It appears that the film “Better Man,” starring British pop icon Robbie Williams and featuring a CGI chimpanzee, had a dismal opening weekend, earning only $1.9 million nationwide. This is one of the poorest debuts for any studio movie on record. Even more concerning is the film’s substantial budget of $110 million. Despite its box office failure, “Better Man” is still considered a visual spectacle worth watching. It’s disappointing to see such an ambitious production meet with such a lackluster response at the box office, especially given its potential for greatness.
It’s no surprise that Martin Scorsese gained widespread attention a few years back when he criticized the film industry’s excessive focus on box office earnings, specifically how Hollywood evaluates movies primarily by their initial weekend revenues.
Ever since the ’80s, there’s been an undeniable fixation on numbers that, to me, feels a bit off-putting as a film enthusiast. It’s not just about the cost of a movie; the industry expects at least that amount recouped. The focus now seems to be solely on the numbers – the opening weekend gross, earnings in the U.S., England, Asia, worldwide, and audience viewership. As a filmmaker, who can hardly imagine life without cinema, I find it deeply insulting when the art of filmmaking is reduced to mere statistics.
According to Christopher Nolan, one shouldn’t make judgments about films during the weekend. He believes that the true essence of a movie unfolds over a longer period, often spanning decades rather than weekends. In his opinion, this is particularly important for science fiction films, as they are genres that people tend to revisit and appreciate in the long term. For instance, the original “Blade Runner” was initially overlooked on its release but has since gained a dedicated following over time, including Christopher Nolan himself who discovered it when he was 13 years old.
It’s worth noting that these renowned filmmakers have a valid argument, as quite a few critically acclaimed movies from this century initially struggled at the box office. Movies like “Children of Men,” “The Master,” and “Under the Skin” are prime examples of this trend. In other words, a movie’s financial success doesn’t necessarily reflect its quality or merit. For evidence of this, check out the following list of great films that initially underperformed at the box office, compiled by EbMaster.
Furiosa
Despite being hailed as one of the greatest action movies ever produced, ‘Mad Max: Fury Road’ didn’t bring in record-breaking profits for Warner Bros. when it was released in 2015, earning $380 million against a production budget of over $150 million. Although ‘Fury Road’ was successful, its earnings might not have been substantial enough to guarantee the same financial success for its prequel, ‘Furiosa.’ Released in summer 2023, ‘Furiosa’ grossed $173 million globally and only managed $70 million domestically. Despite being a box office disappointment, ‘Furiosa’ has a dedicated fanbase and was among the best and most imaginative studio tentpoles of 2023, with EbMaster’s Owen Gleiberman describing it as ‘darkly captivating.’
Better Man
Indie film ‘Better Man’ was made with approximately $110 million and later bought by Paramount for $25 million. However, it’s looking unlikely that it will earn more than $10 million at the U.S. box office, which is disappointing given its critical acclaim. Critic Peter Debruge from EbMaster’s praised the CGI monkey as a unique element, setting ‘Better Man’ apart from typical pop-star biographies.
A digital chimpanzee portraying Robbie Williams in the film might seem bizarre, but it’s a daring move that those who criticize the industry for being too conventional will appreciate,” a box office analyst said, commenting on the movie’s failure. “The innovative approach is commendable, however, investing $110 million into this genre and musical artist isn’t feasible. A budget of $25 to $30 million would have been more suitable.
The Fall Guy
In a departure from blockbuster expectations, the action-romance film “The Fall Guy,” starring Ryan Gosling and Emily Blunt, didn’t perform exceptionally well at the box office when it was released in May 2023. With worldwide earnings of $171.8 million, this figure fell short of studio expectations for a summer tentpole film that had a production budget of around $130 million. In the movie, Gosling plays a stuntman who takes on the task of finding the missing lead of an upcoming Hollywood blockbuster, directed by his ex-partner (Blunt). The on-screen chemistry between the two was highly praised, with Peter Debruge from EbMaster noting in his review: “Gosling delivers one of his most endearing characters to date, combining the committed action hero from ‘Drive’ with the charming Casanova from ‘Crazy, Stupid, Love.’
