Summary
Not every film worthy of a fanbase does well at the box office, and I believe the last five years have been rife with films that are sure to gestate into cult classics given enough time. In the modern day and age, it seems as though the blockbuster movie is in a more precarious position than ever before. Even films with massive legacies to their names, likeIndiana Jones and the Dial of DestinyorThe Flash,have panned out as wince-inducing box office failures for their producers, making heavy investments into tentpole films more dangerous than ever.
That being said, quality doesn’t always correlate to big box office numbers, and plenty of films live on in the minds of their fans ascult classicslong after their commercial failures. In the last five years, I’ve seen some amazing movies in theaters that simply couldn’t justify their costs from a business perspective, which is always a heartbreaking thing to see. But I have a firm belief that many of them will slowly evolve via word-of-mouth over time into fiercely defended hidden gems overlooked by mass audience appeal.
Glen Powell’s 8-Year-Old Box Office Bomb Is A Must-Watch After Netflix’s Hit Man
Glen Powell and Richard Linklater’s Hit Man success is the perfect reminder to watch their hangout comedy movie that flew under the radar in 2016.
Furiosa: A Mad Max Saga
Cast
A prequel to Mad Max: Fury Road, Furiosa is an action-adventure film that tells the origin story of the headstrong and fearless Furiosa. Set shortly after the beginning of the “end of the world,” Furiosa is kidnapped and brought before a powerful warlord, now forced to work for him. To find her way back home, Furiosa will adapt to the new harsh and arid world as she grows into the Furiosa she becomes known to be.
I have been a particular fan oftheMad Maxfranchiseever since I was a kid, ever since my dad introduced me toMad Max 2:The Road Warriorat far too young an age. These genius post-apocalyptic thrill rides raid the box office far too infrequently, which makes it all the more painful thatFuriosa: A Mad Max Sagahas done so poorly. Even if it doesn’t quite recapture the glory of the previous entry, I still personally consider the prequel to be one of the best action films to come out sinceMad Max: Fury Road.
That’s not to say that I don’t understand why Furiosa’s tale hasn’t been as popular. I have my own problems with the idea of re-treading the past in a franchise which, in my opinion, has always worked best as a loose collection of wasteland folk tales with only the vaguest of chronological connections. But for the striking performances, thrilling chase sequences, and sheer visual mastery of the medium of film on display by George Miller,Furiosa: A Mad Max Sagais sure to age like fine wine. If only it didn’t come at the cost ofMad Max: The Wasteland.
Haunted Mansion
Based on the Disney theme park ride of the same name, Haunted Mansion is a supernatural comedy that shares no elements with the prior films. Rosario Dawson stars as Gabbie, a single mother with a son looking to start over and happens upon a mansion that seems too good to be true in New Orleans - and her hunch proves correct. To resolve her ghostly problem, Gabbie seeks the help of a priest and a widowed paranormal expert, a psychic, and a historian to hopefully rid her home of unwanted guests.
The originalTheHaunted Mansionwas something of a staple of my childhood, an endlessly rewatchable comedy that managed to concoct an intoxicating mixture of laughter and fear. I was excited when a revamp of the film was announced, but I may have been alone in my nostalgia, as 2023’sHaunted Mansionwas one of Disney’s most egregious box office misses in recent years. With a familiar theme park ride intellectual property and an absolutely stacked cast of talent, it’s shocking that the spooky spectral romp didn’t do better.
Haunted Mansionlives in the same strange boundary between immaturity and creepiness that Eddie Murphy’s original star vehicle operated in, which didn’t win it any favors from critics. However, the film currently sits at a healthy 84% on Rotten Tomatoes' audience score, suggesting its true value as a fun excursion back intoDisney’s macabre side that works for what it is. I’m confident thatHaunted Mansionwill be looked back upon favorably when those that missed out on it finally decide to give it a fair shot as the cornball family comedy it was always meant to be.
