Movies That Flopped After Heavy “Empowerment” Marketing

The film industry has seen a significant shift in marketing strategies, with many studios placing social themes and character empowerment at the forefront of their promotional campaigns. While these narratives aim to resonate with modern audiences and promote inclusivity, the financial results in the theatrical market have been inconsistent. In several instances, high-profile projects with substantial budgets failed to meet box office expectations despite intense marketing efforts centered on these themes. This list examines thirty films that underperformed or flopped following campaigns that heavily emphasized empowerment.

‘The Marvels’ (2023)

‘The Marvels’ serves as a sequel to the 2019 hit ‘Captain Marvel’ and integrates characters from several Disney+ series. The film’s marketing campaign centered on the collaboration of three female leads and the theme of unified female power. Despite its connection to the Marvel Cinematic Universe, it earned the lowest opening weekend in the franchise’s history. High production costs and extensive reshoots contributed to a significant financial loss for the studio.

‘Madame Web’ (2024)

‘Madame Web’ features an ensemble cast led by Dakota Johnson and focuses on a clairvoyant paramedic in an origin story. The marketing emphasized a female-led superhero team and the concept of destiny within the Spider-Man universe. Critical reviews were overwhelmingly negative, citing issues with the script and editing. The film failed to meet box office expectations, grossing significantly less than its projected break-even point.

‘The 355’ (2022)

‘The 355’ is an espionage thriller featuring a global team of female spies tasked with retrieving a top-secret weapon. The promotional material highlighted the international diversity and individual strengths of its prominent female cast members. Released during a challenging period for theaters, the movie struggled to attract a large audience. Its financial performance was hindered by lukewarm critical reception and stiff competition from other action releases.

‘Charlie’s Angels’ (2019)

This 2019 reboot of ‘Charlie’s Angels’ was directed by Elizabeth Banks and aimed to modernize the franchise with a focus on sisterhood. The marketing campaign explicitly framed the film as a feminist reimagining of the classic television series. It faced difficulty at the box office, earning just over its production budget before accounting for marketing expenses. Industry analysts noted that the film failed to capture the interest of the broader demographic targeted by the campaign.

‘Ghostbusters’ (2016)

‘Ghostbusters’, also known as ‘Ghostbusters: Answer the Call’, replaced the original cast with an all-female lineup. The promotional phase became highly publicized due to online controversies and the studio’s defense of the casting choices. While the film received generally positive reviews from critics, its high production and marketing costs led to a substantial deficit. It ultimately grossed roughly $229 million against a break-even target estimated at $300 million.

‘Terminator: Dark Fate’ (2019)

‘Terminator: Dark Fate’ positioned itself as a direct sequel to ‘Terminator 2: Judgment Day’, featuring the return of Linda Hamilton. The marketing focused on the trio of female protagonists and their roles in protecting the future of humanity. Despite positive comparisons to earlier sequels, the film failed to resonate with the legacy audience. It resulted in a loss of over $100 million for the participating studios.

‘Mulan’ (2020)

The live-action remake of ‘Mulan’ discarded the musical elements of the original to focus on a more grounded story of female empowerment and honor. Its release was complicated by the COVID-19 pandemic, leading to a hybrid release strategy on Disney+ Premier Access. The film faced various controversies regarding its filming locations and historical accuracy. Ultimately, the box office returns from international markets were insufficient to recoup its massive $200 million budget.

‘Strange World’ (2022)

‘Strange World’ is a Walt Disney Animation Studios production that features an adventurous family exploring a subterranean land. The marketing highlighted the film’s diverse cast and socially progressive themes as a central selling point. It experienced one of the most significant box office failures in Disney’s history, losing an estimated $150 million. Critics noted that the film’s message often overshadowed its narrative appeal for general audiences.

‘Bros’ (2022)

‘Bros’ was marketed as the first major studio romantic comedy featuring an all-LGBTQ+ principal cast. The campaign emphasized the historical significance of the film and encouraged audiences to support diverse storytelling. Despite strong critical reviews, the movie struggled to find a wide audience in theaters. It grossed less than $15 million domestically against a $22 million production budget plus marketing costs.

