12 Films We Appreciate But Don't Enjoy

      Here are 12 films we hold in high regard, but can’t say we enjoy watching.

      Some are technically accomplished, yet can be off-putting in other aspects. Others didn’t engage us emotionally, even though we appreciate their artistic merit.

      Think we overlooked any? Want to defend any of these choices? Share your thoughts in the comments.

      The Jazz Singer (1927)

      Credit: C/O

      Looking back from a century later, we disapprove of Al Jolson’s minstrel act in this film, but we cannot overlook its significance as the first feature-length talkie. (Or at least a partial talkie.)

      The Jazz Singer was the inaugural film to feature synchronized recorded music alongside lip-synchronous singing and dialogue, setting a precedent for all future films.

      We certainly align with the National Film Registry's decision to preserve it in 1996 as “culturally, historically or aesthetically significant.”

      It's one of those classic films we respect, but would never choose to watch on a casual Friday night.

      Death Wish (1972)

      Credit: C/O

      While we find the film's pro-vigilante message troubling, we must acknowledge how convincing the storyline is in portraying Paul Kersey (Charles Bronson) as a one-man judge, jury, and executioner.

      The portrayal of crime feels exaggerated, but director Michael Winner and screenwriter Wendall Mayes—loosely adapting from Brian Garfield’s novel—manage to make audiences root for Bronson.

      We prefer the 2018 remake by Eli Roth, perhaps because Bruce Willis is more charming, and the film feels less weighty yet maintains the gritty thrills of the original.

      Last House on the Left (1972)

      Credit: Hallmark Releasing

      Riding on the same wave of crime-related anxiety as Death Wish, Last House on the Left is one of the most disturbing films we’ve ever experienced, yet it occupies our thoughts almost daily.

      Its depiction of random, senseless cruelty is profoundly disheartening, and Mari’s death—immersing herself in a lake seeking an end to her suffering—is hauntingly resonant.

      The performances, especially by Sandra Peabody and Lucy Grantham, are exceptional. Writer-director Wes Craven demonstrates a clear talent for instilling fear, a skill he would continue to refine in the following four decades with films like the Nightmare on Elm Street and Scream franchises.

      One of the most terrifying films of the 1970s—or any decade—it’s a horror movie we hold in high regard but would never rewatch.

      Hardcore (1979)

      Credit: C/O

      Paul Schrader, renowned as one of the finest screenwriters—known for Taxi Driver, Raging Bull, and Bringing Out the Dead, all helmed by Martin Scorsese—and a talented writer-director, is rightly celebrated for American Gigolo and the recent First Reformed and The Card Counter. He has created a multitude of films we admire, but Hardcore isn’t quite one of them.

      While Hardcore boasts a strong premise, superior performances, and numerous clever moments, the film—currently available on the Criterion Channel—fails to cohesively come together. (Schrader himself has critiqued it extensively.) Hardcore follows a Calvinist father (Schrader was raised in a strict Calvinist environment) whose daughter goes missing and is later found in an adult film. The father (George C. Scott) must navigate the underground film world to rescue her, aided by sex worker Niki (Season Hubley).

      Scott’s transformation from a repressed Midwesterner to a savvy street operator appears jarring, and the film descends into the adult film scene in a rapid, darkly absurd manner that feels forced. Nonetheless, we respect Hardcore for its unembellished portrayal of the workings of the adult industry.

      It’s also amusing that Hardcore features numerous references to Star Wars, leading us to the next entry on our list.

      Seven (1995)

      Credit: C/O

      Director David Fincher is among the greatest, and the performances by Brad Pitt, Morgan Freeman, Kevin Spacey, and Gwyneth Paltrow are outstanding. Seven is a riveting film centered on a serial killer (John Doe) who punishes those committing the seven deadly sins.

      The film's atmosphere and ability to build tension are largely impressive, but it may have benefited from being less grotesque. We enjoy being frightened and shocked, but some of John Doe’s methods—particularly regarding lust—seemed overly calculated and broke our immersion. It didn’t captivate us as much as Silence of the Lambs, which addresses similar harsh topics yet remains intensely realistic, shocking us while downplaying the horror.

      Thus, we respect Seven—especially its embrace of bleakness—but found it somewhat manipulative.

      The Phantom Menace (1999)

      Credit: C/O

      We believe the Star Wars prequels were unnecessary: all the backstory is ultimately extraneous,