History AmericansHateTingle / LiveActionFilms

* You want to make a movie about the UsefulNotes/{{Algeria}}n Independence War? Ok, but there would be a dilemma about it: either you make the [[https://en.wikipedia.org/wiki/National_Liberation_Front_(Algeria) Algerian FLN]] the villains and you achieve success in the French market... or given that France has colonized Algeria, you [[YourTerroristsAreOurFreedomFighters make National Liberation Front rebels the good guys instead]]! However by making the latter choice, don't expect said movie to be a success in France, but instead cause outrage or controversy at best, or it getting loathed at worst there instead, as the Algerian National Liberation Front itself is reviled in France for having committed terrorist attacks against French civilians (namely Pied-Noir Frenchmen and Algerian Jews) and Harki militaries, and the Algerian Independence War is a very sensitive topic there. This doesn't help that, unlike the French government, the Algerian one has never apologized nor [[KarmaHoudini had been condemned for committing its war crimes]] (hence why, there's a widespread anti-Algerian sentiment in France, especially among right-wing French politicians and activists, as well as descendants of Harki, Pied-Noir or Jewish people), worse, there is even systemic anti-French propaganda there (starting with the national anthem itself), even though some parts of the Algerian population begin to question the [[FullCircleRevolution Algerian government's narrative]]. This is why movies about this war, especially if they have the Algerian side as the protagonists like for ''Film/OutsideTheLaw'' or ''Film/TheBattleOfAlgiers'', never becoming successful nor even gaining a CultClassic status, instead becoming controversial or followed by a ban there.

* You want to make a movie about the UsefulNotes/{{Algeria}}n Independence War? Ok, but there would be a dilemma about it: either you make the [[https://en.wikipedia.org/wiki/National_Liberation_Front_(Algeria) Algerian FLN]] the villains and you achieve success in the French market... or given that France has colonized Algeria, you [[YourTerroristsAreOurFreedomFighters make National Liberation Front rebels the good guys instead]]! However by making the latter choice, don't expect said movie to be a success in France, but instead cause outrage or controversy at best, or it getting loathed at worst there instead, as the Algerian National Liberation Front itself is reviled in France for having committed terrorist attacks against French civilians (namely Pied-Noir Frenchmen and Algerian Jews) and Harki militaries, and the Algerian Independence War is a very sensitive topic there. This doesn't help that, unlike the French government, the Algerian one has never apologized nor [[KarmaHoudini had been condamned for having committed its war crimes]] (hence why, there's a widespread anti-Algerian sentiment in France, especially among right-wing French politicians and activists, as well as descendants of Harki, Pied-Noir or Jewish people), worse, there is even systemic anti-French propaganda there (starting with the national anthem itself), even though some parts of the Algerian population begin to question the [[FullCircleRevolution Algerian government's narrative]]. This is why movies about this war, especially if they have the Algerian side as the protagonists like for ''Film/OutsideTheLaw'' or ''Film/TheBattleOfAlgiers'', never becoming successful nor even gaining a CultClassic status, instead becoming controversial or followed by a ban there.

* ''Film/ThreeHundred'' was hated and condemned as "Western propaganda" in Iran due to its extremely villanous portrayal of the First Persian Empire. One feels compelled to say that it was not a documentary and was told from the point of view of the Greeks, who often stereotyped their enemies.

* The UsefulNotes/{{Bollywood}} film ''Film/{{Gunday}}'' is a footnote in most of the world, did pretty well in its home country of India, and got okay critical reviews. In Bangladesh, it's generally viewed to be worse than Hitler, for some major ArtisticLicenseHistory taken with the Bangladesh Liberation War in a prologue sequence. Specifically, portraying the Indo-Pakistani War of 1971 as the reason Bangladesh exists, when in fact Bangladesh already launched their independence war earlier that year and, depending on who you ask, were already winning. For an American comparison, this is like if a film said your country only exists because France helped you out in the Revolutionary War. Also, one scene depicting Bangladeshis identifying as Indian and speaking Hindi angered audiences due to the Pakistani government historically trying to suppress the Bengali language and national identity. The film studio eventually made an official apology for their portrayal. The film was actually rated #1 on the IMDB Bottom 100 for about a year, for exactly this reason, with thousands of angry Bengalis one-starring the film.

