Top 20 Biggest Disney Movie Flops

Box office misses happen even to the biggest studio, and Disney has had its share across animation, live action, and acquired labels. Flops are films that struggled to cover production and marketing costs through theatrical runs. Some faced tough competition or release timing that hurt demand. Others met audience confusion or muted word of mouth that stalled momentum. Here are twenty well known examples that underperformed despite major brands, big talent, or ambitious budgets.

‘John Carter’ (2012)

This sci fi adventure launched with a large budget and complex world building that was hard to convey in ads. A title change late in marketing created confusion about the story. The film opened below expectations in key markets. Ancillary sales could not close the gap fast enough to offset high costs.

‘The Lone Ranger’ (2013)

Disney aimed to relaunch a classic Western brand at blockbuster scale. The project carried significant costs from extended production and visual effects. It opened during a crowded summer and trailed family friendly competition. International turnout was not strong enough to lift overall results.

‘Tomorrowland’ (2015)

The film adapted a Disney Parks concept with original characters and a mystery driven plot. Marketing struggled to explain the premise without spoilers. Tracking suggested limited interest among teens and young adults. The opening weekend fell short of franchise level standards and momentum faded quickly.

‘Mars Needs Moms’ (2011)

This motion capture animated film arrived as audiences were cooling on that visual style. Reviews highlighted an uncanny look that limited family appeal. The domestic run was very brief due to steep week to week drops. Overseas returns were small relative to production spending.

‘The BFG’ (2016)

A family fantasy from a celebrated director did not translate into strong ticket sales. The release landed near animated hits that dominated family attention. Word of mouth was gentle but not urgent, leading to soft weekdays. Costs associated with extensive effects work kept breakeven far away.

‘A Wrinkle in Time’ (2018)

This adaptation targeted a wide family audience with a beloved book. Heavy effects and location work increased costs. Interest skewed younger than expected which limited premium format uptake. The film’s legs were short in both domestic and international markets.

‘Strange World’ (2022)

The animated original had a theatrical only release in many regions with a quick streaming window afterward. Awareness was modest during a busy holiday corridor. Family turnout lagged behind other animated titles that year. The short run left little time for recovery through holds.

‘Lightyear’ (2022)

A sci fi spin off from the ‘Toy Story’ universe centered on a new take for the lead. Positioning the film as a separate adventure caused brand confusion for some families. The release followed a stretch when Pixar titles had gone straight to streaming. Theatrical attendance came in below prior franchise benchmarks.

‘The Marvels’ (2023)

This sequel connected characters from film and streaming series. Required backstory from shows limited reach among casual viewers. Pre release tracking declined and the opening dropped compared with earlier entries. The film showed sharp second weekend erosion, signaling weak word of mouth.

‘Indiana Jones and the Dial of Destiny’ (2023)

The return of a classic adventure series carried very high production costs. A lengthy schedule and extensive effects work raised the breakeven target. Opening weekend fell below earlier franchise heights, especially in North America. Week to week declines and average overseas interest limited total grosses.

‘Haunted Mansion’ (2023)

This ride based ensemble comedy arrived in late summer when families traveled and schools resumed. The film faced competition from holdover hits aimed at all ages. Marketing could not establish must see urgency. The box office trajectory remained modest throughout its run.

‘Wish’ (2023)

The original animated musical celebrated a Disney milestone year but faced mixed audience interest. The film opened over a crowded holiday period with strong alternatives. Family attendance did not build across the season as hoped. The streaming debut arrived soon after which further shortened the theatrical window.

‘The Nutcracker and the Four Realms’ (2018)

A fantasy set around a seasonal theme aimed for holiday legs. Production included reshoots that added to costs. The opening weekend was below expectations and post holiday holds were soft. International markets offered limited upside outside a few territories.

‘Alice Through the Looking Glass’ (2016)

This sequel followed a prior hit but arrived years later with reduced audience excitement. Competition from other tentpoles split the premium format screens. Domestic interest dropped sharply from the first film and overseas declines were similar. The result fell short of covering sequel level spending.

‘The Good Dinosaur’ (2015)

An ambitious animated project faced production resets that increased costs. The release calendar placed it close to a stronger studio title that same year. Opening numbers were fine for mid tier animation but not for its budget. The film relied on ancillary revenue to reduce losses.

‘Mulan’ (2020)

This live action remake encountered pandemic era theater closures in many regions. The domestic strategy emphasized premium video on demand which reduced big screen totals. International rollout was uneven due to restrictions and capacity limits. Theatrical revenue alone could not approach traditional remake expectations.

‘Raya and the Last Dragon’ (2021)

The film premiered with a hybrid strategy that split audiences between theaters and home viewing. Many cinemas operated with limited capacity during its first weeks. Family groups often chose at home access which lowered box office. The long tail on streaming did not translate to theatrical recovery.

‘Jungle Cruise’ (2021)

This adventure drew on a Disney Parks brand and released with a hybrid model. The film opened during a period of health concerns that weighed on turnout. Weekend drops were moderate but overall volume stayed below big budget levels. Stronger engagement arrived on streaming rather than in theaters.

‘Treasure Planet’ (2002)

A hand drawn and CG hybrid arrived as audience taste shifted toward different styles. The release landed near major franchise blockbusters that dominated attention. Domestic interest was limited and international play did not expand enough. Home media helped after the fact but not at theatrical scale.

‘The Black Cauldron’ (1985)

This dark fantasy marked a costly and lengthy production for its era. The tone skewed older than typical Disney animation which narrowed the family audience. Competing films captured younger viewers during the same season. The box office result prompted a reevaluation of the studio’s animated slate.

Share which titles surprised you most in the comments and tell us which other Disney misfires should be added.