Recent Box Office Flops That Need A Rewatch. Not every film that flounders financially deserves to. Sure, this may not apply to Battlefield Earth or Catwoman, which disappointed audiences and critics alike. However, films such as Blade Runner and The Shawshank Redemption both earned very little at the box office, but are now viewed universally as classics by fans. This means that this decade may very well contain films that are destined to follow similar paths to greatness.

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Following the critically acclaimed global smash hit X-Men: Days of Future Past, director Bryan Singer returns with X-MEN: APOCALYPSE. Since the dawn of civilization. Anche Bethesda ha detto la sua all’E3 2017 con un evento dedicato in quel di Los Angeles che si è svolto nella mattinata italiana. Filo conduttore il parco.

Greetings, my Westerosi window envelopes! As you can probably guess, last week’s episode of Game of Thrones—and its increasing dominance over the pop culture. Every year has its fair share of movie letdowns, and 2016 was no different. There was something very telling about Marvel’s decision this past Monday to announce to The New York Times how its Secret Empire event would end.

Not every film is going to be a success right away; sometimes it takes a few years for a film to rise up to its fame. This article intends to discover which films fit that bill, and why they even flopped in the first place.

This decade has had its fair share of downright awful flops, but there are gems among the dirt. Many of these films flopped due to scheduling, others flopped due to poor marketing, and more flopped due to them revolving around a concept that was hard to sell. Many were simply misunderstood. Needless to say, some of them deserve a second shot. Here are the 1. 5 Recent Box Office Flops That NEED A Second Chance. THE NICE GUYSThe star power of The Notebook’s Ryan Gosling and Gladiator’s Russel Crowe couldn’t protect The Nice Guys from last year’s onslaught of massive summer blockbusters.

Sandwiched in between Captain America: Civil War and X- Men: Apocalypse, a film such as The Nice Guys never really stood a chance, and thus it only managed to gross $3. This is a shame, because The Nice Guys may just be 2.

Shane Black directs a laugh- out- loud look at the crime- ridden turn of the ’8. Crowe and Gosling. What sets The Nice Guys apart from other 2. Gosling’s comical whimpering. Sadly, most moviegoers decided to save their money for the franchise juggernauts during the summer, proving that maybe The Nice Guys really do finish last. DREDDDredd has become something of a cult hit following its failure at the 2. The Full Iboy (2017) Movie. It’s not difficult to see why: Dredd’s failings didn’t come about as a result of poor reviews, but of poor marketing.

Not many people knew Dredd was in theaters and, when it was eventually noticed, it’s trailer didn’t exactly sell the film. However, the movie is now gradually reaching cult classic status, and deservedly so. Pete Travis employs a simple premise to explore the vast array of characters on screen, as they battle their way up a tower. Simply put, Dredd is just cool: it never acknowledges how ridiculous the premise is, but instead takes advantage of what the plot offers through superb cinematography, slow motion, and character design.

It managed to sell 7. DVD copies in its first week in North America, so, luckily, the film is getting its due in home release. SILENCEScorsese’s passion project was never going to be an easy sell. Silence follows two Jesuit priests sent to Japan to spread their faith and rescue their captured mentor, who’s believed to have renounced and reformed as a Japanese Buddhist. At first fans believed Silence to be a tough, steely slog of a film, musings on faith and morality interspersed among arduous stretches of vicious torture scenes. The reason why it managed to gross $1. If you do watch it, however, you’ll be met with a stirring and intellectually stimulating odyssey, bolstered by captivating performances from Andrew Garfield and Adam Driver.

There’s a lot to admire from a technical standpoint: mist rolling across the screen and a biblical reflection in a watering hole make for some fantastic imagery. Scorsese’s experience and mastery truly do show in the film’s editing and shot composition. Silence may require your patience, but it’s a rewarding watch– a richly detailed insight on the concept of devotion. PETE’S DRAGONPete’s Dragon fell by the wayside due to how swamped 2. Ipod Take Every Wave (2017) 2010 here. It also fell victim to a lack of audience– the current generation didn’t grow up with the original, while the generation before had long since outgrown it.

Pete’s Dragon is arguably better than any of the other big blockbusters that came out that year. Adored by fans and critics alike (at least, those who saw it), it tells the timeless story of a boy and his dragon. What sets Pete’s Dragon apart from the mindless noise of recent franchise flicks is simply how mature and nuanced it is.

