When it comes to the world of fame, few things spark as much drama as a scathing review. In fact, there are at least 10 times celebrities have taken the microphone, the Twitter feed, or even a full‑page ad to push back against a critic who dared to be less than glowing. Below we count down the most memorable showdowns, each one a vivid reminder that even the biggest names can’t always swallow a bad headline without a little retaliation.
10 Times Celebrities Take On Critics
10 Justin Bieber vs. Morgan Stewart
Surprise pop‑up gigs are the stuff of fan legend, especially when a megastar like Justin Bieber makes a sudden appearance after a two‑year hiatus. That’s exactly what happened at Coachella 2019, where Bieber slipped onto the stage for an unannounced set that left the crowd buzzing. Yet, as with any high‑profile performance, the spotlight also attracted a chorus of analysts ready to dissect every note and nuance.
It didn’t take long for Nightly Pop host Morgan Stewart to take the mic and accuse Bieber of lip‑syncing his surprise rendition of “Sorry.” Bieber, feeling the sting of the allegation, fired back on Twitter, clarifying that he wasn’t lip‑syncing but was instead singing over a pre‑recorded track—a technique known in the industry as “overtop.” He didn’t hold back, branding Stewart’s comments as the kind of bullying that can drive kids to despair, writing, “It’s people like you that are bullies at school that are making kids suicidal.”
Stewart’s critique didn’t stop at the technical side; she also jabbed at Bieber’s appearance, quipping that his forehead looked as though it had been smoothed with an “Oxy‑pad.” In his defense, Ariana Grande, who shared the stage with Bieber, stepped in to explain that the last‑minute nature of the surprise performance necessitated the use of a backing track, thereby offering a backstage pass to the logistical realities of live pop shows.
9 Cara Delevingne vs. Joe Morgenstern
The 2016 blockbuster Suicide Squad assembled a star‑studded roster—including Margot Robbie, Will Smith, and Cara Delevingne—to bring a rag‑tag band of supervillains to the silver screen. While the movie raked in impressive box‑office numbers, it also attracted a wave of critical disdain, with many reviewers lamenting its tonal inconsistencies and narrative missteps.
Among the most scathing assessments was a review by Wall Street Journal critic Joe Morgenstern, who bluntly declared, “In a word, ‘Suicide Squad’ is trash. In two words, it’s ugly trash,” adding that the film represented “an all‑out attack on the whole idea of entertainment.” His verdict left little room for nuance, painting the entire project in a decidedly negative light.
Delevingne, who portrayed the Enchantress June Moone, pushed back against the harsh commentary in a Reuters interview, labeling the critics as “absolutely horrific, they’re really, really horrible.” She suggested that the reviewers’ disdain might stem from a simple lack of appreciation for superhero cinema, implying that personal taste, rather than objective analysis, fueled the negative press.
8 Michael Che vs. Stephen Hyden
In the realm of comedy and late‑night television, it’s not uncommon for creators to defend their colleagues when a reviewer takes a swipe. Such a scenario unfolded when Uproxx writer Stephen Hyden penned a less‑than‑flattering piece about SNL’s Weekend Update co‑anchor Colin Jost. Hyden’s criticism sparked a fiery response from SNL’s own Michael Che, who chose Instagram as his battleground.
Never one to shy away from satire, Che responded with a series of absurd, bestiality‑laden jokes aimed at Hyden. He fabricated mock news stories that suggested the writer was engaging in sexual acts with rescued dogs, a clear attempt to ridicule Hyden through shock humor. The exchange quickly turned into a public spectacle, highlighting the lengths to which comedians might go to protect their peers.
Che’s feud with Hyden wasn’t an isolated incident; he later tangled with podcaster and former Jimmy Kimmel writer Jack Allison, who had derided SNL as “the worst show on TV.” This extended saga underscored how quickly a single critical comment can snowball into a broader, highly visible clash within the entertainment community.
7 Samuel L. Jackson vs. A.O. Scott
When the 2012 Marvel juggernaut The Avengers thundered onto screens worldwide, it also attracted the analytical eye of New York Times critic A.O. Scott. While the film dazzled audiences with its ensemble cast and explosive set pieces, Scott’s review was decidedly lukewarm, especially regarding Samuel L. Jackson’s turn as the stoic spy Nick Fury.
Scott dismissed Jackson’s performance, observing that the actor seemed “more master of ceremonies than mission commander.” Jackson, who had already embodied Fury in Iron Man, took to Twitter to flip the script, urging fans to help the critic find a new line of work. He tweeted, “#Avengers fans, NY Times critic AO Scott needs a new job! Let’s help him find one! One he can ACTUALLY do!”—a pointed jab at the reviewer’s perceived inadequacy.
Despite the public scolding, the critique failed to dent Jackson’s continued association with the role. He went on to reprise Fury in over a dozen subsequent Marvel projects, suggesting that the critic’s assessment had little impact on the franchise’s casting decisions or the actor’s standing within the superhero pantheon.
6 James Corden’s Father vs. Mark Kermode
Voice‑over work can be a double‑edged sword, especially when a beloved TV host like James Corden steps behind the microphone for an animated lead. In the 2018 family film Peter Rabbit, Corden’s vocal performance drew the ire of BBC Radio’s Mark Kermode, who labeled the actor’s delivery as “irritating” and argued that Corden’s tone clashed with the character’s personality.
Feeling the personal sting of Kermode’s remarks, Corden’s father, Malcolm, penned a letter to the broadcaster, expressing his dismay at being called “appallingly irritating.” He lamented that such a description was difficult to hear, especially when directed at his son, and urged Kermode to consider how it might feel to have his own children singled out in a similar manner.
