As someone who has always been a huge fan of suspenseful and psychological horror films, I was really looking forward to watching “Apartment 7A”, especially given its connection to the classic “Rosemary’s Baby”. However, I must confess that I was left feeling quite underwhelmed after watching it.
Films, whether they’re low-budget indies or big-studio blockbusters, are equally art and science today. Major releases often use extensive market research and data collection over long periods to create films that both delight audiences and generate profits. Meanwhile, independent filmmakers, with fewer resources, continue to push boundaries while adhering to established filmmaking principles to reach a wider audience. However, it’s important to note that for every successful movie, there are equally many that fall short, often falling far from the high expectations we have set for them.
2024 saw a similar scenario unfold in the movie industry. While films like “Inside Out 2” and “Deadpool and Wolverine” continued their blockbuster streak, there were numerous other releases that fell flat despite high expectations. Either the hype surrounding these movies was exaggerated or their trailers generated excessive excitement, but when they hit the screens, they failed to live up to the anticipation. For some, it was a case of deviating significantly from what made the original film so compelling. Others found themselves disappointed by the underutilization of talented cast members. Some simply flopped at the box office where they should have excelled. Regardless of the cause, these movies were significant letdowns for audiences.
Twisters
In a modern take on one of the ’90s most successful movies, “Twisters,” Glen Powell plays Tyler Owens, a YouTube sensation and storm chaser, who teams up with meteorologist Kate Carter, portrayed by Daisy Edgar-Jones, to validate a groundbreaking weather-tracking technology. Remarkably similar to the storyline of the 1996 film “Twister,” this sequel may not be a direct continuation but is indeed a soft reboot – technically a sequel but essentially retelling the same story with fresh, younger characters in familiar roles.
While “Twisters” isn’t a poorly made film by any means – there’s plenty of enjoyment to be found – it falls short of reaching the greatness of the original. Despite Powell’s charisma, he doesn’t quite measure up to Bill Paxton, the original star, and as a result, the movie doesn’t achieve the success that Powell’s other sequel, “Top Gun: Maverick,” did. Although Powell and the rest of the cast deliver respectable performances, the plot – despite its efforts to be daring and innovative – ultimately feels like a repetition of what has come before.
Afterlife” and “Star Wars: The Force Awakens,” which featured the main stars from the originals, “Twisters” fails to include notable actors like Helen Hunt, Cary Elwes, and Jamie Gertz.
Argylle
Initially known for films like “Layer Cake” and “Kick-Ass,” director Matthew Vaughn ventured into franchises with “X-Men: First Class” in 2011 and “Kingsman: The Secret Service” in 2014, which eventually grew into a trilogy. However, before the underperformance at the box office of the third installment, “The King’s Man,” raised questions about the continuation of that series, Vaughn was already working on an entirely new spy comedy, separate from the “Kingsman” universe (although connections were made in the ending, as detailed here).
In early 2024, the movie “Argylle” was set to debut, offering something different from typical films with its complex, reality-bending plot centered around an introverted author caught up in a spy adventure as events from his novels blended with reality. However, instead of becoming a contemporary classic comparable to Vaughn’s finest work, “Argylle” turned out to be more of a mixed experience. Negative critical reception and mediocre audience response, particularly criticizing the film’s extended 150-minute runtime, paved the way for its commercial downfall. Regrettably, despite a massive budget of $200 million, “Argylle” struggled to turn a profit and didn’t even recoup half of its production costs.
Joker: Folie à Deux
In 2019, one of the year’s top-earning films and an enduring success based on a DC Comics character, “Joker,” left both audiences and critics impressed beyond belief. It broke records as the highest-grossing R-rated movie ever made. The performance by Joaquin Phoenix as the Clown Prince of Crime earned him an Academy Award. The film’s gritty tone perfectly captured the ominous origins of the Joker, making it a challenging act to surpass for director Todd Phillips’ first comic book adaptation. However, when the sequel, “Joker: Folie à Deux,” was finally released in 2024, it fell short of the high expectations and acclaim that the original had garnered.
The film, which cost $58 million domestically but was budgeted at over four times that amount, turned out to be an unforeseen disaster for Warner Brothers. Critics and audiences alike panned it, making it a significant misstep for everyone involved. There are numerous factors that could explain the film’s underperformance, from the overwhelming number of complex musical scenes to an ending that left some viewers uncomfortable. The decision to create a sequel that dramatically departed from the original may have seemed daring at first, but ultimately proved to be too extreme, as “Folie à Deux” inverted the formula that made “Joker” successful in all the wrong ways.
Drive-Away Dolls
Many beloved films have been directed by the Coen brothers, a dynamic duo known for masterpieces like “Fargo” and “The Big Lebowski”. These movies aren’t just treasured in their own filmography but are also highly regarded across global cinema. In fact, Joel and Ethan Coen are frequently recognized as some of the greatest directors in Hollywood history. However, a recent change occurred when it was announced that Ethan no longer wished to make films anymore. This decision didn’t last long, as Ethan returned to directing in 2024 with his first standalone project, “Drive-Away Dolls.