David Lowery displays a confidence in his direction, creating piles of charm and heart to establish a genuinely fulfilling tale of youth and imagination. That it managed to scrape only $1. Warcraft, Now You See Me 2, and Alice Through The Looking Glass made more than double is frankly preposterous, and exactly why Pete’s Dragon deserves a second chance. THE MAN FROM U. N. C. L. E. Guy Ritchie’s latest, King Arthur: Legend of the Sword may not be doing too well, but it’s something that he should be used to by now; after all, his prior effort, The Man From U. N. C. L. E., was hardly a hit. In fact, it managed a meagre $4.

With 2. 01. 5’s infatuation with the spy genre, the film had to compete with Kingsman: The Secret Service, Spy, Mission: Impossible – Rogue Nation and Spectre. Something had to give, and U. N. C. L. E. But this could not be further from the truth. Ritchie’s specific sense of style– all glitz, glamour, and restive editing– lends itself perfectly to the funky ’6.

Bond left behind. It’s furious and fun, held together by a collection of wonderful set pieces, such as its car chase opening and startlingly dark torture scene. INHERENT VICESave for Boogie Nights and There Will Be Blood, Paul Thomas Anderson has never found much success at the box office.

His films are consistent critical darlings, that are loved by cinephiles and ignored by a large portion of the public. Yet Inherent Vice proved his most divisive, even from a critical standpoint. Grossing $8 million from a $2.

They chalked it down as “Incoherent Vice,” and moved on. However, this is a film that demands a rewatch. Once you know what you’re getting into– a murky study of fading ideologies viewed through the perspective of a perpetually high doctor– there’s a lot to love. Its plotlessness is integral to the mood the film aims to evoke: a sense of aimlessness as the ’6. It’s a deft mixture of poignancy and hilarity, backed up by an incredible performance from Joaquin Phoenix.

SUCKER PUNCHZack Snyder isn’t a figure to shy away from grand ideas and ambitious concepts, so a film like Sucker Punch was right up his alley. It follows Baby Doll as she’s wrongly locked up in an insane asylum, imagining for herself a way to escape (via tasks including battling Samurai robots and Nazi zombies) while in preparation for a lobotomy. If that sounds ridiculous to you, that’s because it is, and many people just couldn’t get past the premise. It mustered a measly $3. The film has many, many dissenters– critics wrote it off for being exploitative or incomprehensible babble. Yet if you peel away the layers, you’ll spot a nuanced and cinematically interesting study on escapism and freedom.

Sure, we’re aware that Sucker Punch has its problems: its action gets a little repetitive, and the plot doesn’t quite hold together, but the film more than makes up for that with stunning visuals, a fierce, bleak undertone, and a surprisingly deep narrative. HUGOWhile seemingly aimed at children, Hugo. In truth, Hugo is a film for adults, seen through the eyes of Hugo Cabret as he traverses a train station and discovers the history of cinema. A main reason for Hugo’s financial failings was that its marketing didn’t exactly convey what the film was actually about. It grossed $1. 85 million from a budget of $1. Hugo as a box office flop.

This is a shame, because the film is something special. It’s a magical, masterfully composed tale of discovery and remembering the past, able to vividly capture childlike wonder and imagination. It’s a movie- fan’s ecstasy, visualized through a stunning array of cinematic techniques that are thematically appropriate in displaying the progress of cinema. There’s nothing quite as wonderful and joyous as Hugo, which is why it needs a second chance.

THE GOOD DINOSAURThe year 2.

What Was the Point of Marvel's Secret Empire? There was something very telling about Marvel’s decision this past Monday to announce to The New York Times how its Secret Empire event would end. It felt like the publisher was trying to get ahead of yet more problems coming from the series’ conclusion. Now that the final issue of its primary series is in stores today, we know that’s right—and how thoroughly Secret Empire failed.