* Although ''Film/YoungEinstein'' did well in its native Australia, the reaction from North American critics was mostly negative. This has largely been attributed to its style of humour not translating well overseas.

* The ''Film/FantasticBeasts'' series has never caught on in the US but has always retained strength in Europe in East Asia, especially the big markets of Germany in the former and Japan in the latter. This is probably because even the ''Film/HarryPotter'' films always skewed heavily internationally as well but now with more competition than that series ever faced. The outside controversies around the series such as Creator/JohnnyDepp's domestic violence woes and Creator/JKRowling's so called "gender-critical" beliefs don't really get coverage outside the US. However, the films may not do well in ticket sales but they do well on streaming, PVOD, and physical medias sales in the states. The [[Film/FantasticBeastsTheSecretsOfDumbledore third film]] didn't even hit $100 million domestically but outold ''Film/DoctorStrangeInTheMultiverseOfMadness'' which made over 4x that on [[https://m.the-numbers.com/home-market/bluray-sales/2022 Blu-Ray]] and was the sixth-higehst grossing home seller in raw dollars in [[https://m.the-numbers.com/home-market/packaged-media-sales/2022 2022.]]

* Creator/JackieChan is [[GermansLoveDavidHasselhoff beloved throughout the West]], and sells well within China. However, he has become ''rather'' unpopular in Taiwan (and to an extent a BrokenBase in his home of Hong Kong), due to very pro-Mainland political opinions. During some of his publicity tours, he has repeatedly praised Beijing's leadership, suggested that Taiwan be returned to mainland Chinese rule, and accused Western democracy of leading to only protest and problems. In Hong Kong's case, this was from a VocalMinority of people who protests the Chinese rule; most SilentMajority Hong Kongers, pro-Mainland or neutral, are still supportive of him.

** While critical reception for ''Film/IndianaJonesAndTheTempleOfDoom'' warmed up from mixed reactions to more favorable, this was not the case in India, where government censors temporarily banned it due to its negative portrayals of Hinduism such as Hindus [[ForeignQueasine eating baby snakes, eyeball soup, beetles, and chilled monkey brains]], and depicting the goddess Kali as evil when she is actually a goddess of change and empowerment. When the government denied the filmmakers permission to film in India, they used Sri Lanka to shoot the scenes set in India.

** ''Film/TheForceAwakens'' made some headlines for fizzling out in a number of foreign markets. Its domestic box office is the highest ever, but in non-English-speaking markets, its performance was fairly average[[note]]with the notable exception of France, in which it has outgrossed every Marvel Cinematic universe movie to date[[/note]] and didn't exactly break any records. Some analysts believe that this resulted from a [[ContinuityLockout story that wasn't accessible to newcomers]] and the fact that [[SeinfeldIsUnfunny other Star Wars imitators had already stolen its thunder]]. For example, it did middling business in Japan[[note]]It didn't do badly by any means, [[DamnedByFaintPraise it just wasn't the record breaker that it was in the US]][[/note]], largely due to coming out the same time as the second ''Anime/YoKaiWatch'' film. This has rankled many fans, due to ''Yo-Kai Watch'' being an example of this itself in both anime and video games.

* Franchise/{{Batman}} movies ''still'' have problems turning in decent box office numbers in Japan, as the first Batman media brought to Japan was [[Series/Batman1966 the old campy Adam West TV series]] and thus this became the Japanese mainstream's first impression of him. Later movies, like ''Film/Batman1989'' and Creator/ChristopherNolan's [[Film/TheDarkKnightTrilogy trilogy]], which depict darker, more serious stories, mostly confused Japanese audiences expecting to see colorful camp. Surprisingly however, ''Film/Joker2019'', was a success in Japan, grossing over $46 million.

