 Matt Hills ' concept of the " cult blockbuster " involves cult followings inside larger , mainstream films . Although these are big budget , mainstream films , they still attract cult followings . The cult fans differentiate themselves from ordinary fans in several ways : longstanding devotion to the film , distinctive interpretations , and fan works . Hills identifies three different cult followings for The Lord of the Rings , each with their own fandom separate from the mainstream . Academic Emma Pett identifies Back to the Future ( 1985 ) as another example of a cult blockbuster . Although the film topped the charts when it was released , it has developed a nostalgic cult following over the years . The hammy acting by Christopher Lloyd and quotable dialogue draw a cult following , as they mimic traditional cult films . Blockbuster science fiction films that include philosophical subtexts , such as The Matrix , allow cult film fans to enjoy them on a higher level than the mainstream . Star Wars , with its large cult following in geek subculture , has been cited as both a cult blockbuster or a cult film . Although a mainstream epic , Star Wars has provided its fans with a spirituality and culture outside of the mainstream . Fans , in response to the popularity of these blockbusters , will claim elements for themselves while rejecting others . For example , in the Star Wars film series , mainstream criticism of Jar Jar Binks focused on racial stereotyping ; although cult film fans will use that to bolster their arguments , he is rejected because he represents mainstream appeal and marketing . Also , instead of valuing textual rarity , fans of cult blockbusters will value repeat viewings . They may also engage in behaviors more traditional for fans of cult television and other serial media , as cult blockbusters are often franchised , preconceived as a film series , or both . To reduce mainstream accessibility , a film series can be self @-@ reflexive and full of in @-@ jokes that only longtime fans can understand . 
