Every Major Woke Actress Career Flop Explained in Detail

Big stars sometimes lead projects that simply do not connect with audiences, and the reasons usually come down to budgets, release strategies, and market timing. Below are high profile examples where a movie struggled commercially or culturally despite a well known actress at the center. Each entry focuses on concrete production and performance facts so you can see what actually happened behind the scenes and at the box office.

Brie Larson

After the massive success of earlier franchise entries, ‘The Marvels’ opened far below expectations in key markets. The production carried a reported budget well over two hundred million dollars before marketing costs. Global grosses ended near the two hundred million mark, which left little room to break even after distribution splits. Reshoots and a crowded release calendar further reduced long tail earnings.

Margot Robbie

‘Babylon’ arrived with a prestige pedigree and an ensemble cast but struggled to find an audience during the holiday corridor. The production cost was widely reported around the high seventy to eighty million range before advertising. Worldwide box office finished below the total investment once prints and advertising were included. The prior release ‘Amsterdam’ also underperformed with receipts that did not cover its production spend.

Kristen Stewart

The 2019 reboot of ‘Charlie’s Angels’ launched with a midrange budget and a global rollout but returned modest ticket sales. Domestic opening weekend results landed below projections for a recognizable brand. International markets did not provide the needed lift to recoup costs and marketing. Ancillary and home platforms could not close the gap created by theatrical shortfalls.

Daisy Ridley

‘Chaos Walking’ encountered a lengthy production cycle that included extensive reshoots and schedule changes. The project carried a large effects driven budget for a nonfranchise title. Theatrical rollout produced very low returns relative to costs in both North America and overseas. Streaming and post theatrical windows were not enough to offset the deficit created by delays and underperformance.

Sophie Turner

‘Dark Phoenix’ arrived as a late entry in a long running superhero line with a sizable production budget. The film’s release date moved more than once and included new material shot after principal photography. Domestic and international box office totals finished well below franchise highs while marketing spend remained substantial. Revenue from later windows did not materially change the overall financial picture.

Halle Berry

‘Catwoman’ paired a recognizable comic book property with a star lead but faced negative word of mouth. The production budget was reported around the nine figure mark. Worldwide grosses failed to match that level, creating a significant shortfall after distribution fees. The title became a frequent case study in brand management and cost control for effects heavy projects.

Natalie Portman

‘Lucy in the Sky’ received a limited theatrical release with a modest marketing push. Despite festival attention, domestic grosses remained under one million dollars. International distribution was narrow and did not materially increase totals. The small scale rollout and specialty positioning limited revenue opportunities beyond initial playdates.

Charlize Theron

‘Aeon Flux’ arrived with a sci fi premise and extensive world building, which raised production costs. Test screenings reportedly led to editorial changes before release. Domestic returns were soft and international results did not compensate for the budget. Home entertainment added incremental revenue but not enough to shift the overall outcome.

Anya Taylor-Joy

‘Furiosa’ entered theaters with premium format bookings and strong brand awareness from a prior entry. The production budget sat in the high nine figure range when accounting for location work and scale. Opening weekends in major territories did not meet projections needed for profitability. Subsequent weeks showed standard drops that limited the final worldwide total.

Amber Heard

‘London Fields’ faced legal disputes and postproduction conflicts that delayed release. The film eventually opened in a very small number of theaters. Domestic revenue was minimal and international sales were limited. The combination of litigation and scarce marketing left little path to recoupment.

Tessa Thompson

‘Men in Black International’ attempted to relaunch a familiar franchise with a new duo at the center. Production costs were substantial for sets, locations, and visual effects. Global grosses cleared two hundred million but fell short of prior series benchmarks and profitability targets after expenses. Merchandise and licensing did not offset the weaker than expected theatrical run.

Emilia Clarke

‘Terminator Genisys’ posted stronger results overseas than at home but carried a very high budget. Domestic totals trailed earlier series entries by a wide margin. After subtracting exhibitor splits and marketing, worldwide revenue did not deliver the returns needed for a planned continuation. The franchise paused again before any direct sequel moved forward.

Scarlett Johansson

‘Ghost in the Shell’ invested heavily in visual design and technology driven sequences. The production spend exceeded one hundred million before worldwide advertising. Global grosses landed below the level typically required for a film of that scale to profit. Performance in key Asian markets was lower than internal forecasts, further narrowing margins.

Gal Gadot

‘Wonder Woman 1984’ used a hybrid release that put the title on a streaming platform the same day it reached theaters. Theatrical revenue was constrained by market closures and capacity limits. The production budget and marketing commitments reflected a normal wide release strategy. The unconventional rollout shifted the financial emphasis away from box office while reducing traditional earnings.

Jennifer Lawrence

‘Serena’ completed principal photography earlier than its eventual release, then spent an extended period in post. The distribution strategy focused on limited theaters and video on demand. Domestic and international grosses were very small compared with the star power involved. Reviews cited tonal issues, which complicated marketing and audience targeting.

Share which entries surprised you most and tell us in the comments which other examples you think belong on this list.