Overhyped Reboots That Totally Bombed

Restarting a series or character can be challenging to execute successfully. When done effectively, as seen with “Spider-Man: Homecoming,” it can unveil hidden strengths within a character or franchise. This is the reason why many believe that some superheroes require a film remake. However, poorly executed reboots can create dreadful experiences for moviegoers. Such reboots might appear as desperate money grabs, repeating old material and frustrating audiences while tarnishing once-cherished brand names. The risks associated with a failed reboot are so severe that the film industry has largely abandoned this approach (for movies, at least), opting instead for sequels that expand upon successful works rather than reimagining them. As evidence of what can go wrong when a reboot project goes awry, consider this list of highly anticipated films that flopped miserably during their box office runs.

Each of these films was preceded by intense anticipation and promotion for months (or even years), hyping the audience with the promise of something extraordinary. Many entered theaters with grand fanfare, but none managed to avoid becoming some of the biggest box office failures of the last 15 years. The reasons behind each movie’s financial collapse were varied. Some sank due to poor reviews, while others struggled to break free from the shadows of their predecessors. Others were extensions of franchises that had already been overused too many times. Regardless of the cause, these heavily hyped reboots serve as chilling reminders of the dangers of excessive expectation.

The Crow (2024)

The 2024 remake of “The Crow” has had a long and tumultuous development process, with changes in directors and leading actors happening frequently. Initially, producer Ryan Kavanaugh envisioned this modern take on “The Crow” to resemble “Batman Begins” in terms of style and scale. Fast forward over a decade, the director, Rupert Sanders, positioned the new “Crow” as an independent film rather than a traditional blockbuster, attracting fans of offbeat arthouse cinema. Simultaneously, actor Bill Skarsgård hinted that the movie’s ending was altered to facilitate potential sequels. The financiers of this project believed that it could spawn a new superhero franchise, much like how the original “Crow” film with Brandon Lee led to numerous spin-offs.

Despite more than 15 years of sensational news headlines, intriguing directorial comments, and a thrilling finale, people remained unconvinced to watch “The Crow” in theaters. This disappointing reboot managed to earn just $24 million globally against a production budget of $50 million, a dismal outcome that effectively put an end to any discussions about sequels. Devotees who were eagerly awaiting a continuation of Brandon Lee’s “Crow” narrative found the remake unappealing, while those unfamiliar with the original film found its marketing efforts lackluster. The movie struggled to connect with both newcomers and dedicated fans alike, ultimately proving to be a failed reboot. Indeed, the poor performance of “The Crow” serves as a stark illustration of a reboot that failed to gain traction.

Pan

Warner Bros.’ high level of faith in the movie “Pan” was evident by its initial release date in mid-July, which was also the period they had successfully dominated from 2007 to 2013 with films such as “The Dark Knight,” several “Harry Potter” installments, and “Inception.” Whenever Warner Bros. chose to launch a big-budget film in mid-July, it showed that they considered it significant.

The initial trailer for “Pan” premiered during Thanksgiving 2014, sharing screen time with trailers for blockbusters like “Star Wars: The Force Awakens” and “Jurassic World”. This high-profile debut implied the significant ambitions Warner Bros. held for this Joe Wright-directed fairy tale, despite eventual delays in its release. Prior to its eventual premiere on October 9, 2015, it’s reported that over $125 million was spent on marketing the film globally. Anticipation for “Pan” ran high as it aimed to match Disney’s successful live-action adaptation of “Alice in Wonderland” from 2010.

Despite significant promotional endeavors such as takeover events in cities like London and Mexico City, the film “Pan” failed to make a splash at the box office. In fact, it managed to earn just $128.3 million, which was only slightly more than the three-day domestic debut of “Wonderland.” This is quite a feat considering the production cost of $150 million. Warner Bros. made every effort to market this project to the public, but dreams of “Pan” becoming the next “Inception” or “Harry Potter” were unrealistic. With so many “Peter Pan” movies already out there, this one simply didn’t have the quality or uniqueness needed to stand out from the rest.