‘Lightyear’ (2022)

‘Lightyear’ is a spin-off of the ‘Toy Story’ franchise that provides a fictional origin story for the titular space ranger. Marketing efforts included a focus on the film’s inclusive themes and a prominent depiction of a same-sex couple. The film underperformed at the box office, which analysts attributed to confusing branding and competition from other family films. It failed to reach the financial heights typical of Pixar’s theatrical releases.

‘Dark Phoenix’ (2019)

‘Dark Phoenix’ centers on Jean Grey’s transformation into a powerful and destructive force within the X-Men universe. The promotional cycle leaned heavily on the “female force” aspect of the narrative and the shift in leadership within the team. Production delays and extensive reshoots for the final act reportedly inflated the budget significantly. The film became the lowest-grossing entry in the long-running ‘X-Men’ franchise, resulting in a major loss for 20th Century Fox.

‘West Side Story’ (2021)

Steven Spielberg’s ‘West Side Story’ was a remake of the classic musical, emphasizing authentic representation and updated character dynamics. The marketing highlighted the empowerment of the female characters, specifically Anita and Maria, within the social context of the story. Despite universal critical acclaim and multiple Academy Award nominations, the film struggled significantly at the box office. It failed to recoup its $100 million budget during its initial theatrical run.

‘Men in Black: International’ (2019)

‘Men in Black: International’ attempted to revive the sci-fi franchise with a new duo led by Tessa Thompson. The marketing campaign highlighted the inclusion of a female agent as a primary lead for the first time in the series. The film received poor reviews for its screenplay and lack of chemistry between the leads. It grossed far less than its predecessors, leading the studio to halt further plans for the rebooted timeline.

‘The Last Duel’ (2021)

‘The Last Duel’ is a historical drama that presents a sexual assault trial from three different perspectives, culminating in the woman’s viewpoint. The marketing positioned the film as a feminist critique of historical gender dynamics and systemic oppression. Despite the involvement of high-profile actors and positive critical reception, it grossed only $30 million worldwide. Its failure was attributed to its grim subject matter and difficulty in reaching its target demographic.

‘A Wrinkle in Time’ (2018)

‘A Wrinkle in Time’ was marketed as a groundbreaking adaptation of the classic novel, featuring a diverse cast and a female director. The campaign focused on the theme of “finding your light” and the empowerment of young girls in the face of darkness. The film received mixed reviews for its visual effects and narrative structure. It ultimately lost Disney an estimated $130 million after accounting for marketing and distribution.

‘The Kitchen’ (2019)

‘The Kitchen’ stars Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss as mob wives who take over their husbands’ criminal operations. The promotional material emphasized a grit-and-glamour approach to female empowerment in a male-dominated world. Critics panned the film for its inconsistent tone and pacing. It failed to resonate with audiences, grossing just $15 million against a production budget of approximately $38 million.

‘Catwoman’ (2004)

‘Catwoman’ took a departure from DC Comics lore to present a new origin story for the titular character. The marketing focused heavily on Halle Berry’s performance and the character’s newfound confidence and independence. The film was a critical and commercial disaster, frequently appearing on lists of the worst movies ever made. It earned only $82 million globally, which was far below its $100 million production cost.

‘Elektra’ (2005)

‘Elektra’ is a spin-off of ‘Daredevil’ that follows a female assassin who decides to protect a father and daughter from supernatural killers. The film was marketed as a standalone action vehicle for Jennifer Garner, highlighting the strength and skill of the character. Negative reviews targeted the thin plot and lack of character development. The movie’s box office performance was weak, effectively ending the franchise’s trajectory at the time.

‘Ghost in the Shell’ (2017)

‘Ghost in the Shell’ is a live-action adaptation of the famous manga, starring Scarlett Johansson as a cybernetic soldier. The marketing campaign centered on the character’s search for her past and her journey toward self-actualization. The film faced significant controversy regarding the “whitewashing” of its lead character, which overshadowed its promotional efforts. It failed to break even, grossing $169 million against a budget and marketing spend exceeding $250 million.

