Melania Documentary Shatters Record for Critic and Audience Discrepancy on Rotten Tomatoes

Ben Thompson, Culture Editor
4 Min Read
⏱️ 3 min read

In a surprising turn of events, Melania Trump’s much-anticipated documentary, simply titled *Melania*, has set a staggering record for the largest gap between critics’ scores and audience ratings in nearly three decades. Released last Friday, the film has sparked intense debate, reflecting the polarised views surrounding the former First Lady.

A Polarising Reception

Despite its premiere attracting significant media attention, the reception from film critics has been overwhelmingly negative. Currently, the documentary holds a dismal 10 percent rating on Rotten Tomatoes, indicating a lack of favour among reviewers. In stark contrast, audiences have showered the film with praise, granting it an impressive 99 percent rating. This striking divergence has raised eyebrows and prompted discussions about the motivations behind each group’s assessment.

One critic, Nick Hilton, delivered a scathing one-star review for *The Independent*, suggesting that the film resembles “post-modern post-entertainment” rather than a traditional documentary. He described it as a staged portrayal of Melania, comparing its style to that of cinematic misfires like *X-Men: The Last Stand*. “This is somewhere between reality TV and pure fiction,” Hilton wrote, highlighting the film’s questionable authenticity.

Conversely, audience reactions have been overwhelmingly positive. One viewer remarked that it provided a “very private look at the work put in before inauguration,” while another user declared it “inspiring whether you are male, female, left, or right!” Such enthusiastic feedback suggests a passionate support base for the former First Lady, keen to see her perspective in the lead-up to the inauguration.

Box Office Surprises

The documentary’s premiere has also exceeded initial box office expectations, grossing $2.9 million on its opening day across 1,778 theatres. Analysts had anticipated a more modest performance, expecting it to earn between $1 million and $5 million in its first weekend. However, projections now indicate that it could reach upwards of $8.1 million by the end of its run.

Despite this success, the film faces steep challenges in recouping its hefty production costs. Amazon MGM reportedly invested $40 million in the project, with an additional $35 million allocated for marketing. Given the mixed critical reception, it remains to be seen if the film can convert audience enthusiasm into sustained financial success.

Trump Weighs In

At the film’s premiere event held at the Kennedy Center, former President Donald Trump downplayed concerns about the film’s ticket sales, attributing the challenges of post-pandemic cinema attendance to broader industry trends. “It’s a very tough business in theatres selling movie tickets after Covid,” he commented. Trump expressed confidence in the film’s potential for success on streaming platforms, hinting at a broader strategy beyond box office performance.

Why it Matters

The stark contrast between critical and audience responses to *Melania* underscores the deepening divide in contemporary American culture, where public figures often polarise opinions sharply along political lines. This documentary not only reflects Melania Trump’s complex public persona but also highlights the shifting landscape of media consumption, where audience engagement can diverge significantly from critical appraisal. As discussions about the film continue, it serves as a reminder of the evolving nature of documentary filmmaking and its role in shaping public discourse in an increasingly fragmented media landscape.

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Ben Thompson is a cultural commentator and arts journalist who has written extensively on film, television, music, and the creative industries. With a background in film studies from Bristol University, he spent five years as a culture writer at The Guardian before joining The Update Desk. He hosts a popular podcast exploring the intersection of art and society.
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