Box Office Bombs
Movies that bombed at the box office, despite critical praise.
~ Aristotle Sabouni
Created: 2021-12-18 |
Another way to measure success is not just with audience approval, but with market appeal: how well did it do at the box office. There's often critical praise, and even niche audience that sees it and reviews it still loves it, but the fact is it's so bad that nobody outside a small niche wants to see it. (People vote with their wallet and time, and never watch the stinker).
| Tatometer | Summary |
|---|---|
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Bros (2022) - Reviewers loved it, the audience that saw it loved it. But most of audience just stayed away. Since the true measure is how many wanted to see it, and it cratered at the box office, that tells you what you need to know. A big loser. |
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Eternals (2021) - Disney released Eternals. Reviewers hated it, viewers not as much, but audiences didn't materialize for the long, convoluted, and gender-bending wokeness (replacing characters with gender/race dopplegangers). It's hard to know what to blame, it had bad writing, an assemble film without any pre-investment in the characters (or their backstories), and wokeness was identity over quality. It made a splat sound at the boxoffice. |
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Ghostbusters (2016) - This movie attempted to remake Ghostbusters with 3 female commedians in place of the Men, and it flopped: losing $70M globally. (Most of that was because of the money they put into marketing it). It was going to be hard enough to remake campy-but-funny with all the talent of the original. But woke females sucked the joy and interest out of the story. |
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West Side Story (2021) - Speilberg wanted to make Woke West Side Story, and add Spanish without subtitles to alienate the English speakers (and signal authenticity/virtue). Then used the term "LatinX" in promotions to alienate the Latino audience. Then they hired for race over talent, put an Anti-Police activist in a leading role. Reviewers and viewers that watched it, liked it. But it wasn't appealing to a large enough audience to matter. |
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Wonder Woman 1984 - Reviewers loved it, audiences didn't. Then Rotten Tomatoes doctored the process -- and over time it supposedly flipped with audiences loving it in reviews, while reviewers didn't. But the true measure is that globally it bombed at the box office and was one of the biggest losers of all times (≈$140M under water). |
Conclusion[edit | edit source]
This is harder to blame on wokeness, even though there are Woke Dogs in there (which is what I focus on). It's not that Get Woke, Go Broke doesn't apply. (I think it still does, to a point). It's just that there's a lot of noise in this category.
To get leftist Hollywood to buy in requires a lot of typical action films, or a remake of a successful franchise, and so on. That gets the biggest budgets, which tend to lose the most money and be the biggest bombs. So a lot of huge losers were bad action flicks. Whereas the movies trying to push leftist agendas weren't usually big enough budget to make the list of the biggest flops.
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Tags: Film Critics/all Slacktivism