* You want to make a movie about the UsefulNotes/{{Algeria}}n Independence War? Ok, but there would be a dilemma about it: either you make the [[https://en.wikipedia.org/wiki/National_Liberation_Front_(Algeria) Algerian FLN]] the villains and you achieve success in the French market... or given that France has colonized Algeria, you [[YourTerroristsAreOurFreedomFighters make National Liberation Front rebels the good guys instead]]! However by making the latter choice, don't expect said movie to be a success in France, but instead cause outrage or controversy at best, or it getting loathed at worst there instead, as the Algerian National Liberation Front itself is reviled in France for having committed terrorist attacks against French civilians (namely Pied-Noir Frenchmen or Algerian Jews) and Harki militaries, and the Algerian Independence War is a very sensitive topic there. This doesn't help that, unlike the French government, the Algerian one has never apologized for having committed its war crimes (hence why, there's a widespread anti-Algerian sentiment among right-wing French politicians and activists), worse, there is even systemic anti-French propaganda there (starting with the national anthem itself), even though some parts of the Algerian population begin to question the Algerian government's narrative. This is why movies about this war, especially if they have the Algerian side as the protagonists like for ''Film/OutsideTheLaw'' or ''Film/TheBattleOfAlgiers'', never becoming successful or even gaining a CultClassic status, instead becoming controversial followed by a banned there.

* You want to make a movie about the Algerian Independence War? Ok, but there would be a dilemma about it: either you make the Algerian National Liberation Front the villains and you get a success in France... or given that France has colonized Algeria, you make National Liberation Front rebels the good guys instead! However by making the latter choice, don't expect said movie to be a success in France but outrage or controversy at best, or it getting loathed at worst there instead, as the Algerian National Liberation Front itself is reviled in France for having committed terrorist attacks against French civilians (like Pied-Noir people or Algerian Jews) and Harki militaries, and the Algerian Independence War is a very sensitive topic there. This doesn't help that, unlike the French government, the Algerian one has never apologized for having committed its war crimes (hence why, there's a widespread anti-algerian sentiment among right-wing french politicians and activists), worse, there is even systemic anti-french propaganda there (starting with the national anthem itself), even though some parts of the algerian population begin to question the algerian government's narrative. This is why movies about this war, especially if they have the Algerian side as the protagonists like for Film/OutsideTheLaw or Film/TheBattleOfAlgiers, never become successful nor getting cult statuses, even get outrage or controversial or banned there.

* You want to make a movie about the Algerian Independence War? Ok, but there would be a dilemma about it: either you make the Algerian National Liberation Front the villains and you get a success in France... or given that France has colonized Algeria, you make National Liberation Front rebels the good guys. However by making the latter choice, don't expect said movie to be a success in France but outrage or controversy at best, or it getting loathed at worst there instead, as the National Liberation Front itself is reviled in France for having committed terrorist attacks against French civilians (like Pied-Noir people or Algerian Jews) and Harki militaries, and the Algerian Independence War is a very sensitive topic there. This doesn't help that, unlike the French government, the algerian one has never apologized for having committed its war crimes, worse, there is even systemic anti-french propaganda there, even though some parts of the algerian population begin to question the algerian government's narrative. This is why movies about this war, especially if they have the Algerian side as the protagonists like for Film/OutsideTheLaw or Film/TheBattleOfAlgiers, never become successful nor getting cult statuses, even get outrage or controversial or banned there.

*** In France, for the aforementioned reasons below, the Japanese Godzilla media is really obscure there, compared to the American remakes. It doesn't help that only some of the Showa era movies and Film/GodzillaFinalWars (though it has been a literal box-office bomb there) and Reign era media (Shin Godzilla having been a partial exception as it has only been released thre in Paris and Toulouse, the animes got released on Netflix) has been released there. However, it's the [[Film/{{Godzilla 2014}} Monster]][[Film/GodzillaKingOfTheMonsters2019 Verse]] [[GodzillaVsKong vers]][[GodzillaXKongTheNewEmpire ion]] that is the most popular there as it has led the [[Film/{{Godzilla 1998}} Roland Emmerich version]] into obscurity there and, yet, even though the Reiwa era series and movies are also obscure there, they get more positive reviews than for Emmerich's Godzilla movie, which got mixed reviews at best there.