Saturday Night
Jason Reitman’s movie, titled “Saturday Night,” reenacts the nerve-wracking 90 minutes preceding the first broadcast of “Saturday Night Live” on NBC. Despite the long-term success of this popular sketch comedy series, the film failed at the box office, earning only $9.8 million against a production budget of around $25 million. At one point, some Oscar prognosticators anticipated significant nominations for “Saturday Night,” such as best picture and original screenplay. However, the movie’s financial failure essentially dashed these hopes. In his review, EbMaster’s Peter Debruge deemed “Saturday Night” a Critic’s Pick, stating: “This film is a tribute to an American television icon, yet Reitman doesn’t shy away from portraying the drugs, egos, and opening-night hurdles that almost brought ‘SNL’ down.
Fly Me to the Moon
In terms of financial performance, Apple’s romantic comedy “Fly Me to the Moon,” which cost $100 million to produce but earned only $42 million worldwide, is considered a significant disappointment in the careers of stars Scarlett Johansson and Channing Tatum. Johansson portrays a marketing specialist recruited by NASA prior to the Apollo 11 launch, tasked with filming a fake moon landing as a backup plan if the actual mission were to fail. Tatum plays the launch director who gradually captures Johansson’s affections. According to critic Peter Debruge from EbMaster’s, the film is an audience-pleaser and represents a rare 21st-century romantic comedy that possesses both intelligence and emotional depth, making it worthy of multiple viewings.
My Old Ass
Killers of the Flower Moon
The ongoing discussion revolves around whether Apple Original Films is experiencing success or not, especially considering films like “Argylle” and some others. For instance, Ridley Scott’s “Napoleon” managed to surpass its $200 million budget with total earnings of $219 million globally, but just barely. On the other hand, Martin Scorsese’s critically acclaimed “Killers of the Flower Moon” only made $67 million domestically and a total of $156 million worldwide, despite a budget of $200 million. These figures are impressive for an R-rated movie that exceeds three hours in length, but they don’t come close to covering the production costs in a theater setting due to the high budget. As Apple is primarily a tech company, it doesn’t prioritize box office success as much as it does subscribers for its streaming platform. However, if a traditional studio had produced “Killers of the Flower Moon,” it would likely be labeled a significant flop.
Beau Is Afraid
Ari Aster’s “Beau Is Afraid” has been one of A24’s less successful films, earning just $11 million globally against an estimated production cost of around $35 million. In contrast, Aster’s debut film “Hereditary” was a huge hit for A24 with global earnings of $82 million, and its sequel “Midsommar” made $48 million worldwide on a reported budget of only $10 million. Unfortunately, the third collaboration between Aster and A24 didn’t prove as successful; the film, featuring Joaquin Phoenix, divided audiences with its story about an anxious man journeying home to see his mother. This ambitious three-hour epic takes risks with its narrative, sometimes succeeding, other times stumbling or leaving viewers puzzled. Nevertheless, it’s worth watching, and the film’s availability on Paramount+ With Showtime might be drawing in fans.
Are You There God? It’s Me, Margaret.
Regrettably, despite positive feedback and being adapted from Judy Blume’s cherished novel, “Are You There God? It’s Me Margaret” by writer-director Kelly Fremon Craig underperformed at the box office, earning just $21 million worldwide against a production budget of $30 million. Despite this disappointing performance, the film is genuinely enjoyable and entertaining. Craig successfully captures the humor, flaws, and authenticity of Margaret, as portrayed in Blume’s book, and young Abby Ryder Fortson delivers an energetic and charming lead performance. Rachel McAdams garnered much acclaim for her supporting role as Margaret’s mother Barbara, who undergoes a more significant transformation in the film as she grapples with her new role as a stay-at-home mom. Unfortunately, despite her impressive portrayal, McAdams did not receive an Oscar nomination, though she was recognized by several critics‘ groups.
Dumb Money
The movie titled “Dumb Money” fell flat at the box office during fall season, earning only $13 million domestically and $20 million globally. Given its star-studded cast that includes Paul Dano, Pete Davidson, America Ferrera, Nick Offerman, Anthony Ramos, Sebastian Stan, Shailene Woodley, and Seth Rogen, one would expect a large turnout at the theaters. However, the SAG-AFTRA strike prevented the actors from promoting the film effectively, which likely contributed to its poor performance.
Instead of “A commercial movie needs a hero, and ‘Dumb Money,’ which is more engaging, entertaining, and less heavy-handed than ‘The Big Short’ (it doesn’t continuously delve into its explanations), has a somewhat unconventional hero, in Keith, portrayed by Paul Dano as a peculiar, saintly, round-faced financial genius. He manages to persuade you of his flawed belief.