Kermode, ever the self‑deprecating critic, responded with humor, noting, “I believe my parents have heard me called much worse things than appallingly irritating.” The exchange highlighted the sometimes‑personal nature of critiques that venture beyond the work itself and into the realm of family pride.
5 Nicole Kidman and Reese Witherspoon vs. Mike Hale
The HBO drama Big Little Lies (2017‑2019) captivated audiences with its darkly comic take on affluent California motherhood, featuring powerhouse performances from Nicole Kidman, Reese Witherspoon, and Shailene Woodley. Yet New York Times critic Mike Hale wasn’t entirely sold, penning a review that dismissed the series as a “compendium of clichés about upper‑middle‑class angst.”
Hale’s critique zeroed in on a subplot involving an abusive relationship, drawing an unfavorable comparison to the sensationalist tone of Fifty Shades of Grey. The pointed remarks suggested that the series fell short of the narrative depth expected from such a high‑profile cast.
Both Kidman and Witherspoon addressed the criticism during a Q&A with the Television Critics Association, though they stopped short of naming Hale directly. They expressed the belief that the reviewer hadn’t watched the entire series, with Witherspoon speculating that perhaps only a single episode had been viewed. Kidman urged fans to “please watch the whole show,” emphasizing that a full viewing was essential to grasp the series’ complete arc and thematic nuance.
4 Lizzo vs. Rawiya Kameir
When Pitchfork’s Rawiya Kameir dissected Lizzo’s 2019 album Cuz I Love You, the review was a mixed bag. While praising Lizzo’s undeniable talent and charisma, Kameir noted that several tracks suffered from “overwrought production, awkward turns of phrase, and ham‑handed rapping.” She also questioned the feasibility of Lizzo positioning herself as the modern‑day Aretha Franklin, suggesting she resembled Natasha Bedingfield more than the soul legend.
Lizzo’s reaction was swift and unapologetic. Taking to Twitter, she posted a now‑deleted tweet that read, “PEOPLE WHO ‘REVIEW’ ALBUMS AND DON’T MAKE MUSIC THEMSELVES SHOULD BE UNEMPLOYED.” The blunt response underscored her frustration with critics she felt didn’t fully appreciate her artistic vision.
Despite the backlash surrounding her tweet, the album remained largely well‑received by the public and many reviewers. The controversy sparked a broader conversation about the role of non‑musician journalists in music criticism, with some defending Kameir’s analytical approach while others rallied behind Lizzo’s stance, illustrating the polarized nature of modern music discourse.
3 Rob Schneider vs. Patrick Goldstein
Comedic actor Rob Schneider, known for his work on films like Deuce Bigalow Male Gigolo, frequently found himself at odds with reviewers. In 2005, Los Angeles Times critic Patrick Goldstein mocked the sequel Deuce Bigalow European Gigolo, joking that the movie lacked a category for “Best Running Penis Joke Delivered by a Third‑Rate Comic.”
Stung by Goldstein’s sarcasm, Schneider launched a full‑blown counter‑offensive, purchasing full‑page advertisements in both The Hollywood Reporter and Daily Variety to publicly berate the critic. He also penned an open letter that ridiculed Goldstein’s lack of a Pulitzer, quipping that there was no award for “Third‑Rate, Unfunny Pompous Reporter.” The exchange highlighted Schneider’s willingness to defend his comedic brand with gusto.
The feud reached a crescendo when legendary critic Roger Ebert entered the fray, siding with Goldstein. Ebert emphasized his Pulitzer credentials and delivered a scathing assessment of the film, concluding with a blunt declaration that the movie “sucks.” This endorsement of Goldstein’s viewpoint added an extra layer of gravitas to the dispute, underscoring how even seasoned critics can influence public perception.
2 Vincent Gallo vs. Roger Ebert
In 2003, Roger Ebert unleashed a scathing review of Vincent Gallo’s experimental road drama The Brown Bunny, branding it the “worst film in the history of the Cannes Film Festival.” The harsh verdict ignited a bitter feud that resembled a playground squabble more than a scholarly debate.
Gallo retaliated with a series of sarcastic barbs, claiming he had placed a hex on Ebert’s prostate and colon. Ebert, in turn, quipped that watching his own colonoscopy footage on television was “more entertaining than ‘The Brown Bunny.’” He also noted that while he could lose weight, Gallo would remain forever tied to the infamy of directing the notorious film.
Surprisingly, the conflict eventually yielded a positive outcome. Gallo re‑edited the movie, addressing some of the criticisms, and Ebert later revisited the film with a more favorable review. The turnaround demonstrated that even the most acrimonious critic‑artist clashes can evolve into moments of artistic reassessment.
1 Lana del Rey vs. Anne Powers
When NPR critic Anne Powers offered a nuanced review of Lana del Rey’s 2019 album Norman F****** Rockwell, she highlighted both strengths and perceived shortcomings. Del Rey, taking issue with a particular observation, responded via Twitter, stating, “I don’t even relate to one observation you made about the music. There’s nothing uncooked about me. To write about me is nothing like it is to be with me…”
The singer also pushed back against Powers’ reference to her “bad girl” persona, insisting that she never cultivated a manufactured image and that the label was a mischaracterization of her authentic self.
Del Rey’s measured response contrasted with a more hostile reaction from many of her fans, who launched personal attacks against Powers, criticizing her appearance and calling for the reviewer’s career to be destroyed. Powers later clarified her intent, explaining that her commentary aimed to “evoke the complicated feelings her music prompts while also exploring what, in LDR’s music and in the culture, might have contributed to such feelings.”