strangeness of mounting the film as a musical, the Joker sequel refuses to simply

depict Arthur Fleck as the Joker he seemed to become at the end of the first movie

instead flatly rejecting this notion and making great pains to depict him as pathetic and pitiable

Lady Gaga's Lee is meanwhile a stand-in for sections of the fandom who appreciate only the

shallowest aspects of the Joker rather than Fleck as a human being, culminating in a nose-thumbing

ending that categorically slams the door on any prospect of a third film. Phillips clearly wanted

to do anything but make a movie which glorified Fleck's alter ego any further, and spent 138

minutes flipping off the great many who expected that. Agro Drift Gummo and Spring Breakers director Harmony Corrine's new film, Agro Drift, is basically

a visual approximation of a cluster migraine. An intentional attempt to deliver an aesthetically

garish experience because Corrine, by his own admission, is bored with movies

An experimental action crime film starring rapper Travis Scott, Aggro Drift was shot entirely with infrared cameras

lending it a wholly unique otherworldly aesthetic, albeit one that also becomes exhausting to watch after a short while

Corinne further admitted that he didn't actually intend to make a film when he started shooting

and it shows, because even beyond its gaudy Predator-o-vision visuals, as a narrative experience, it's dangerously close to incoherent

This is a movie quite literally produced by an edgelord. I mean, Corrine's production company is indeed called Edgelord

And so it's fitting that Aggro Drift seems not merely indifferent to the fact that people might try to watch it

but even hostile to the very notion