Guy Ritchie’s The Covenant
2023 found me raving about “The Covenant” as one of the standout films of the year, but even the most glowing reviews from critics couldn’t save this war movie from being a commercial failure. The film managed to garner only $21 million at the global box office, a dismal figure for a war movie and a near-calamity for a production with a budget north of $50 million. Owen Gleiberman, in his praise, wrote: “Jake Gyllenhaal delivers one of his finest performances in years as a U.S. platoon leader who is ambushed and rescued by the resourceful and tenacious Afghan translator played by Dar Salim, in a tale of harrowing suspense that sees Gyllenhaal repaying the favor by diving back into the war. It’s an emotionally charged, poignant story that positions Ritchie as a formidable Hollywood artist with a penchant for serious drama.
Tár
In a notable shift, Todd Field’s psychodrama “Tár,” featuring Cate Blanchett in a critically acclaimed performance, amassed six Oscar nominations, including those for Best Picture and Best Actress. However, the film, supported by Focus Features, barely surpassed $6 million at the domestic box office. Despite stronger performances overseas, it only managed to gross a total of $24 million worldwide. This fell significantly short of the production budget, rumored to be over $30 million. “Tár” was highly praised by film critic Owen Gleiberman of EbMaster, who named it the best movie of 2022. He described it as an “awe-inspiring portrayal of celebrity and power,” a captivating glimpse into the upper echelons of classical music, and a chilling, slowly unfolding thriller about an artist, obsessed with beauty, who ultimately succumbs to her own desires.”
The Fabelmans
Steven Spielberg’s personal drama film “The Fabelmans” garnered praise from film critics, even scoring seven Oscar nominations like best picture and best director. However, the movie faced the same challenge as his adaptation of “West Side Story” in that critical acclaim didn’t translate into strong ticket sales. The production cost around $40 million, but it grossed only $17 million at the domestic box office. It did manage to earn an additional $25 million internationally, but given the high production costs, marketing expenses, and the expensive awards season promotional tour, Universal didn’t see much success with this film.
This 150-minute film, made by an artist known for creating entertaining escapes, delves into his personal life. It’s a heartfelt tribute to his complex relationship with his parents, which has significantly influenced his creative work.
Babylon
Damian Chazelle’s movie “Babylon” was a highly divisive title in 2022, with people either loving it or hating it. The film, which featured Brad Pitt and Margot Robbie as silent film actors grappling with the shift to talkies in Hollywood during the tumultuous 1920s and 1930s, was flamboyant and extravagant, but the hype surrounding its scandalous content didn’t translate into ticket sales. The movie earned just over $15 million at the U.S. box office and grossed $63 million worldwide, a significant financial loss given that Paramount is believed to have spent at least $80 million on production costs, and additional millions more on marketing. Despite its critics, the film’s rollercoaster vibe can’t be ignored.
Women Talking
In the cinematic landscape, Sarah Polley’s “Women Talking” garnered the Oscar for best adapted screenplay. This film focuses on the women, victims of abuse in a secluded Mennonite settlement, who convene to decide whether they should remain within their colony or seek refuge elsewhere. The movie was widely acclaimed, generating significant award buzz, but unfortunately, it failed to surpass $10 million globally and only managed to earn slightly over $5 million domestically. Despite this, the film’s budget was reportedly in the tens of millions. Notably, esteemed film critic Peter Debruge praised “Women Talking” as a “powerful demonstration of nonviolent resistance” and a “gritty, unyielding drama.
She Said
Universal Pictures reportedly spent $30 million to produce “She Said,” a movie starring Carey Mulligan and Zoe Kazan as New York Times reporters who exposed the Harvey Weinstein abuse scandal. However, the film didn’t receive much attention from audiences, earning just $5.8 million in the U.S. box office and a total of $13 million worldwide. Critic Owen Gleiberman from EbMaster praised “She Said,” calling it “tense, fraught, and compelling.” He also noted that the movie effectively conveyed the overwhelming fear felt by Weinstein’s victims, stating, “You might wonder how ‘She Said’ will capture what that story actually felt like before it became news. The film manages to do this by tapping into something essential about the Weinstein saga – a fear that was pervasive and seemingly immeasurable.