The Mummy (2017)

2017’s movie “The Mummy” wasn’t just any film; it was designed to kick off a larger universe, one that would fundamentally transform Universal Pictures. Directed by Alex Kurtzman, this production was the highly anticipated start of the Dark Universe, a series inspired by the Marvel Cinematic Universe and based on the classic Universal Monsters library. A key title for Universal, “The Mummy” also attracted big-screen star Tom Cruise to join the cast. With Cruise starring in “Mission: Impossible,” the producers of “The Mummy” hoped audiences would view its Dark Universe debut as a must-see cinematic extravaganza. Just weeks before the film’s premiere, a group photo featuring Cruise, “Mummy” actress Sofia Boutella, and other future Dark Universe actors was revealed to the public, an image meant to establish “The Mummy” as the foundation of a sprawling, celebrity-filled movie franchise.

In many attempts to establish a cinematic universe, this one fell flat at the box office. Globally, “The Mummy” managed to earn approximately $410 million, yet its production budget, rumored to exceed $195 million, doesn’t include marketing expenses. This earnings figure was only slightly more than what “The Mummy: Tomb of the Dragon Emperor” grossed nine years prior, when adjusted for inflation. Universal and Kurtzman were excited about the prospect of “The Mummy” spawning numerous sequels and spin-offs, but they failed to consider whether audiences truly desired a grittier, darker version of the classic “Mummy” storyline. Ultimately, the film did not appeal to horror enthusiasts, devotees of Universal Monsters, or even fans of Tom Cruise. Emphasizing the potential future of all Universal Monsters during pre-release promotion merely highlighted the lackluster offering that was “The Mummy.

Hellboy (2019)

2019’s “Hellboy” remake by Millennium Films faced tough challenges, as it needed to measure up against Guillermo del Toro’s cherished films. To convince viewers that this new take was necessary, they marketed it as a darker, R-rated interpretation of the demonic hero, appealing to those who enjoy graphic violence. The team behind the project, including lead actor David Harbour, emphasized this aspect repeatedly. Moreover, the involvement of Hellboy creator Mike Mignola was frequently highlighted to validate the remake’s credibility.

Regardless of its contrast with earlier Hellboy films, Millennium/Lionsgate remained confident about this new movie’s potential. Their promotional strategy, highlighted by trailers featuring ’80s rock tunes such as “Mony Mony,” mimicked campaigns for films like Suicide Squad, aiming to replicate that box office victory for Hellboy. However, despite all the buzz, the film didn’t perform well at the box office. With a production budget of $50 million, it managed to earn just $54 million worldwide – a dismal outcome that fell far short of the success achieved by previous Hellboy films.

In summary, the anticipation generated for “Hellboy” prior to its release didn’t effectively communicate to audiences why this reboot was essential or a must-watch. Comparing it to other superhero films and differentiating it from Guillermo del Toro’s initial franchise installments didn’t suffice. Regrettably, these overzealous marketing efforts ultimately led “Hellboy” to its grim box office outcome.

Resident Evil: Welcome to Raccoon City

In order to make a significant impact after six “Resident Evil” films, Sony’s reboot of Paul W.S. Anderson’s horror series decided to take a bold step. For those behind 2021’s “Resident Evil: Welcome to Raccoon City,” the solution was to emphasize that this film would accurately depict the original “Resident Evil” video games. The build-up to “Raccoon City”‘s release highlighted how closely this new movie would follow the earliest games in the franchise. Entire promotional videos were dedicated to showcasing the film’s fidelity to the source material, promising fans that their beloved “Resident Evil” characters would be portrayed accurately on screen.

For the 2021 Thanksgiving season, Sony premiered “Welcome to Raccoon City,” which aimed to generate excitement by discussing the director’s aspirations for potential sequels based on additional Resident Evil storylines. Regrettably, these efforts failed to boost the reboot’s performance at the box office. In contrast to previous Resident Evil films that grossed between $100 million and $300 million worldwide, Raccoon City only managed $42 million on a production budget of $25 million. Consequently, the franchise shifted to a brief Netflix series and a 2026 reboot helmed by director Zach Cregger. Despite numerous pre-release articles praising the film’s adherence to Resident Evil video games, this loyalty didn’t translate into box office success, demonstrating that simply staying true to old games isn’t enough to save an uninteresting movie.

