Just because a director works on a movie for years doesn’t mean they’ll like the end product.

Tony Kaye – American history X
British director Tony Kaye has a reputation in the film industry as a perfectionist. While studio executives at New Line Cinema were happy with early cuts of American History X, Kaye wanted more time to refine it. New Line gave Kaye an additional eight weeks to deliver the film, which he used to cut the movie down to 87 minutes. The studio decided to release a longer 119-minute final cut of the film with help from star Edward Norton.
Outraged with the changes, Kaye disowned the film and publicly attacked American History X during its initial theatrical run. Kaye has tried to take his name off the film, suggesting that the Directors Guild of America use the pseudonym Alan Smithee or Humpty Dumpty to replace his director’s credit.

David Lynch – Dune
In 1984, after the box office and critical success of The Elephant Man, David Lynch took a job directing the film adaptation of Frank Herbert’s novel Dune for producer Dino De Laurentiis. The project was the third attempt to bring Dune to the big screen after ambitious but failed efforts from producer Author P. Jacobs and visionary Chilean filmmaker Alejandro Jodorowsky. Lynch’s experience making Dune was a long and painful one, overshadowed by the belief that the source material was unfilmable. With the size of the production and its hefty budget, Lynch was unable to retain artistic and creative control while filming, and he slowly distanced himself from Dune.
Currently, there are a number of different cuts of Dune floating around. Some versions replace David Lynch’s director’s credit with the pseudonym Alan Smithee, the false name the Directors Guild of America uses for directors who don’t want to be associated with a film.

Joel Schumacher – Batman & Robin
Director Joel Schumacher made it a point throughout his career to never direct a sequel if one of his movies found success, but he broke his own rule to direct 1997’s Batman & Robin. “I always knew that if you get lucky, walk away,” Schumacher said later. “But I was shooting A Time To Kill and the studio had been very generous to me, and much was expected of me by the toy manufacturers and the Warner Bros. stores.” The final result is considered one of the worst comic book movies ever made. Batman & Robin ended the Batman gravy train for Warner Bros and DC Comics Entertainment (at least until director Christopher Nolan stepped in eight years later to deliver Batman Begins), and Schumacher has publicly apologized for making it.

Alfred Hitchcock – Rope
Alfred Hitchcock’s Rope was an ambitious effort from the Master of Suspense. It’s based on a 1929 stage play of the same name and is presented in real-time with a number of continuous takes stitched together to appear as one long shot. Hitchcock wanted the film adaptation to follow the same structure and presentation as the original play, but ultimately felt Rope was too self-indulgent and bloated.
Despite critical and commercial acclaim, Hitchcock bought up its film rights with the hope that Rope would never be seen or heard from again. However, upon his death in 1980, Rope was finally re-released in theaters.

Dennis Hopper – Catchfire
In 1990, Dennis Hopper directed a thriller starring Jodie Foster called Catchfire. During production, Vestron Pictures, the film’s distributors, were unhappy with the way Catchfire was coming together, so they re-edited it to a digestible 98 minutes without Hopper’s approval. Enraged with the studio’s theatrical cut, Dennis Hopper left the project before it was released. “Alan Smithee” was credited with directing the film.
When Catchfire was released for cable television, Hopper re-edited the film with a 116-minute director’s cut and titled it Backtrack.

Stanley Kubrick – Fear and desire
Stanley Kubrick is considered one of the greatest directors in cinema history, but he was no fan of his 1953 debut, Fear and Desire. He considered it to be amateurish, unpolished, and inept. Kubrick had even gone as far as to buy Fear and Desire’s original negatives and all available prints to ensure that it would never see the light of day again.
There was only one legal print of Fear and Desire at the George Eastman House (Kodak) archive, and it received a restoration and re-release in 2012.

Steven Soderbergh – The underneath
After the success of his debut Sex, Lies and Videotape—but before his breakthrough hit Out of Sight—Steven Soderbergh released The Underneath, a film noir starring Peter Gallagher. The Underneath remains a low point for the director, despite moderate critical acclaim. Soderbergh has called the film “kind of a mess,” “dead on arrival,” and “totally sleepy.” It is currently available through the Criterion Collection as a bonus feature to the DVD release of his 1993 film King of the Hill.

Michael Bay – Transformers: Revenge of the fallen
Despite its box office success, one of action director Michael Bay’s worst films is Transformers: Revenge of the Fallen. While the film lacked a certain punch seen in other Bay efforts like The Rock, Armageddon, and the first Transformers movie, Revenge of the Fallen suffered from its lack of script. The film was made during the Writers Guild of America strike of 2007 and 2008, so Michael Bay only had a few pages to build a feature around. Since its release, Bay has called Revenge of the Fallen “crap.”

David Fincher – Alien 3
After a career directing music videos, David Fincher took on his first feature film with Alien 3. The third installment of the highly profitable film franchise experienced many woes during production. Fincher started shooting Alien 3 without a completed screenplay, which was constantly being re-written, and he had to answer to so many producers and studio executives that it almost turned him off of filmmaking entirely. Eventually, Fincher left the project before the film went into post-production. In 2003, when the Alien “Quadrilogy” DVD set was released, he was the only director in the franchise who did not participate in its production or release. It got better for Fincher, and ever since Alien 3, he has had complete control and final cut over all his films.