Armageddon Time
James Gray’s autobiographical drama, “Armageddon Time,” received positive feedback at the 2022 Cannes Film Festival, but despite critical acclaim and star-studded cast members like Jeremy Strong and Anne Hathaway, it failed to attract large audiences at the box office. With an estimated production budget of around $15 million, the film, distributed by Focus Features, disappointingly earned only $1.8 million domestically and $6 million worldwide. The movie is based on Gray’s personal experiences growing up as a young Jewish-American boy in 1980s Queens. EbMaster film critic Owen Gleiberman commended Gray for his “boisterous talent,” further stating, “It’s a skilful, meticulous, and captivating movie.
Three Thousand Years of Longing
Despite the widespread excitement surrounding “Mad Max: Fury Road,” director George Miller’s subsequent film “Three Thousand Years of Longing” failed to generate similar box office success, earning only $2 million upon its release. This is unfortunate considering the unique perspective that Miller brings to this film, starring Tilda Swinton as a scholar who encounters a djinn (portrayed by Idris Elba). The movie explores what wishes the scholar might make as she interacts with the djinn, and Miller uses flashbacks to depict the djinn’s 3000-year journey across the globe. Critics have compared it to “The Shape of Water” in terms of awards potential, but it more closely resembles Terrence Malick’s “The Tree of Life,” with a heartfelt and relatable core.
Bros
As a passionate film enthusiast, I found myself reflecting on the less-than-expected box office debut of “Bros,” the comedy by Billy Eichner backed by Universal. The movie’s disappointing opening weekend of $4.8 million had many talking, and Eichner himself attributed this to homophobia. While it’s certainly plausible that societal biases may have played a role, I believe the film’s marketing strategy and unconventional release date might have also contributed to its underperformance.
However, “Bros” is a laugh-out-loud funny movie that follows a well-established romantic comedy formula. It’s a shame it didn’t draw in larger audiences as it should have been a crowd-pleaser. As EbMaster rightly pointed out, “Bros” boldly presents queer characters without the need to make them universally likable, and Eichner’s character may not win everyone over. But that’s part of its charm!
Nightmare Alley
In contrast to expectations, Guillermo del Toro’s movie “Nightmare Alley” had a difficult run at the box office, earning only $37 million worldwide against a production budget of $60 million. This led Martin Scorsese to pen an opinion piece in the Los Angeles Times, encouraging people to watch the film in theaters. Scorsese found it disheartening that audiences were not flocking to see “Nightmare Alley,” which features Bradley Cooper as a carnival worker turned world-renowned illusionist. Critic Peter Debruge from EbMaster’s praised the movie, labeling it a “bravura noir” in his glowing review and calling Cate Blanchett’s character the iciest femme fatale in recent memory. Despite its box office struggles, “Nightmare Alley” managed to impress Academy voters enough to secure four Oscar nominations, including best picture. Now, viewers can stream the film on Hulu and HBO Max.
West Side Story
2021 wasn’t exactly a golden year for musicals at the box office, as evidenced by the lackluster performance of “In the Heights.” Despite receiving rave reviews from film critics, Steven Spielberg’s adaptation of “West Side Story” failed to capture the attention of U.S. moviegoers, managing only a modest $38 million at the domestic box office. However, its global earnings climbed to $73 million, which, unfortunately, didn’t compensate for the substantial over $100 million budget it required to bring this musical to life. Fingers crossed that its streaming debut on Disney Plus in March 2022 is attracting a new audience. The film garnered seven Oscar nominations, including nods for Best Picture, Director, and Supporting Actress (Ariana DeBose), who seems to be the frontrunner. In my opinion, “West Side Story” was an infectious spectacle, with Spielberg effectively putting his unique spin on this timeless tale. EbMaster echoed these sentiments in their review.
In the Heights
Jon M. Chu’s highly praised adaptation of Lin-Manuel Miranda’s Tony-winning musical “In the Heights” had a disappointing run at the box office during summer 2021, earning just $29 million in the U.S. and less than $45 million globally. Critic Owen Gleiberman from EbMaster’s praised the movie: “Miranda’s songs are a mix of electrifying hip-hop, salsa, and Broadway lyricism, and director Jon M. Chu brings it all to life with energetic flair, whether he’s choreographing a production number in a public swimming pool or allowing two lovers to express themselves on the side of a building. ‘In the Heights’ offers a vivid portrayal of the neighborhood from multiple perspectives, capturing the lives of those caught between their ancestral roots and the America they call home.” The film can now be streamed on HBO Max.