Snake Eyes: G.I. Joe Origins

2021 marked the comeback of the “G.I. Joe” series after an eight-year hiatus, with the release of “Snake Eyes: G.I. Joe Origins” as a live-action adaptation. As lead actor Henry Golding explained, this film served as a foundation for exploring the universe of G.I. Joe. The movie faced immense expectations to revive the “G.I. Joe” franchise in cinemas, but those hopes were challenged by the unpredictable impact of COVID-19 on the entertainment industry.

Due to the worldwide health emergency, the release date for the movie “Snake Eyes” was shifted from October 2020 to July 2021, making it one of the initial major blockbusters to hit theaters after COVID-19 forced cinemas to close. The film faced added pressure because it was also intended to boost the prestige of toy maker Hasbro, who owns the G.I. Joe franchise. In early 2021, “Snake Eyes” was unveiled as a crucial part of Hasbro’s broader media strategy, and it was also announced that there would be a significant “Snake Eyes” crossover with Fortnite, one of the first collaborations between Hasbro and the popular video game.

Reflecting on the “G.I. Joe” films, Hasbro’s business aspirations, and cinemas all relying on “Snake Eyes” to thrive, it seems almost predictable now that the movie didn’t meet expectations. A string of puzzling creative choices (such as giving a beloved character a voice and withholding his signature costume until the end credits) played a significant role in the film’s negative reception, which ultimately impacted its box office performance. With a gross of less than $35 million worldwide, “Snake Eyes” fell significantly short of expectations.

The Girl in the Spider’s Web

2011’s adaptation of “The Girl with the Dragon Tattoo” was financially successful and earned five Oscars, one of which went to Rooney Mara for best actress. Despite the enthusiasm of Mara and director David Fincher for the series, no follow-ups were produced. In 2017, a new leadership at Sony Pictures decided to reboot and continue the story with a sequel/reboot, starting by adapting the fourth book in the series, “The Girl in the Spider’s Web.

In June 2018, during peak summer moviegoing season, the marketing campaign for this film was launched, with Claire Foy taking over Mara’s role as Lisbeth Salander. This reboot was a significant venture for both Foy and director Fede Alvarez, being labeled the largest project to date by prominent media outlets. At that time, Sony was facing challenges at the box office, so there was great anticipation surrounding “Spider Web” to determine if it could establish a lasting Salander franchise for the studio.

Despite the popularity of the book “The Girl in the Spider’s Web,” it appears that audiences weren’t eager to watch its movie adaptation directed by Alvarez. Even with extensive promotion featuring Foy, who had recently won a best actress Emmy for her role in “The Crown,” the film failed to attract significant viewers. With total worldwide earnings of $34.98 million, including only $14.82 million domestically, against a budget of $43 million, it seems that Sony would have been better off producing direct sequels to the 2011 film instead.

Conan the Barbarian

Prior to his roles as Aquaman, Lobo, or a character in “A Minecraft Movie,” Jason Momoa portrayed Conan, the Cimmerian berserker created by Robert E. Howard. This iconic fantasy figure was reintroduced in 2011 as an R-rated action hero embodied by Momoa, with notable actors such as Stephen Lang, Ron Perlman, and Rachel Nichols joining him in major roles for the fittingly titled “Conan the Barbarian.” Although Arnold Schwarzenegger had previously played the character on screen, there was an expectation that Momoa could become this generation’s definitive Conan and spearhead profitable blockbuster sequels. As summer 2011 approached, “Conan the Barbarian” was frequently hailed as one of the most eagerly awaited films and was highlighted in previews as one of the must-see action movies of the year.

In a world after the success of “Avatar,” it was evident that the digital 3D release of “Conan” aimed to make it a must-see blockbuster event rather than an ordinary action movie. However, with Arnold not playing the lead role, viewers seemed less interested in the muscular barbarian hero. The film “Conan the Barbarian” earned approximately $63 million worldwide on a budget of $90 million. Despite its high production costs and pre-release marketing campaign fitting for a massive tentpole, the movie’s box office revenue was more similar to Nicolas Cage’s poorly received “Season of the Witch.” It came as no surprise that no additional “Conan” adventures followed. As for Momoa, he moved towards more successful cinematic opportunities instead.

