When critics get ignored: How do low-rated movies like ‘Identity Thief’ top the box office?

Moviegoers will apparently watch anything. At least, that's the only conclusion you could possibly reach after taking a look at this weekend's box office results.

We're talking about "Identity Thief," the new comedy from "Horrible Bosses" director Seth Gordon and one of the most critically-maligned releases of 2013 (currently 24 per cent on the review aggregator Rotten Tomatoes). The film beat out all others over the weekend, taking in an estimated $36.6 million at the box office. Starring Hollywood's go-to funnyman Jason Bateman ("Arrested Development") and comedic "it" girl Melissa McCarthy ("Bridesmaids"), "Identity Thief" had all the makings of a solid buddy comedy, but few reviewers recommended the road movie last week.

Despite write ups of the film being filled with words like "lazy," "sloppy," and "cheap copy," the poor reviews didn't stop audiences from turning out to see "Identity Thief" in droves. How did such a universally panned movie power its way to the top of the box office?

See also: Critics slammed for calling Melissa McCarthy 'tractor-sized'

Three major factors contributed to "Identity Thief" opening weekend success: two big comedic stars, an extremely aggressive marketing campaign, and very little competition at the cinema.

Although Jason Bateman's recent output has been hit and miss at best (genuinely funny movies like "Horrible Bosses" have been surrounded by stinkers like "The Switch" and "The Change-up"), the actor gives every role his all no matter what movie he's in. Viewers know they can count on the "Arrested Development" star's trademark dry wit and deadpan delivery for at least a few laughs. He's a dependable, and very bankable comic actor - and that's why he keeps getting work.

As for Bateman's "Identity Thief" co-star Melissa McCarthy, moviegoers have been wanting to see more of her since 2011's "Bridesmaids." McCarthy was the breakout star of the hilarious all-girl comedy, but aside from a bit part in Judd Apatow's "This is 40," she hasn't done much since. "Identity Thief" is McCarthy's first major starring role, which, combined with Bateman's broad appeal, made the movie an attractive option for moviegoers over the weekend. Even critics could find few bad things to say about Bateman and McCarthy, with most wishing that the movie could live up to their talents.

See also: Five film facts about Melissa McCarthy

The film's aggressive marketing campaign also set it apart from other winter releases, putting butts in seats despite inclement weather in much of the U.S. and Canada. When it came to advertising the film, it seemed as though studio Universal Pictures left no bus shelter or billboard unturned. Over the past few weeks you'd have been hard pressed to find a prime time network show that didn't feature a TV spot for "Identity Thief" -- commercials that heavily touted stars Bateman and McCarthy along with "Horrible Bosses" director Gordon.

But what made the "Identity Thief" marketing campaign really work was a lack of competition. January and February are unofficially a dumping ground for movies that Hollywood studios have little faith in. Movie companies usually don't spend much money advertising movies they don't think will perform at the box office, so if you spend any money at all, your film is bound to stand out during these mid-winter months!

With all of the above factors in mind, the opening weekend success of "Identity Thief" should really be a surprise to no one. But there is one more variable that may have helped the movie succeed: the critics. Is it possible that the overly-negative reaction by reviewers actually bolstered "Identity Thief's" box office take?

See also: Melissa McCarthy gave Jason Bateman a bloody nose during filming of 'Identity Thief'

This is where a good movie marketing campaign really pays off. Where the ads for "Identity Thief" hammered viewers day-in and day-out with all of the positive aspects (Bateman, McCarthy, the same director as "Horrible Bosses), the critics could only harp about what they hated and what they thought didn't work. By almost universally panning the movie, reviewers may have turned potential moviegoers against them.

Not that people were going to see the movie to spite Leonard Maltin or Richard Roeper, but anyone sold on a raunchy comedy by its stars is unlikely to have their opinion changed by some highfalutin film critic. People usually know what they're getting with this sort of film, and no matter how derivative, unoriginal, or unfunny a top critic may find it, the stars (and to-the-point marketing) will almost always win out.