Every Major Woke Actors Career Flop Explained in Detail

These actors are known for speaking up on social issues, but even the most visible stars hit bumps in their careers. Here is a clear look at specific projects that stumbled, along with what happened commercially or critically and why release timing, marketing, or distribution choices mattered.

Chris Evans

Pixar’s ‘Lightyear’ arrived with a sizable budget and strong brand recognition yet opened well below recent studio benchmarks. The film replaced the familiar voice from ‘Toy Story’ and faced content-related bans in several overseas markets, which cut into international returns. It released during a period when family audiences were still inconsistent about returning to theaters. The shortfall led to a quick pivot to streaming availability and internal reassessments of franchise strategy.

John Boyega

‘Pacific Rim: Uprising’ was positioned to extend a promising sci-fi property but earned less worldwide than the original entry. Reviews cited a thinner story and reduced involvement from key creative voices tied to the first film. The lower domestic turnout and softer legs overseas stalled momentum for a third installment. Home viewing and cable runs helped exposure later but did not reverse the theatrical miss.

Kumail Nanjiani

Marvel’s ‘Eternals’ launched during ongoing theater recovery and skipped release in key markets, including China. Mixed reception on pacing and tone kept word of mouth muted compared to other franchise titles. The global result trailed prior Marvel entries by a wide margin, impacting immediate sequel talk. The film found a larger audience after its streaming debut, which improved its long-tail viewership.

Mark Ruffalo

‘Dark Waters’ targeted an adult audience with a fact-based legal thriller and rolled out in a limited pattern before expanding. Theatrical grosses remained modest due to a small screen count and competition from holiday releases. Critical notices were strong, and awards shortlists raised awareness, but the film relied on post-theatrical platforms to reach a wider audience. Its performance reflected the broader challenges for mid-budget dramas in wide release.

Daniel Kaluuya

‘Widows’ carried acclaimed talent and a festival launch yet underperformed for its scale. The marketing emphasized a heist premise while the film itself leaned into character drama, which complicated audience targeting. Competition from major franchises in the same window limited premium screens and repeat business. Strong reviews and later streaming boosted its reputation more than its initial box office.

Dev Patel

‘The Green Knight’ earned high marks for craft but played primarily to specialty audiences. Its summer release landed alongside large franchise titles that dominated premium formats. The movie’s arthouse pacing limited casual turnout despite heavy trailer rotation. It built a dedicated following after digital and physical release, where repeat viewing and analysis became part of its appeal.

Ben Platt

‘Dear Evan Hansen’ arrived with name recognition from Broadway but faced criticism over casting choices and tonal fit on screen. The adaptation struggled to convert stage success into mainstream moviegoer turnout. Reviews highlighted uneven translation of the material and muted box office followed, with a short theatrical run. The film later found most of its audience via on-demand and subscription platforms.

Chris Pine

‘The Contractor’ released with a narrow theatrical footprint and a quick premium-video window. The limited marketing push and crowded spring calendar kept awareness low. Critics cited familiar genre beats, which reduced urgency for big-screen viewing. The title’s primary life unfolded on streaming, where it reached a broader audience over time.

Adam Driver

’65’ offered an original sci-fi concept but faced stiff competition from established brands during its rollout. Reviews noted thin character work and a concise runtime that limited word of mouth. The film’s overseas performance did not offset a soft domestic start. Post-theatrical viewing helped overall reach yet did not alter its status as a theatrical disappointment.

Michael B. Jordan

‘Without Remorse’ bypassed a traditional theatrical launch and went directly to streaming as part of a platform deal. The release strategy prioritized subscriber engagement over box office, which removed typical success metrics. Reviews were mixed on plot execution compared to the Tom Clancy branding. Talk of franchise expansion slowed while the focus shifted to performance on the service.

Chris Pratt

‘The Terminal List’ premiered to strong initial sampling but drew polarized critical response. As a streaming exclusive, success depended on completion rates and season-over-season retention rather than ticket sales. The show generated sustained conversation but faced headwinds with reviewers, which complicated awards traction. Its long-term value centered on catalog viewing rather than immediate critical acclaim.

Henry Cavill

‘Argylle’ entered the market with heavy promotion and a star-packed ensemble but opened below expectations. The marketing promised a high-concept spy romp that did not convert into strong weekday holds. Mixed reception on tone and twists limited positive word of mouth. The film leaned on post-theatrical windows to improve its overall audience reach.

Share the actor and project you think was the most surprising misfire in the comments.