The Last Duel
In more conversational terms: Ridley Scott’s historical epic “The Last Duel,” featuring stars like Matt Damon and Ben Affleck, has been one of the biggest box office disappointments during the pandemic era. Despite a massive production budget over $100 million, it only managed to earn $10 million in the U.S. and $30 million globally. These figures mark it as a significant flop, particularly for such high-profile actors. It’s unfortunate given that the film offers an intriguing historical tale and a compelling drama of ambition, romance, and political maneuvering, as noted by Owen Gleiberman from EbMaster’s in his review. Scott criticized millennials for the movie’s poor performance at the box office, stating that “today’s audiences… have been brought up on these fucking cellphones” and don’t want to learn anything unless it’s presented on a cellphone. Now, you can watch “The Last Duel” on HBO Max.
The Many Saints of Newark
David Chase’s “Sopranos” prequel movie, “The Many Saints of Newark,” suffered significantly from Warner Bros.’ choice to release all their 2021 films simultaneously on HBO Max and in theaters. The film earned a dismal $8 million at the U.S. box office and a paltry $12 million globally, but studio executives were content with its performance on streaming. It appears that fans of “The Sopranos,” who were accustomed to watching it on TV or streaming services, continued this viewing habit for “The Many Saints of Newark.” Critic Owen Gleiberman from EbMaster’s praised the prequel as a lively and convincing origin story that was authentically watchable much like the original series. Now, you can stream the movie on HBO Max.
The Suicide Squad
Given the circumstances surrounding the release of “The Suicide Squad” during the pandemic, it’s reasonable to wonder if the movie would have been a bigger blockbuster had it only been released in theaters. With a production budget of $185 million and earnings of just $55 million in the U.S. and $167 million worldwide, the film fell short of what one might expect for a comic book tentpole. Critics like EbMaster praised Gunn’s vision as “cunningly scuzzy,” drawing comparisons to David Ayer’s “Suicide Squad.” The review noted that the movie felt authentic and gritty, reminiscent of “The Dirty Dozen.” Despite its limited box office success, it seems “The Suicide Squad” found a dedicated audience on HBO Max. This is evident in the popularity of the sequel series “Peacemaker,” which was a hit for the streaming service this year and has already been renewed for a second season.
Ali
In a surprising turn of events, Will Smith is anticipated to win an Oscar for Best Actor, marking his return to the award stage after 20 years since his initial nomination for portraying Muhammad Ali in the biographical sports drama “Ali,” directed by Michael Mann. The film garnered $87 million at the box office, a figure that would have been considered successful if not for the film’s soaring production costs surpassing $100 million. To put it simply, the movie didn’t make as much money as expected due to its high budget.
In Michael Mann’s review by EbMaster, he praised the film for its informed and intelligent perspective, stating that it was never boring to watch. The technical aspects of the production, such as Emmanuel Lubezki’s cinematography and John Myhre’s production design, were highlighted for their quality and seamless integration with the real-life historical locations used in the film. Overall, the craft contributions were considered top-notch.
The Rhythm Section
2020 saw “The Rhythm Section,” starring Blake Lively, as one of the most significant box office disappointments, earning less than $6 million globally against a production budget of $50 million. Despite its talented director Reed Morano, who won an Emmy for “The Handmaid’s Tale” and could have been a strong contender for Marvel films, this action thriller failed to impress at the box office. Lively plays a woman seeking vengeance after learning that the plane crash which claimed her family was actually a terrorist attack. In his review, Peter Debruge of EbMaster’s described it as a “grim, brooding, and surprisingly empathetic revenge thriller.” Morano skillfully directs intense action sequences, including a single-take fight scene that deserved more recognition upon its release.
Ad Astra
In simple terms, the space odyssey film “Ad Astra,” featuring Brad Pitt, barely made its money back at the box office with a global gross of $127 million against a budget of around $100 million. However, it struggled in the U.S., earning just $50 million. Given Pitt’s star status and his recent successes, this is considered a commercial failure. Unlike typical action films, “Ad Astra” tells an intimate story about a man grappling with his father’s legacy set against the backdrop of the solar system. As EbMaster put it in their review, director and co-writer James Gray, who is not typically associated with space adventures, skillfully managed the complex logistics of creating an epic space film, demonstrating a level of detail, pacing, and control that is impressive, even if it’s not quite on par with Kubrick. Gray clearly has the talent to make a movie like this.
