The 2020s – a decade that has not only brought us face masks as the unexpected must-have accessory but also a delightful medley of films that, for all their cinematic bravado, didn’t quite light up the box office scoreboard as intended. Now, don’t be mistaken. A bomb at the box office isn’t always an indictment of a film’s quality; sometimes, it’s merely a testament to its exquisite mistiming or its avant-garde flavor being too rich for mainstream palates.
So, let’s look at the decade’s most illustrious films (so far) that, rather than setting the cash registers ringing, earned a different kind of applause: that of being brilliantly, unapologetically, ahead of their time – or maybe just downright terrible.
Jungle Cruise (2021)
Unlike the beloved amusement park attraction it was based on, Jungle Cruise‘s expedition into the box office was less thrilling than anticipated. Starring Emily Blunt and Dwayne “The Rock” Johnson, one would assume this film had the perfect recipe for success. Throw in some mystical artifacts and a cursed jungle, and it sounds like you’ve got yourself a box-office hit, right? Well, not quite. The film got caught in the roaring rapids of a global pandemic, and when it finally set sail, it was in the murky waters of limited theatrical releases and simultaneous streaming debuts.
Morbius (2022)
Morbius is the cinematic exploration of one of Marvel’s lesser-known but intriguing characters – the vampiric biochemist. But instead of creating excitement, it barely made a splash at the box office. While Jared Leto undoubtedly possesses the chameleonic acting skills to transform into just about anything, perhaps the audience wasn’t quite ready to see him trade his Joker’s manic laughter for the solemn thirst of Morbius. The movie bombed both critically and financially, inspiring mocking Internet memes.
Underwater (2020)
In Underwater, the deep-sea thriller that promised to plunge us into the abyss of oceanic horrors saw Kristen Stewart, with her cropped platinum locks, geared up to battle the terrors of the deep, reminding us that even seven miles under the sea, one’s hair can remain impeccably styled. Perhaps the film dived a bit too deep into waters previously charted by movies like Alien and The Abyss, leaving audiences with a lingering sense of déjà vu.
Chaos Walking (2021)
Chaos Walking took us into a world where men’s thoughts are broadcast aloud for all to hear – a premise that might have left many pondering, “Do we really want to know?” The film struggled to find its footing amid the cinematic titans of its time despite Tom Holland and Daisy Ridley leading the charge. One wonders if their characters were too busy navigating the cacophony of thoughts to connect with the audience truly. Ultimately, the film’s promise of a journey into the subconscious didn’t resonate strongly enough with audiences. It appears that not all thoughts are meant to be shared.
The Fabelmans (2022)
The Fabelmans falls a tad short in the escapism and excitement department, leaving audiences yearning for a bit more pizzazz and thrill. It’s a slow-paced, meditative film that explores the themes of family, childhood, and art. That’s not to say that The Fabelmans is a bad film. It’s a beautifully made and deeply moving film. But it’s also a film more likely to be appreciated by critics and film buffs than by the general public.
Dolittle (2020)
Robert Downey Jr. traded his Iron Man suit for the ability to converse with critters in Dolittle. Though entertaining, fans may have wondered if Stark’s tech could’ve been handier in refining those animal dialogues. Despite a menagerie of star-studded voices from the animal kingdom, the roar of excitement felt more like a polite golf clap. Downey — with all his charisma — whispered sweet nothings to the creatures on screen, but translating that into box office gold? Well, that’s a different kind of animal magic altogether.
The Turning (2020)
Entering the gothic horror arena, The Turning aimed to spook us with twists and turns, but some might argue that the most unexpected twist was its box office struggle. In an era when horror fans have been spoiled with a revival of spine-chilling tales, The Turning may have felt like a page from an older, slightly dog-eared playbook. While the aesthetic was undeniably moody and the ambiance thick with foreboding, the narrative took its title too literally, perplexing viewers.
Amsterdam (2022)
The premise of Amsterdam, a rom-com set among the gorgeous canals of the Dutch capital, appeared intriguing on paper, but the execution fell short. The cliché-ridden dialogue made even the most seasoned theatergoer cringe, and instead of being appealing, the characters come across as wooden and predictable. One can’t help but wonder if the film’s title played a part in its demise. The city of Amsterdam may conjure images of vibrant nightlife, cultural richness, and a liberal spirit, but the film failed to capture any of that magic.
Snake Eyes: G.I. Joe Origins (2021)
Attempting to shed light on the enigmatic fan-favorite Snake Eyes, Snake Eyes: G.I. Joe Origins seemed keen on unmasking the character’s face and legacy. This particular G.I. Joe chapter misplaced its playbook somewhere between homage and reinvention in a cinematic landscape crowded with reboots, prequels, and spin-offs. While action sequences zipped and spun in a whirlwind of choreography, the plot seemed to lose its footing in the dojo of narrative clarity. In trying to speak for Snake Eyes, the film might have ironically lost its voice.
Babylon (2022)
What a glorious mess Babylon turned out to be. This star-studded extravaganza had all the ingredients to captivate audiences, but it fell flat on its overly ambitious face. The film, which promised to transport us to the glitz and glamour of 1920s Hollywood, was just a chaotic jumble of half-baked ideas. Babylon failed to capture the very essence of the era it sought to embody, and it will forever serve as a cautionary tale of how even the brightest stars can fade when a film lacks the wit, charm, and execution it so desperately needs to succeed.