RoboCop (2014)

The classic “RoboCop” film is often hailed as one of the best sci-fi movies ever made, making the idea of remaking it a challenging task requiring the new version to match the brilliance of the original satirical cinema. This was exactly what director Jose Padilha and his team aimed to do with the 2014 release of “RoboCop,” starring Joel Kinnaman in the role initially played by Peter Weller in 1987. To combat any potential backlash, Sony/Columbia Pictures began their marketing strategies for “RoboCop” a full two years before its February 2014 premiere. As the release date approached and anticipation grew, additional promotional efforts like a Super Bowl advertisement were introduced to keep up the intense buzz around this remake. This aggressive marketing campaign appeared to be countering the notion that a “RoboCop” reboot was unnecessary by making the new character version omnipresent.

Unfortunately, despite significant hype and marketing efforts for the latest “RoboCop”, it couldn’t avoid a mediocre run at the box office, earning only $243 million globally against a production budget of $120 million. This suggests that the franchise may not have a long-term future. There are numerous factors that contributed to the reboot’s struggle, one of which is the belief among many viewers that a PG-13 remake of the original R-rated “RoboCop” was unnecessary, as they were content with the original. No matter how long or effective the marketing campaign, it couldn’t change this sentiment.

Wolf Man

2025’s reboot of the Universal horror film classic “The Wolfman,” titled “Wolf Man,” generated excitement due to another update on Universal Monsters planned for the 2020s. The writer and director, Leigh Whannell, who successfully created the suspenseful thriller “The Invisible Man,” set high expectations for “Wolf Man.” Debates about whether or not Whannell’s “Wolf Man” would match his previous work, “The Invisible Man,” were accompanied by discussions on the leaked appearance of the movie’s main character. A design of the Wolf Man at a Universal Halloween Horror Nights event seemed to unintentionally reveal its appearance, causing quite a stir due to its unique take on the hairy creature. Critiques grew so vocal that Whannell felt compelled to address them while promoting “Wolf Man,” clarifying that the design from the haunted attraction was not an accurate representation of the film.

With the customary grand advertising blitz common for any Universal Pictures production, “The Wolf Man” debuted in January 2025, carrying mixed expectations. The producers of “The Wolf Man” may have hoped that all the buzz would encourage audiences to watch this horror film and appreciate the unique creature design. However, it seemed that the hype only obscured the final product. Neither fans of “The Invisible Man” nor general horror movie enthusiasts flocked to see this modern take on “The Wolfman”. Ultimately, “The Wolf Man” earned a disappointing $34.9 million globally against a production budget of $25 million, leaving one to wonder about the quiet end for Universal’s werewolf reboot.

Fantastic Four (2015)

Approximately a year prior to the release of Josh Trank’s “Fantastic Four” movie, producer Simon Kinberg started building anticipation for the blockbuster by claiming it would honor every period in the characters’ Marvel Comics background. In addition, 20th Century Fox aimed to enhance interest by suggesting that “Fantastic Four” could pave the way for bigger collaborations between the main characters and the “X-Men” film series, hinting at an expanded universe similar to Samuel L. Jackson’s description of the MCU. Essentially, Fox was positioning their Marvel heroes to step into a broader universe. The various promotional strategies helped fuel excitement for a movie that was already receiving a great deal of hype and attention before its premiere. Remarkably, the teaser trailer even set a new record as the most-viewed 20th Century Fox trailer at the time.

Before the premiere of “Fantastic Four”, Fox intensified promotional efforts with events like the San Diego Comic-Con panel, where “Fantastic Four” and “X-Men” actors captured the largest superhero selfie ever. These tactics, especially linking “Fantastic Four” to the popular “X-Men” series, aimed to make this reboot a must-watch and erase the memories of earlier titles. Regrettably, despite these marketing endeavors, the movie’s production chaos was so severe that no amount of promotion could surmount its flaws. With earnings of $167 million against a budget of $120 million, this reboot’s financial conclusion was far from fantastic, considering the rich potential of “Fantastic Four” comics.

2025-04-20 17:32