The Book of Clarence
The Book of Clarence is a comedy-drama film by writer and director Jeymes Samuel. Clarence (LaKeith Stanfield) finds himself in awe of the arrival of Jesus Christ and the miracles he provided in Jerusalem in 29 A.D. Hoping to free himself of his life of poverty; he acts as a false Messiah sent by god to capitalize on the situation.
Poor LaKeith Stanfield can’t seem to catch a break when it comes to starring in films that are criminally underrated by general audiences at the box office. For everyGet Out, the man has to endure a handful of flops on the caliber ofHaunted Mansion,thoughThe Book of Clarencemight be his most pitiful take yet. Produced by Jay-Z, the low-budget comedy starsStanfield as a copycat messiah circa 33 A.D., attempting to model himself as the next Jesus of Nazareth.
I thoroughly enjoyedThe Book of Clarence, which brought to mind the hilarious biblicalcomedy stylings ofMonty Python’s Life of Brian. Unfortunately, much like that film,The Book of Clarencehad to weather the storms of tackling such delicate subject matter with such a comedic tone, likely contributing to its commercial failures. For those willing to play with the sacred topics,The Book of Clarenceis sure to evolve into a cult classic just as its English predecessor had, being similarly unpopular with general audiences at the time of its 1979 release.
Bros
Billy Eichner and Nicholas Stoller present Bros, a romantic comedy that sees Billy Eichner playing Bobby Lieber, a podcast host with a busy life who prides himself on being single. However, when Bobby meets another career-focused man named Aaron, the two begin to wonder what a relationship could be like - but their aversion to commitment keeps them from finding happiness.
LGBTQIA+ films are unfortunately rare in the historical cinema landscape, always burdened with the heavy reality of the real-life struggles of people in the community affecting their box office take. Recent years have been kinder to LGBTQIA+ stories, but prestige cinema darlings likeBrokeback MountainandMoonlighthave set impossible standards for the average queer romance story to live up to. Such was the fate of 2022’sBros, a charming film with the distinction of being one of the first gay romantic comedies ever produced by a major studio.
Despite having a miniscule budget of 22 million dollars,Brosstill struggled at the box office, ultimately flopping despite its low bar to clear. This is a crying shame because of just how effective the film is as a romantic comedy, LGBTQIA+ or otherwise. While it’s true that the film made important leaps in representation, the presentation ofBobby and Aaron’s whirlwind romance deserved more financial recognition.Time will surely be kind toBrosas a classic romantic comedy that can stand with the best of them.
Soul
Pixar’s Soul follows Joe Gardner (Jamie Foxx), a pianist, who is killed in an accident just before his big opportunity to finally succeed in the world of jazz music. Joe’s soul gets stuck in the “Great Before”, a purgatory which gives him the idea of reuniting his body and soul. Alongside Foxx, Soul features the voices of Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, and Angela Bassett.
In the modern movie making landscape, even hallowed names like Pixar don’t bear enough marquee value to ensure a positive box office, with a string of failures from the animation giant bombing in recent years. Of all of Pixar’s most recent financial failures,Soulis my most heartbreaking pick. Hamstrung by the pandemic,Soulwas admittedly a huge success for the company on streamingupon its initial debut in 2020, but has languished in obscurity since, as proven by its abysmal run in theaters in 2024.
The themes ofSoulreally resonate with me in a way few Pixar offerings from the 2020s have, presenting a deeply personal story that compliments its wonderful animation. This only makes the recentPixar statements on moving away from autobiographical filmsall the more alarming, as films likeSoulandTurning Redare single-handedly upholding Pixar’s modern-day reputation. With time, I hope that others will come to look past the unfortunate circumstances ofSoul’s release and accept it as one of the best Pixar works, just as I have.