As a fan, I’d describe “Drive-Away Dolls” as my own version of a tale: A hilarious road trip comedy that I had hoped would echo the charm of the Coens’ beloved ’80s gem, “Raising Arizona.” The movie follows two adorable young women in love who stumble upon a group of mischievous crooks and uncover a prominent politician’s scandalous secret. However, it seems that not everyone found this film as amusing as I had anticipated — which is quite a predicament for any comedy. In fact, our review labeled the lesbian adventure as “rich in silliness, but poor on laughter.” The disappointing box office earnings of merely $8 million further tarnished its reputation, leading me to ponder whether the Coens truly shine when working together, an idea that appears to be under consideration once more.
The Book of Clarence
Comedies that revolve around religion haven’t typically been blockbuster hits, but they have managed to become timeless classics such as “Monty Python’s Life of Brian” and “Dogma.” Given the abundance of comedic possibilities in this theme, the announcement of “The Book of Clarence” sparked some enthusiasm for the project, not only due to its distinctive narrative.
In charge of directing the movie was up-and-coming director Jeymes Samuel, fresh from the success of his Netflix Neo-Western “The Harder They Fall,” featuring Idris Elba, Jonathan Majors, and Zazie Beetz. An equally talented ensemble cast further piqued our interest for “The Book of Clarence.” Joining the cast are David Oyelewo, James McAvoy, Alfre Woodard, and Benedict Cumberbatch, with “Atlanta” star LaKeith Stanfield portraying the title character, a charlatan prophet inspired by the miracles of Jesus Christ.
Despite boasting an impressive lineup and promising elements, the movie failed to generate significant box office revenue. This could be attributed to its inconsistent humor that lacked the edge typically found in religious comedies, and underutilization of its star-studded cast. While it wasn’t a terrible film, it fell short compared to the high standards set by “The Harder They Fall.” Surprisingly, despite a relatively low budget of $40 million, it managed to bring in only $6 million at the box office.
Gladiator II
Originally unveiled in the year 2000 during springtime, the action masterpiece “Gladiator,” directed by Ridley Scott, garnered five Academy Awards and continues to be a timeless favorite – boasting some historical discrepancies that oddly enhance its appeal. The movie sets Maximus Meridius, a Roman general turned slave portrayed by Russell Crowe, against the wicked Emperor Commodus (played by Jaoquin Phoenix), in a narrative of vengeance and honor. “Gladiator II” delves into another tale of revenge, focusing on Maximus’s son Lucius (Paul Mescal) as he confronts a fresh wave of Roman oppression.
The eagerly anticipated sequel by Scott to his acclaimed film “Gladiator” generally meets expectations as a fitting continuation, but falls short of matching the original masterpiece. However, studio executives may have felt let down: With an estimated budget between $250-300 million, making it the costliest production of the year, the Ridley Scott production had to generate substantial earnings to turn a profit. Although it has grossed approximately $375 million worldwide at the time of writing – a sum that would typically ensure success for a more budget-friendly title – it’s not enough to prevent “Gladiator II” from being a significant financial flop.
Megalopolis
As a gaming enthusiast, I was genuinely hyped for what could’ve been one of this year’s cinematic masterpieces, particularly since it was the brainchild of the iconic Francis Ford Coppola, known for his extraordinary work on “The Godfather.” His long-awaited return to filmmaking with “Megalopolis” promised a grandiose spectacle set in an intriguing alternate reality America. With its development spanning over four decades and a stellar cast including Adam Driver, Nathalie Emmanuel, Aubrey Plaza, and Giancarlo Esposito, there was plenty to get excited about. However, despite all the hype and promise, “Megalopolis” fell short of expectations on virtually every front.
The movie Megalopolis underperformed at the box office for several reasons. Firstly, its production was troubled, with various studios turning down the project multiple times. Additionally, there were numerous off-screen dramas that added to its woes. Unfortunately, these problems continued even after the film’s release, as it struggled to attract audiences and made only about 10% of its budget back. Despite the movie being from one of the industry’s esteemed figures, many viewers who saw it early on had little positive to say about its overly ambitious nature. In summary, Megalopolis was widely criticized for being bloated and without direction, making it a big letdown in the eyes of both critics and audiences.
Borderlands
There’s something of a rule of thumb when it comes to adapting video games into movies which can be summed up in one word: don’t. By and large, they rarely manage to both turn a profit and also be considered a worthy translation of their source material, with only a select few being remembered as truly great. So it’s understandable that fans of the video game “Borderlands” may have gone into this one with caution. But with a cast whose acting and comedic chops are some of the best in the business, there was hope that “Borderlands” might not be terrible. Boy, were we wrong.
Generally speaking, the movie “Borderlands” received overwhelmingly negative reviews from critics. The casting seemed to be the biggest issue, as the actors didn’t gel well together and many of the humorous moments fell flat. Furthermore, the film deviated significantly from its source material, resulting in an unfunny and difficult-to-watch adventure that lacked the essence of “Borderlands.” Unsurprisingly, it was a commercial failure, earning a place among the most disappointing films of 2024. Director Eli Roth even admitted to IndieWire that he faced numerous challenges during filming and could have written a book about his experiences.
