Karyn Kusama’s Jennifer’s Body—released in 2009 and starring Megan Fox as a possessed high-schooler and Amanda Seyfried as the best friend who must confront her—has had quite a critical turnaround during its short life. Upon its release, Jennifer’s Body was given the big green splat and dismissed by critics as a horror-comedy that couldn’t quite get either genre right; today, it is the subject of countless reassessments that argue it’s a genius dissection of toxic masculinity that neither its marketers nor its critics quite “got” when it was first released. (We’re inclined to agree; turn to here to find out why.) Jennifer’s Body is one of what we’re choosing to call “The Underestimated,” those films that had a little more on their minds than perhaps critics gave them credit for at first. Sometimes, it seems critics had a hard time getting past surface flaws—as in Practical Magic’s seeming genre confusion, for example, or the cheap shock tactics of sci-fi/horror favorite Event Horizon, about which critic Bilge Ebiri writes here—to see the deeper joys to be found in these films. And sometimes time has been helpful in revealing how impactful these movies could be (witness the way Blade set the template for superhero and action flicks to follow, or The Strangers became a seminal and widely studied slasher). Sometimes, though, they’re just plain masterpieces that the critics have slept on, as Australian critic David Stratton says of Julie Taymor’s ambitious musical, Across the Universe. Whatever the reason these movies were underestimated, they’ve endured and stand today as reminders that Rotten scores shouldn’t stop people from taking another look with fresh eyes.