Doctor Sleep
The anticipation for Mike Flanagan’s “Doctor Sleep” was significant due to it being a sequel to the iconic horror film “The Shining.” With horror being a highly profitable genre, many were eager to see how this movie would perform. Unfortunately, it underperformed domestically, earning only $31 million. This could be due to the fact that Flanagan crafted a more thoughtful and atmospheric horror experience rather than the typical Blumhouse-style fright or the numerous jump scares found in movies like “It.”
As EbMaster’s Owen Gleiberman stated in his review, “The Shining” might not have required a sequel, but “Doctor Sleep” offers one that is original and unsettling enough to warrant its existence. The film runs for an extended 151 minutes, which may be a consequence of the success of “It,” the lengthy adaptation of Stephen King’s first killer-clown novel. However, in this case, the contrast highlights how “Doctor Sleep” differs from the action-packed “It” films by taking its time to establish a genuine sense of dread rather than simply defeating demonic entities.
Annihilation
Paramount Films recognized that Alex Garland’s thought-provoking, science fiction thriller “Annihilation” was a significant risk and decided to sell its international distribution rights to Netflix. Despite having Natalie Portman in the starring role and receiving positive reviews, “Annihilation” underperformed at the box office, earning only $32 million in the U.S., despite a production budget of $40 million. In this movie, Portman plays a biology professor who ventures into a quarantined zone filled with mutating organisms to discover what happened to her missing husband. Although “Annihilation” was a box office disappointment, it is considered one of the best science-fiction films of the 2010s according to EbMaster’s review: “Alex Garland builds on his success from ‘Ex Machina’ with a visually stunning sci-fi thriller in which Natalie Portman investigates an extraterrestrial threat. The film manages to achieve the rare feat of excellent genre cinema, as it not only delights audiences with its intense horror and unexpected beauty but also leaves them feeling that their minds have been expanded by the experience.
Destroyer
As a fervent admirer of Karyn Kusama’s gritty detective thriller “Destroyer,” I found myself deeply moved by Nicole Kidman’s powerful and Oscar-worthy performance. However, despite the critical acclaim, the film only managed to earn $1.5 million at the U.S. box office, making it one of Kidman’s most significant box office disappointments. Internationally, “Destroyer” concluded its run with a total of $5.5 million.
In EbMaster’s review, we read, “Nicole Kidman goes dark and almost unrecognizable in a role that challenges the notion that audiences demand sympathetic protagonists…Kidman has always been versatile, but here she doesn’t just change her appearance (like in ‘The Hours’); she vanishes into an entirely new persona, altering her very essence to embody the character’s rugged toughness.
Blade Runner 2049
In contrast to the original ‘Blade Runner’ that was eventually appreciated for its untapped possibilities, its sequel is considered one of the best science-fiction films ever made. This assessment comes from Peter Debruge of EbMaster in his glowing review of Denis Villeneuve’s sci-fi masterwork “Blade Runner 2049.” Despite not surpassing $100 million in the U.S., a significant hurdle for studio-backed franchise blockbusters, the movie reportedly cost Alcon Entertainment up to $80 million. Nevertheless, it garnered Oscars for cinematography and visual effects, cementing its place as a significant science-fiction milestone of the 2010s. As Debruge puts it, “Villeneuve justifies every minute of the film’s 2 hours and 44-minute runtime, creating a visually stunning, slow-burn action movie whose unique pleasures can be described in various ways — from intriguing to laborious — but never as artificially intelligent.
The Assassination of Jesse James by the Coward Robert Ford
The cinematography in Andrew Dominik’s “The Assassination of Jesse James by the Coward Robert Ford,” often regarded as the best of the 21st century, was largely overlooked upon its release in 2007, earning only $3.9 million at the U.S. box office and around $11 million globally. With a production budget of $30 million, these figures are dismal. However, critics have continued to laud the film for over a decade, with EbMaster describing it as “one of the best Westerns since the 1970s,” and further praising it as “a ravishing, magisterial, poetic epic that moves its characters towards their tragic destinies with the inexorable pace of Greek drama, making it a magnificent tribute to a time when filmmakers innovated within Hollywood’s oldest and most enduring genre.