Trap
Reflecting on the past quarter-century, I find myself reminiscing about M. Night Shyamalan’s meteoric rise to fame with his groundbreaking film “The Sixth Sense.” However, over the years, he has garnered a reputation as one of Hollywood’s more divisive directors, not due to any personal controversies, but rather because of the inconsistent quality of his movies. While classics like “Unbreakable” and “Signs” continue to resonate, there was a prolonged period where it seemed like every new release was a flop. Yet, following the success of “Old” and “Knock at the Cabin,” there’s a growing sense that Shyamalan might be back on track.
In the movie “Trap,” we delve into the life of Cooper (played by Josh Hartnett), a seemingly ordinary family man concealing a chilling, murderous past. However, when he takes his daughter to a pop star’s concert and subsequently abducts the celebrity, he finds himself in a high-stakes game of cat and mouse that could determine his future. Interestingly, Shyamalan’s own daughter portrays the pop sensation in this film. Initially, it promised an intriguing departure from the director’s usual style. However, what could have been an engaging psychological thriller is marred by unrealistic plot twists and frequent, disconcerting musical sequences that seem more like promotional efforts for Saleka Shyamalan’s music career than integral parts of the storyline, leaving some viewers feeling dissatisfied.
The Platform 2
Originally unveiled towards the end of 2019 and subsequently garnering international recognition on Netflix in 2020, “The Platform” stands out as one of the more distinctive horror movies of late. The narrative unfolds around two incarcerated individuals within a vast dystopian penitentiary, which appears to be made up of hundreds of cells stacked vertically. Each day, a platform laden with food descends through every cell, instigating a ruthless competition among the inmates as they scramble for leftovers as it moves deeper into the prison. A gripping and highly successful science fiction production brimming with social critique, this Spanish film leaves viewers pondering several questions by its conclusion, such as who or what controls the penitentiary, the fate of the child sent to the top tier, and whether there’s a possibility of escape.
Regrettably, “The Platform 2” didn’t build much upon the first movie nor did it provide answers to its mysteries. Instead, it served as a prequel to the gritty original, focusing on a woman named Perempuán (played by Milena Smit) and her cellmate Zamiatin (portrayed by Hovik Keuchkerian). Their journey through the platform was filled with one gruesome scene after another, but unfortunately, it lacked the sense of novelty and direction that the original “The Platform” had. The excessive violence might have been shocking, but what was missing was the clear purpose that the sequel seemed to lack.
Lift
In a clever fusion of action and humor, the movie titled “Lift,” directed by F. Gary Gray, showcased Kevin Hart sharing the screen with Sam Worthington, Gugu Mbatha-Raw, and Vincent D’Onofrio. This film is an exhilarating blend of high-risk, high-altitude antics that could make you laugh. The plot revolves around Kevin Hart’s character, Cyrus Whitaker, a skilled criminal, who, after being caught in the act of art theft, finds himself leading a daring heist with his expert crew. With action movies like “Fast and Furious” and 2019’s “Men in Black International” already on his resume, director F. Gary Gray added Jacob Batalon and Jean Reno to the ensemble cast for this thrilling ride.
Unfortunately, much like other films we’ve examined, a talented cast wasn’t sufficient to prevent “Lift” from falling flat. Critics panned it for being predictable and generic, with Indiewire describing it as a caricature of the heist genre, and Vulture commenting that the film wasted its capable cast by focusing too much on the uninspired heists and not enough on character interactions: “One can’t help but wish the movie had focused less on its dull heists and more on bringing these characters together.” The response from audiences was equally harsh, confirming that “Lift” was a significant letdown in the comedy genre.
Apartment 7A
Rosemary’s Baby” is widely recognized as one of the greatest horror movies ever made, maintaining its classic status regardless of whether you’re a fan of horror films or not. The tale of young wife Rosemary Woodhouse (played by Mia Farrow) battling against supernatural forces and those betraying her trust, makes it a film whose themes continue to resonate with viewers years after its release. Given its high esteem, there was considerable anticipation when director Natalie Erika James was assigned to create a prequel – even though audiences might not have initially recognized it as such. While it’s better produced than some of the hugely underwhelming films we’ve studied, it didn’t quite live up to the expectations set by its renowned predecessor.
In the vein of a prequel, “Apartment 7A” narrates the tale of a newcomer to New York City (portrayed by Julia Garner) who unwittingly gets involved in a Satanic cult’s plan to conceive a child with the offspring of Satan. Featuring strong acting and some genuinely chilling and unsettling visuals, it almost met our expectations. However, the choice to recreate familiar elements, coupled with an unremarkable narrative, resulted in “Apartment 7A” failing to reach its full potential, leaving many viewers feeling that it was a disrespectful imitation of “Rosemary’s Baby.
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2024-12-13 04:31