Clooney, Depp, Efron movies among biggest Hollywood flops of 2015

26 Nov 2015 | Author: | No comments yet »

Forbes Ranks 2015’s Biggest Turkeys.

George Clooney, Johnny Depp and Zac Efron may be among the brightest stars in Hollywood, but in 2015 they also appeared in some of its biggest movie flops. All three joined Bradley Cooper, Sean Penn and Bill Murray in headlining what Forbes called Hollywood’s biggest turkeys of the year, based on the percentage of their budgets they earned back at the theatre as of November 18. Leading the pile was Murray’s critically panned October comedy Rock the Kasbah, which grossed $2.9 million (Dh10.65 million) on an estimated $15 million production, Forbes said.

Penn’s $40 million budget thriller The Gunman failed to bring in the crowds in March, collecting $10.7 million in box office receipts and coming in second. A year of high-profile bombs that kicked off with “Mortdecai” and “Jupiter Ascending” has culminated in a few more failures in the last couple weeks. “By the Sea” barely made a splash despite the star power of Angelina Jolie and Brad Pitt; “Our Brand Is Crisis” tanked, even though it starred Sandra Bullock; and this past weekend, the combined wattage of Julia Roberts, Nicole Kidman and Chiwetel Ejiofor wasn’t enough to get audiences interested in “Secret in Their Eyes.” The movie’s $6.6 million box office failed to reach even the studio’s ultra-conservative predictions.

After all, no one is going to blame Emma Stone for “Aloha.” (That was clearly Cameron Crowe’s mess.) It usually takes a village to ruin a movie. But the fact that 2015’s biggest debacles featured so many high-profile stars begs a question: Why do studios put so much faith in big-name actors when they clearly aren’t reliable money-makers? Forbes compiled the list based on box office takings and/sestimated production budgets for films that were widely released in North America from January-October 2015. When people complained that all the Egyptians were played by white men, the director explained to Variety: “I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such. And while it did better abroad, ticket sales weren’t enough to recoup the $140 million budget plus marketing costs, according to Hollywood Reporter.

No one calls “Jurassic World” “that Chris Pratt movie.” If anything, it’s “the dinosaur movie,” and if another actor had been cast in the lead role, the blockbuster would have just as easily crushed the competition. If we wanted to get our Eddie Murphy fix, we had to see his new movie, watch an old one on VHS or maybe luck out with cable. (And not so long before that, cable and VHS didn’t exist, so people who wanted to see John Wayne or Marilyn Monroe just had to buy a movie ticket.) But our relationship to celebrities has changed. And in case we aren’t already getting enough of our favorite actor’s mug, we could probably find his or her complete filmography streaming somewhere. Who maintains their mystique with so many junkets and interviews, answering the same questions again and again (and occasionally making a flub and starting a Twitter uprising)? When Matt Damon was done playing Jason Bourne, Jeremy Renner stepped in, and the high-stakes world of black-ops kept spinning. (And now Damon’s coming back.) When Tobey Maguire aged out of playing Spider-Man, Andrew Garfield became Peter Parker, and now — just moments later, it seems — Tom Holland is taking his place.

If there’s one studio that seems to understand the shifting interests of moviegoers, it’s Universal Pictures, which is killing the competition during its best year ever (and without a single superhero movie). This is the studio that brought us box office juggernauts, such as “Straight Outta Compton” and “Fifty Shades of Grey,” neither of which had household-name casts, plus “Jurassic World,” “Pitch Perfect 2″ and “Trainwreck.” These movies didn’t star the highest profile actors, nor did they cater to the audiences that studios have so insistently aimed for — young white men.

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