has a rocky relationship with viewers and critics alike. It's not for everyone, with many holding a disdain for the genre, so it often receives undue criticism. Sometimes it's actually those who love scary movies that can be the harshest. If there's one thing horror fans have in common, it's that they're incredibly passionate about the genre. When they love a film, they will go on and on about it, defending it against those who might not feel the same. Likewise, when they hate a flick, they'll be just as loud about it.

Over the years, there have been countless horror movies that have received vitriol from both audiences and critics. Many of these have warranted the disdain, but there are others whose hatred is not entirely justified.

Curated on this list are 10 overly hated horror movies that deserve more love. Some have been criticized for being excessively violent, badly written, or unoriginal. Others are remakes and sequels that were never given a fair chance. They all deserve another look.

Michael Myers quickly became an icon after the first movie in the Halloween franchise. After the second, audiences were majorly disappointed to discover that the third film wouldn't feature their beloved white-masked serial killer. All they wanted was to watch Michael stab his way through a new string of victims. Instead, they got a story about a conspiracy involving magical Halloween masks and a shady corporation. The new villain was the company owner, who was planning an ancient Celtic Samhain ritual involving the mass murder of children with said masks.

John Carpenter and Debra Hill wanted to go in a different direction, envisioning an anthology film series. Sadly, the idea didn't make it past this first attempt, which was poorly received. Arguably, Halloween III: Season of the Witch would have had a more positive reception if it hadn't been sold as a Halloween sequel. Although it has since gained a cult following, it's still an underappreciated gem. Oozing with 80s horror camp and filled with worthy scares and twists you don't see coming, it makes for a fun ride, especially when not taken too seriously. Not to mention, it makes for ideal October viewing.

Brian De Palma's Carrie is a masterpiece. So, when a sequel came out 25 years later, horror fans were rightfully left thinking, "What's the point?" There are countless reasons why a second movie never should have happened, but it did, and its hate is nowhere near justified. It follows another outcast teen, goth-coded Rachel Lang (Emily Bergl), whose dormant telekinetic powers are reignited when her best friend dies by suicide after being sexually exploited. Amy Irving reprises her role as Sue Snell, now the high school's guidance counselor.

The Rage: Carrie 2 might have been a commercial and critical failure, but it's one of the most important teen movies of the decade. Doing what nearly no one was doing at the time, the film explored misogyny, male privilege, toxic masculinity, and rape culture. While a few films, like The Craft (1996), delved into the subjects, no one did it as loudly and proudly as this feminist retelling of one of horror's greatest classics. Bergl shines in her role, bringing to life one of the genre's most admirable female protagonists. Her character is severely underrated. If you love "good for her horror" and movies about feminine rage, give this one a shot.

From The Texas Chainsaw Massacre (2003) to Black Christmas (2006)to Sorority Row (2009), the 2000s were the decade of horror remakes, many of which received unwarranted vitriol. Among them is House of Wax, a reimagining of 1953's Mystery of the Wax Museum. The retelling follows a group of college friends who seek help in a ghost town when their car is vandalized on their way to a football game. There, they encounter an abandoned wax museum, whose figures hide something sinister beneath the surface. The film may have its list of things that keep it from being great, but as a slasher, it does exactly what it needs to do.

House of Wax has memorable kills, a heavy atmosphere, an impressive set design, and a beast of a final act. Its distinctive body horror makes for an unsettling, grizzly watch. Carly Jones (Elisha Cuthbert) is a clever final girl, one who's better written than many of her contemporaries. Her co-star, socialite Paris Hilton, who wasn't even that bad in the movie, got unnecessary hate. Roger Ebert shared in his review, "she is no better or worse than the typical Dead Post-Teenager, and does exactly what she is required to do in a movie like this, with all the skill, admittedly finite, that is required." Her character's death is simply iconic. Paris didn't deserve all the bashing or the "See Paris Die" ad campaign.

The prequel to the 2003 remake of the original movie opens in 1939, showing how Leatherface became a part of the Hewitt family. Jumping to 1969, it follows brothers Eric and Dean (Matt Bomer and Taylor Handley) as they travel across the country with their girlfriends Chrissie and Bailey (Jordana Brewster and Diora Baird). On the road, they become victims of the cannibalistic clan. Although it was a commercial success, the movie was heavily criticized for its extreme violence, ranking lower among others in the franchise.

It's exactly what critics and audiences initially hated about the film that makes it worth revisiting. Despite a multi-million-dollar budget, the movie has a 60s and 70s grindhouse feel, which is precisely its appeal. As an origin story, the film is effective. It gives insight into how Sheriff Hoyt (R. Lee Ermey) came to be in power, while explaining how the family has been able to get away with their crimes. Gruesomely filled with relentless terror, the movie becomes more enjoyable if you look at it through the lens of the sadistic villains being the main characters, not their unfortunate victims.

Scream King Kyle Gallner stars in his third horror role alongside Rooney Mara in this collectively abhorred remake, which many fans and critics saw as a pale imitation of Wes Craven's classic. Loosely following the plotline of the original, the film implemented some changes — a darker tone, a deeper exploration of Freddy Krueger's origin, and the high-stakes addition of micro-sleep — while swapping out Robert Englund for Jackie Earl Haley.