*** In France, for the aforementioned reasons below, the Japanese Godzilla media is really obscure there, compared to the American remakes. It doesn't help that only some of the Showa era movies and Film/GodzillaFinalWars (though it has been a literal box-office bomb there) and Reign era media (Shin Godzilla having been a partial exception as it has only been released thre in Paris and Toulouse, the animes got released on Netflix) has been released there. However, it's the [[Film/Godzilla|2014 Monster]][[Film/GodzillaKingOfTheMonsters2019 Verse]] [[GodzillaVsKomg vers]][[GodzillaXKongTheNewEmpire ion]] that is the most popular there as it has led the [[Film/Godzilla|1998 Roland Emmerich version]] into obscurity there and, yet, even though the Reiwa era series and movies are also obscure there, they get more positive reviews than for Emmerich's Godzilla movie, which got mixed reviews at best there.

*** In France, for the aforementioned reasons below, the Japanese Godzilla media is really obscure there, compared to the American remakes. It doesn't help that only some of the Showa era movies and Film/GodzillaFinalWars (though it has been a literal box-office bomb there) and Reign era media (Shin Godzilla having been a partial exception as it has only been released thre in Paris and Toulouse, the animes got released on Netflix) has been released there. However, it's the MonsterVerse version that is the most popular there as it has led the [[Film/Godzilla(1998) Roland Emmerich version]] into obscurity there and, yet, even though the Reiwa era series and movies are also obscure there, they get more positive reviews than for Emmerich's Godzilla movie, which got mixed reviews at best there.

*** In France, for the aforementioned reasons below, the Japanese Godzilla media is really obscure there, compared to the American remakes. It doesn't help that only some of the Showa era movies and Godzilla: Final Wars (though it has been a box-office bomb there) and Reign era media (Shin Godzilla having been a partial exception as it has only been released thre in Paris and Toulouse, the animes got released on Netflix) has been released there.

* You want to make a movie about the Algerian Independence War? Ok, but there would be a dilemma about it: either you make the Algerian National Liberation Front the villains and you get a success in France... or given that France has colonized Algeria, you make National Liberation Front rebels the good guys. However by making the latter choice, don't expect said movie to be a success in France but outrage or controversy at best, or loathing at worst, as the National Liberation Front itself is reviled there for having committed terrorist attacks against French civilians and the Algerian Independence War is a sensitive topic there since. This doesn't help that, unlike the French government, the algerian one has never apologized for having committed its war crimes, worse, there is systemic anti-french propaganda there, even though some parts of the algerian population begin to question the algerian government's narrative. This is why movies about this war, especially if they have the Algerian side as the protagonists like for Film/OutsideTheLaw or Film/TheBattleOfAlgiers, never become successful nor getting cult statuses, even get outrage or banned there.

** The movie has gotten a pretty bad rep in places where ''Godzilla'' hasn't been established as a pop-culturally relevant franchise, and so most people have grown up with the [[{{Film/Godzilla1998}} previous American reboot]] instead. Being that one of the main focuses of the film was to approach it from a "fan perspective" and distance it as much as possible from the '98 movie, it's easy to see why this strategy backfired in places where audiences harbored no love for the Japanese Godzilla, especially since reviews agreed that its faithfulness to the source material was one of the movie's main selling points. The two movies' receptions are inverted compared to countries where the brand has had a history.

** The entire [[Franchise/{{Godzilla}} brand]] qualifies. Although it had a rough history even in its native country, it's considered a cultural and commercial mainstay that still produces [[Film/ShinGodzilla successful films]] every now and then. ''Godzilla'' movies have a [[GermansLoveDavidHasselhoff cult following in the United States]] as well, and they have their share of fans in other territories too, such as Germany (one thing these two places have in common is that they released classic Japanese monster films back when they were still relevant and there weren't a whole lot of Western effects-films to give them competition, which means there's a lot of nostalgia for them). In the rest of the world, it's mostly the American adaptations that got any lasting attention (with a few people also recognizing the significance of [[Film/{{Godzilla 1954}} the original]]), whereas the other ~30 films are seen as the epitome of low-grade schlock due to [[NoExportForYou lack of]], [[BadExportForYou or terrible exports]]. ValuesDissonance is also in effect, since most audiences find the characterful and fantastical Japanese monsters unappealing and silly, especially combined with the [[ManInARubberSuit rubber suit effects]].