Children of Men
Alfonso Cuaron’s “Children of Men” is frequently hailed as one of the finest science-fiction films of the 21st century. However, it initially flopped at the box office, earning only $35 million in the U.S., despite a production budget of $75 million. The worldwide gross of $70 million wasn’t enough to cover its costs. Starring Clive Owen as a civil servant tasked with helping a pregnant woman escape in a world on the verge of collapse in 2027, the film garnered three Oscar nominations, including one for adapted screenplay. As per EbMaster’s review, “The film exceeds expectations in terms of action – not in terms of traditional action-packed sequences but through gritty, documentary-style scenes that immerse viewers directly into the experiences of the main characters. Alongside camera operator George Richmond, who shot the entire movie handheld over 16 weeks, Cuaron skillfully coordinates numerous long single takes, giving them a sense of urgency and realism.
Fight Club
In their initial critique, EbMaster observed that “Fight Club,” released in 1999 by director David Fincher, is exceptionally relevant to its era – a double-edged sword commercially. On one side, the film encapsulates the ennui of the millennium, presenting a struggle between all-pervasive nihilism and an intense longing for something meaningful; on the other, it marks a time when criticism against Hollywood, particularly about the influence of screen violence on society, was at its peak. Although “Fight Club” is now one of Fincher’s most well-received films, it initially underperformed at the box office in 1999, grossing $37 million in the U.S., significantly less than its production budget of over $60 million. EbMaster’s review noted that despite facing hostility from some quarters, particularly in the U.S., this daring, innovative film about a violent and chaotic guru should stimulate and thrill young audiences worldwide.
Grindhouse
As a devoted moviegoer, I can’t help but acknowledge that Quentin Tarantino is one of the few directors who consistently draws adult audiences to the cinema. However, this wasn’t the case with “Grindhouse.” It seems the public simply didn’t share the same enthusiasm for a three-hour double feature that paid tribute to the exploitation era from Tarantino and Robert Rodriguez. Sadly, “Grindhouse” failed to impress at the box office in the U.S., earning only $25 million. Interestingly, each entry was released separately overseas.
Critics, however, were largely captivated by this cinematic revival of the 70s exploitation era. For instance, EbMaster remarked: “In ‘Grindhouse,’ the gritty, rough-around-the-edges exploitation movie of the 1970s is resurrected with a passion that’s both disreputable and cultishly embraced. This ‘Rodriguez/Tarantino double feature’ is more than just a loving tribute to an era-specific film production; it’s a daring and audacious rehabilitation effort, partly due to its comprehensive design that includes two films, four custom trailers, and various authentic interstitial segments. But what truly sets ‘Grindhouse’ apart is its faithful stylistic recreation of the source material.
Hugo
Martin Scorsese’s film “Hugo,” based on Brian Selznick’s 2007 book “The Invention of Hugo Cabret,” was not a flop at the box office, earning $73 million in the U.S. and $185 million globally. However, these earnings were still considered a financial letdown given the film’s production budget of up to $170 million. Starring Asa Butterfield as a boy entangled in a mystery about his father’s automaton and Georges Méliès, the pioneering filmmaker, “Hugo” received 11 Oscar nominations, including best picture. Upon release, many critics praised it as a timeless family movie classic. EbMaster commented: “In his first attempt to make a film for all ages, Martin Scorsese has created one for the ages. Balancing classical and modern elements, appealing to both the masses and remaining personal, ‘Hugo’ boldly challenges the monotony of most contemporary children’s films and instead rewards patience, intellectual curiosity, and an emerging love for cinema itself.
The Master
EbMaster predicted that Paul Thomas Anderson’s film “The Master” would garner substantial earnings and heated debates following its premiere due to the impressive acting of Joaquin Phoenix and Philip Seymour Hoffman. However, this forecast didn’t come to fruition as expected. The movie opened strongly with $242,127 in five theaters (a record at that time for indie box office), but it struggled to maintain momentum across the nation and ultimately earned just $16 million at the U.S. box office by the end of its run. Notably, all three main actors – Hoffman, Phoenix, and Amy Adams – were nominated for Academy Awards for their captivating performances.
