If you haven’t heard of this rom-com directed by Robert Altman, you’re far from alone. The film — which boats a surprisingly stacked ensemble cast — failed to make back its budget and stands as one of the least memorable entries in a celebrated filmography that includes such classics as “Nashville,” “McCabe & Mrs. Miller,” and “Three Women.”
Steven Soderbergh’s take on the novel that also inspired Andrei Tarkovsky’s heady sci-fi classic of the same name was presented as a romantic drama starring George Clooney. That wasn’t too far from the reality, but this underrated curio proved far too cerebral and melancholy for multiplex audiences to get behind.
Despite its poor showing with CinemaScore and dismal reviews (“Darkness” boasts a 4% on Rotten Tomatoes), this horror film starring Anna Paquin managed to make $34 million against a $10 million budget. Its moderate financial success makes it a rare exception to the rule.
Highly controversial and polarizing, this ultra-violent Aussie horror flick managed to become a cult classic and even inspire a TV series. Its audience may have been self-selecting, but it did still find one.
Linday Lohan was more notable for her tabloid headlines than her onscreen appearances by the time “I Know Who Killed Me” came around, as reflected by its lackluster box-office returns and abysmal reviews. At least its title was kind of funny.
The film it’s based on is a horror classic, but this remake starring Nicolas Cage failed to achieve the same status. “The issue with ‘The Wicker Man’ is there’s a need by some folks in the media to think that we’re not in on the joke,” the actor once said. “But you don’t go around doing the things that character does — in a bear suit — and not know it’s absurd. It is absurd.”
It has its defenders — enough to make it something of a cult classic, even — but “The Exorcist” director William Friedkin’s psychological horror film didn’t make as much of an impression as his best-known work.
Spoofs like “Disaster Movie” are a dime a dozen, and audiences had seen too many in too little time when this one came around. (It didn’t help that several of the movies parodied, like “Indiana Jones” and “Juno,” had nothing to do with the disaster genre.)
Richard Kelly’s post–”Donnie Darko” output hasn’t inspired the same level of passion as his classic debut, as evidenced by this adaptation of a short story that was also turned into an episode of “The Twilight Zone.” People might not know how they’d answer the moral conundrum at its center — whether or not to accept $1 million for pushing a button that would kill someone they’ve never met — but they did know whether they wanted to watch this movie.
Meant to look as though it’s shot in a single long take, this remake of an Uruguayan horror film didn’t endear itself to many; it also didn’t stop the ascent of star Elizabeth Olsen, and grateful we are for that.
When Brad Pitt stars in a crime drama, the average moviegoer has certain expectations. Andrew Dominik’s follow-up to his masterful “The Assassination of Jesse James by the Coward Robert Ford” (also starring Pitt) didn’t meet them — it was too cynical, too dark, and too unsatisfying to catch on.
Let’s just say the poster didn’t help.
Marketed as a fairly conventional (if extreme) thriller, Darren Aronofsky’s out-there new film is anything but. That’s proved unsuccessful at the box office, but “mother!” may have more passionate defenders than any other movie on this list.