While the movie is by no means perfect and has its fair share of flaws, it's a terrifying reimagining worthy of some merit. For one, Freddy's depraved backstory adds a sinister layer that works for a tale aimed to be more disturbing, setting it apart from its predecessor. Some may not agree, but the 2010 Freddy, while nowhere near iconic, is scarier than Englund's. The opening sequence is also one of the best of 2010s horror. Although the CGI is bad, the kills are well-executed and memorable. Mara and Gallner kill it in their roles, and are reason enough to watch.

As Above, So Below follows a scholar who has made it her lifelong mission to continue her late father's archaeological search for the fabled Philosopher's Stone. When she learns it may be hidden in the macabre catacombs that lie beneath Paris, she and her crew delve deep into the massive graves to find it, uncovering dark secrets they never could have imagined. The movie was widely trashed by critics for being clichéd and lacking originality, among other things.

That it was part of a long list of found footage horror that came in the 15 years after The Blair Witch Project didn't help its case. By then, audiences had grown exhausted of the subgenre, so it was easy to overlook. With a rich, unique atmosphere, the film deserves a lot more love than it has gotten. Its esoteric theme makes for an intriguing premise. Aside from the legend, the movie also delves into historical elements of the Knights Templar and expertly references Dante Alighieri's Divine Comedy.

Directed by Adam Wingward (You're Next), the third installment in the Blair Witch franchise serves as a direct sequel to the 1999 original movie. James Donahue (James Allen McCune) ventures into the Black Hills Forest near Burkittsville, Maryland with a few friends and two locals after finding a YouTube video showing a woman who he believes to be his sister, Heather, who disappeared there 20 years prior. Come nightfall, the group discovers that the Blair Witch legend is all too real. The movie was widely panned by critics and audiences for being what many called a lazy rehash of The Blair Witch Project.

Viewers also hated the fact that it was a lot less subtle, but being overly mysterious wouldn't have worked again. There is much to appreciate about the scares in this one. The film may not have done anything revolutionary, but it's a solid entry in the found footage subgenre. Featuring high-tech equipment, drones, cell phones, and GPS, it's the answer for those who hated the handheld technique of the original. Its implementation of time warping was a welcome addition, as was its expansion of lore, which revealed more about Elly Kedward's death. Blair Witch also introduced new elements that gave way to new theories for the first movie. This one is better watched when you stop comparing it to the original.

The gorgeously shot The Strangers: Prey at Night received generally poor reviews. Many called it lackluster and blamed it for failing to replicate the scares of the original. The movie's only crime was not trying at all to be like The Strangers. Bringing the new story to an open setting, it follows a family of four on vacation in a secluded and deserted mobile home park, where they must survive the three masked killers if they want to see the sun rise.

Widely condemned for feeling like a different genre, this is exactly the reason why this sequel should be embraced. The slasher is enjoyed so much more when you welcome it for what it is, instead of comparing it to the slow-burn psychological horror that was the first movie. Nail-biting from beginning to end, it's much more brutally intense and violent than what audiences got in 2008. Throwing teenagers into the mix was a wise choice, as it elevated the stakes and tension. If nothing else, its pool sequence deserves all the love. It's one of the most iconic horror scenes from the 2010s.

Diablo Cody, who also wrote Jennifer's Body, wrote this future misunderstood cult classic that plays like an homage to '80s horror. Kathryn Newtondelivers a stellar, compelling performance as the eccentric and relatable Lisa Swallows, a death-obsessed teenager still coming to terms with her mom's murder two years prior and her dad's subsequent marriage to the tightly-wound Janet (Carla Gugino), the stereotypical wicked stepmother. Although her stepsister, Taffy (Liza Soberano), tries to welcome her into her world, Lisa keeps her at arms' length, preferring to spend her time in an abandoned cemetery, where she talks to the Victorian-era bust of a young man (Cole Sprouse), whose corpse is reanimated one night. Together, they embark on a murderous journey.

Those bad reviews be damned. Just as was the case with Jennifer's Body, time will be kind to the hilariously macabre . The "weird girl horror" might have just been too bizarre and raunchy for some critics, but this is precisely its charm. There's much to appreciate about the film, like its immersive world, brought to life with a stunning '80s aesthetic, playful design, and vibrant colors.

The feminine twist on Mary Shelley's classic is one of the most original approaches in recent years. Defying expectations, the story gives viewers an unconventional female protagonist who is messy, morally ambiguous, and in control of her sexuality (without being objectified). The strangely off-putting Lisa Swallows will go down in history as a horror icon.

Although the 2006 remake of 1974's Black Christmas was loathed upon release, it has become more beloved over the years, gaining a considerable fanbase. 2019's reimagining hasn't had that luck. Directed by Sophia Takal, the movie discards Billy and Agnes altogether, instead bringing on a mysterious cloaked figure as its villain. As Hawthorne College empties out for the holidays, said killer targets sorority row. The sisters of Mu Kappa Epsilon fight back.

Mainly, the film was dismissed for being "too woke" and "too feminist." Others criticized it for being heavy-handed and messy. Additionally, it was condemned for a few missteps in how it handled its subject matter. While it's not a perfect film by any means, its heart is in the right place, shining a light on misogyny, rape culture, and the effects of trauma on sexual assault survivors. Its supernatural element, which was almost universally hated, should actually be commended for being such a fresh take. Lastly, what's not to love about watching college women beating down a bunch of insufferable frat boys?