Inherent Vice
The film “Inherent Vice,” directed by Paul Thomas Anderson, struggled at the box office despite being an adaptation of Thomas Pynchon’s work. It earned $8 million in the U.S. and $14 million worldwide against a production budget of $20 million. Given its shaggy and aimless feel, it was always going to be hard to market, even with a star-studded cast that included Joaquin Phoenix, Josh Brolin, Owen Wilson, Reese Witherspoon, Benicio del Toro and others. As EbMaster’s review puts it, “In Paul Thomas Anderson’s ‘Inherent Vice,’ the 60s are over, everyone is on the run, and there’s nowhere to hide. This Pynchonian stoner noir is audacious and fiercely funny, more reminiscent of ’70s-era California noirs like ‘Chinatown,’ ‘The Long Goodbye,’ and ‘Night Moves,’ than ‘The Big Lebowski’.
The Iron Giant
Although ‘The Iron Giant’ is now recognized as one of the best animated films ever made, when Brad Bird directed it, this heartwarming buddy adventure initially struggled at the box office, earning only $23 million in the U.S., despite a production budget of $70 million. However, according to EbMaster’s review, ‘The Iron Giant’ is a visually stunning film that succeeds on multiple levels. As both a thought-provoking political allegory and enjoyable family entertainment, this clever 1950s America-set movie skillfully incorporates themes from the Cold War era and B-movies, while maintaining focus on its primary narrative: the bond between a boy and a colossal robot.
Mother!
Among the films released over the past decade, few have sparked such polarizing opinions as Darren Aronofsky’s allegorical thriller “Mother!”. Despite generating a lot of WTF buzz and the high-profile presence of Jennifer Lawrence, this movie failed to earn more than $20 million in the U.S., which is quite low given its $30 million production budget. As EbMaster’s Owen Gleiberman wrote in his review: “Darren Aronofsky’s psychological horror film, featuring Jennifer Lawrence as a woman descending into paranoia, is visually stunning but what’s hidden beneath it? Perhaps nothing… If the primary goal of a horror movie is to startle and surprise you – to make your eyes widen, your jaw drop, and leave you gasping in WTF disbelief – then Darren Aronofsky’s ‘Mother!’ could be considered a masterpiece.
Under the Skin
Despite Scarlett Johansson’s prominent role, it was unlikely that the $13 million budget for “Under the Skin” would be recouped due to its ambitious and avant-garde approach as an alien invasion movie. Given its unconventional nature, the film’s $2.6 million U.S. earnings were not unexpected, even though it’s frequently praised as one of the best films of the 2010s. In this movie, Johansson portrays an alien wandering the streets of Scotland to entice men back to her home for their bodies, which are used for her planet. The film often feels like a documentary with hidden footage of Johansson interacting with people, and at other times, it resembles striking sequences of avant-garde horror. Regardless of how you classify “Under the Skin,” it’s undeniably memorable.
Warrior
The movie “Warrior” directed by Gavin O’Connor is among the most emotionally stirring sports dramas of the 2010s. In this film, actors Joel Edgerton and Tom Hardy portray estranged brothers who engage in a mixed martial arts competition, leading them to revisit their shared past and family ties. Nick Nolte received an Oscar nomination for best supporting actor due to his powerful performance as the father of both characters. Despite its $25 million production budget, the movie didn’t earn much globally, generating only $13 million in U.S. box office sales. From EbMaster’s review: “Warrior” is a surprising blend of raw emotions and thrilling battles… At times, Hardy resembles the troubled masculinity of a young Marlon Brando, delivering an arrestingly intense portrayal as Tommy, oscillating between guilt and anger, savagery and self-disgust.”
Steve Jobs
It might seem logical that a biographical drama about Steve Jobs, directed by Oscar winner Danny Boyle and written by Aaron Sorkin, would attract adult moviegoers during fall 2015. However, the film titled “Steve Jobs” underperformed significantly, earning only $17 million at the domestic box office and $34 million worldwide. This was a disappointment given the budget of around $30 million needed to produce the movie. Michael Fassbender and Kate Winslet were nominated for Oscars for their portrayals of Steve Jobs and Joanna Hoffman, respectively. As EbMaster’s review states: “Michael Fassbender delivers a captivating performance in this intelligent yet frustrating film that aspires to be the ‘Citizen Kane’ of tech-focused biopics. This is a film of bold, arrogant artifice, showcasing extraordinary acting talent and offering an unforgettable cinematic journey.
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2025-01-17 23:21