‘Red Sparrow’ (2018)

‘Red Sparrow’ features Jennifer Lawrence as a Russian ballerina who is recruited into a secret intelligence program. The marketing emphasized the character’s reclamation of her body and her strategic use of intellect to outmaneuver her enemies. While it was not a complete financial failure, its performance was considered underwhelming given the star power involved. The film’s dark and violent content limited its appeal to a broader theatrical audience.

‘The Huntsman: Winter’s War’ (2016)

‘The Huntsman: Winter’s War’ serves as both a prequel and a sequel to ‘Snow White and the Huntsman’. The marketing focused on the “power struggle” between the formidable female leads played by Charlize Theron, Emily Blunt, and Jessica Chastain. Despite the high-caliber cast, the film was criticized for its redundant plot and lack of focus. It grossed significantly less than the original film, resulting in a loss for the studio.

‘Sucker Punch’ (2011)

‘Sucker Punch’ tells the story of a young girl who creates a fantasy world to cope with her institutionalization. Director Zack Snyder marketed the film as a story of female empowerment through stylized action and psychological resilience. Many critics argued that the film’s visual style contradicted its supposed message, leading to a polarized reception. It failed to earn back its production budget at the box office.

‘Widows’ (2018)

‘Widows’ is a heist thriller about four women who must complete a robbery to pay off their deceased husbands’ debts. The marketing highlighted the themes of female agency and the subversion of traditional gender roles in the crime genre. Although it was a critical darling and received high scores from reviewers, it struggled to attract a large audience. The film’s final box office tally was modest, leaving it short of financial success.

‘Booksmart’ (2019)

‘Booksmart’ is a coming-of-age comedy that focuses on two academic overachievers on their final night of high school. The film’s marketing was built on the idea of a modern, female-led alternative to classic teen comedies like ‘Superbad’. While it received near-universal acclaim and became a cultural talking point, its initial theatrical run was slow. The film eventually found an audience through streaming, but its box office numbers were considered a disappointment.

‘In the Heights’ (2021)

‘In the Heights’ is an adaptation of Lin-Manuel Miranda’s musical, celebrating the vibrant culture of a Manhattan neighborhood. The promotional campaign focused on community empowerment and the realization of dreams within the Latinx community. Released simultaneously in theaters and on HBO Max, the film struggled to generate significant ticket sales. Its failure to meet box office projections was a surprise to industry experts given the strong critical reviews.

‘Furiosa: A Mad Max Saga’ (2024)

‘Furiosa: A Mad Max Saga’ serves as a prequel to ‘Mad Max: Fury Road’, focusing on the origin of the female warrior. The marketing emphasized the character’s journey from captivity to a powerful leader in a harsh wasteland. Despite receiving positive reviews from critics and returning fans, the film’s opening weekend was lower than anticipated. Its high production budget necessitated a stronger performance than it initially achieved in theaters.

‘Wish’ (2023)

‘Wish’ was released to celebrate Disney’s 100th anniversary, featuring a young heroine who makes a powerful plea to the stars. The marketing campaign focused on the character’s determination to save her community and her role as a symbol of hope. The film received lukewarm reviews from critics who felt it relied too heavily on nostalgia. It underperformed significantly at the box office, continuing a trend of difficult theatrical runs for Disney’s animated features.

‘Battle of the Sexes’ (2017)

‘Battle of the Sexes’ depicts the true story of the 1973 tennis match between Billie Jean King and Bobby Riggs. The film was marketed as a tribute to King’s fight for gender equality and her personal journey of self-discovery. Despite strong performances from Emma Stone and Steve Carell, the film failed to gain traction at the box office. It grossed just $18 million globally against a production budget of $25 million.

‘Proud Mary’ (2018)

‘Proud Mary’ stars Taraji P. Henson as a professional hitwoman whose life is changed when she meets a young boy. The marketing drew on the aesthetic of 1970s blaxploitation films and highlighted the lead character’s lethal skills. The film suffered from a lack of advance screenings for critics, which is often a sign of low studio confidence. It received negative reviews and failed to make a significant impact at the box office.

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