 According to Mathijs , critical reception is important to a film 's perception as cult , through topicality and controversy . Topicality , which can be regional ( such as objection to government funding of the film ) or critical ( such as philosophical objections to the themes ) , enables attention and a contextual response . Cultural topics make the film relevant and can lead to controversy , such as a moral panic , which provides opposition . Cultural values transgressed in the film , such as sexual promiscuity , can be attacked by proxy , through attacks on the film . These concerns can vary from culture to culture , and they need not be at all similar . However , Mathijs says the film must invoke metacommentary for it to be more than simply culturally important . While referencing previous arguments , critics may attack its choice of genre or its very right to exist . Taking stances on these varied issues , critics assure their own relevance while helping to elevate the film to cult status . Perceived racist and reductive remarks by critics can rally fans and raise the profile of cult films , an example of which would be Rex Reed 's comments about Korean culture in his review of Oldboy ( 2003 ) . Critics can also polarize audiences and lead debates , such as how Joe Bob Briggs and Roger Ebert dueled over I Spit On Your Grave ( 1978 ) . Briggs would later contribute a commentary track to the DVD release in which he describes it as a feminist film . Films which do not attract enough controversy may be ridiculed and rejected when suggested as cult films . 