Three Thousand Years of Longing
Based on the story by A.S. Byatt, The Djinn in the Nightingale’s Eye, Three Thousand Years of Longing follows Alithea, a professor who lives on her own, occasionally afflicted with visions of demons. On a trip to Istanbul, Alithea happens upon a unique glass bottle at a Bazaar and purchases it. When she cleans the bottle with a toothbrush, a powerful Djinn (Idris Elba) suddenly emerges from it and asks Alithea the three wishes her heart desires most. Alithea, the erudite scholar she is, knows that Djinns are tricksters, prompting Djinn to tell the story of how he ended up trapped in his glass prison. The film’s story then recants three tales of Djinn’s past, helping Alithea trust him and finally make her three wishes.
Even outside theMad Maxseries, my beloved George Miller has the worst luck when it comes to staying in the good graces of film investors. After the unmitigated cultural impact ofMad Max: Fury Road, Miller was given free rein for his next project, a loose adaptation of the obscure short storyThe Djinn in the Nightingale’s Eye.Three Thousand Years of Longingtells the story of a Djinn, played by Idris Elba, who comes into the custody of a reclusive narratologist, played by Tilda Swinton, regaling her with tales from his long life.
Breathtakingly shot with Miller’s signature style,Three Thousand Years of Longingis a visual marvel that should’ve been worthy of financial acclaimfor its visuals alone. In truth, however, it’s no surprise to me that the film flopped, being a decidedly unorthodox love story with some truly bizarre twists that only Miller’s mind could fabricate. Though it languished in box office obscurity, I can’t fathom a world in whichThree Thousand Years of Longingisn’t rediscovered in the distant future, dusted off for its value much like the bottle of Elba’s genie.
Beau Is Afraid
Beau Is Afraid (formerly known as Disappointment Blvd.) is a new supernatural horror/comedy film from Ari Aster (Hereditary, Midsommar.) Joaquin Phoenix stars as the titular Beau in his older years, as a young man with a strained relationship with his mother. After her death, his return home is marked by strange supernatural occurrences.
Coming off the back of making two of the most critically-acclaimed horror films of the modern era withHereditaryandMidsommar, Ari Aster should’ve been unstoppable. Unfortunately, his third major project,Beau is Afraid, got away from him, an avant-garde monster with zero mass appeal for the box office to feast on save for Joaquin Phoenix’s admittedly excellent performance. While I personally was all but traumatized by this harrowing experience, I have to admit that there’s no world in whichBeau Is Afraiddoesn’t become a macabre cult classic.
I won’t pretend tounderstandBeau Is Afraid.After a twist I jokingly suggested while watching the film wound up being startlingly true, my jaw was on the floor, and I can’t call myself a fan of the film in good conscience. What I will acquiesce is thatBeau Is Afraidis an unforgettable journey.People who suggest that films like Adam Sandler’sUncut Gemsare the pinnacle of cinematic anxiety would disintegrate upon viewing it. Even if I’m not a part of it, Ari Aster’s third film will doubtlessly develop a sinister cult in the years to come.
The Last Duel
The Last Duel is a historical epic drama set amid the Hundred Years War, and explores the ubiquitous power of men, the frailty of justice, and the strength and courage of one woman willing to stand alone in the service of truth. Based on actual events, the film unravels long-held assumptions about France’s last sanctioned duel between Jean de Carrouges and Jacques Le Gris; two friends turned bitter rivals.
The early 2020s were a volatile time for theater releases in general, with even incredible films struggling to turn a profit. This epidemic is represented no better than with 2021’sThe Last Duel, a period piece with all the trappings of a prestige cinema event that audiences should’ve clamored over.Taking place in Medieval France, the film centers around a knightwho, after his wife comes forward accusing his best friend sexually assaulting her, fights for her honor in a formal duel.
Well-acted, well-shot, and brilliantly told through a unique chronology that retells the same events from the split perspectives of its three main characters,The Last Duelis stunningly provocative. In my estimate, the film’s failure is endemic of the dramatic shift towards streaming modern audiences have taken, preferring the comfort of home to a theater experience. The fact thatThe Last Dueldid great on streaming should be proof enough of this, sure to ferment the timeless film into a verifiable cult classic with just a little more time.