The core concept that Marvel’s blond- haired, blue- eyed living symbol for American patriotism could actually be a sociopathic fascist with a plan to remake the world in his image was a disturbing one, to be sure. But Secret Empire had the potential to become an iconic story about the dangers of blindly buying into a dark, warped form of American exceptionalism that, given enough time, became the base ideology for Hydra’s oppressive, authoritarian society. This potentially powerful story’s importance was only further heightened by the major political events that defined 2. D- list comic book supervillain managed to become President of the United States. Marvel insisted that Secret Empire wasn’t meant to be a piece of political commentary, but the series launched at a time when its plot eerily echoed the social and political anxieties plaguing the country. Political or not, Secret Empire had every chance to become the kind of seminal story that defined what a flagship comic book event could be in the 2. But by Monday, when Marvel spoiled the ending to its own major comic book event, the writing was already on the wall: Secret Empire was about to end poorly and damage control was necessary.

Having read the issue, we can say that calling it a series of predictable, unfortunate, bad events is too charitable. Even if you’re able to completely divorce yourself from the many controversies associated with Secret Empire, you can’t deny the fact that today’s issue #1. Or, at least, lazy and not at all the kind of well thought- out issue a publisher would want to end an event with. After months of brutal battles and painful deaths, Earth’s mightiest heroes all finally get a chance to take on Steve Rogers himself, newly in possession of a nearly- complete Cosmic Cube and a Hydra- themed suit that allows him to harness its power. As the heroes all dive at Steve, more than prepared to bring the world’s suffering to an end, it’s obvious that even now Secret Empire’s more interested in “shocking” plot twists than trying to actually say or do anything interesting with its story.

The Avengers, X- Men, and Champions converge on Steve only to be effortlessly erased from existence because Steve’s wearing a suit that’s literally powered by a macguffin. What are a few humanoids in spandex to a man with the ability to bend reality itself to his will? But this is a comic book event, which means that the Good Guys have got to win, and they’ve got to win thanks to a clever plan that nobody, not even a man with cosmic omniscience could see coming. After Steve erases all of the physical devastation he’s inflicted upon the world, he’s surprised by a visit from Sam Wilson, the current Captain America, who just so happens to have the final piece of the Cosmic Cube that would turn Steve into a god if he managed to get his hands on it. At this point in the story, there’s nothing much that Sam can really do to fight Steve.

He’s outgunned and his friends are all dead, so he does the sensible thing and bends the knee to Steve, offering his piece of the Cube as a show of good will. But it’s a trick! Though the piece of the Cube is real, buried deep within it are Ant- Man and Bucky Barnes, shrunken down so small that they’re in the microverse within the Cube itself which, it turns out, is a place we’ve seen before. All of the dreamy flashes to the land bathed in white where an amnesiac alt- Steve has been encountering his friends and loved ones during all of Secret Empire? That’s all happening inside the Cube where Kobik—a living embodiment of the Cube’s powers who’s taken the form of a little girl—has been hiding from the mess she’s made of the world. Through some comics weirdness that’s never adequately explained, Bucky travels into Kobik’s pocket universe, grabs her and the Good Steve by the hand, and manages to make his way back into the larger universe all within a matter of seconds. While all of this is happening, Evil Steve is standing there like a moron, looking at his suit wondering why his god powers aren’t working anymore.

Evil Steve’s horror at the fact that he’s been outsmarted immediately intensifies when he comes face to face with Good Steve who, because of the way that the Cosmic Cube works, is now a real flesh and blood person. As Kobik undoes all of the changes to reality that Evil Steve made and the Avengers are resurrected, the two Steves face off Civil War- style and proceed to beat the shit out of each other in classic comic book fashion.

I’m being rather glib about all of this because there’s absolutely nothing about any of these sequences that at all feels novel or truly creative, especially when you consider the sorts of ideas that big comics events have tried to tackle in the past. No one watching the two Steves fight questions them or unpacks the symbolism of their clash, and that feels like a major mistake. It’s a sorely missed opportunity for Spencer to at least try and have Secret Empire’s characters say something meaningful or lasting about Steve, a living concept at this point, and the ways that he’s put them all through hell. Sure, one of these men is ostensibly supposed to be good and the other bad, but both of them are beings who wouldn’t exist without the Cosmic Cube. Secret Empire wants you to feel as if Captain America is a person redeeming himself for the sins of his darker half, but in reality he’s just a physical construct going through the narrative motions of a predicable hero’s narrative.

Even that wouldn’t be all that bad if it weren’t for the heavy- handed, coded language of resistance scattered throughout the panels. Even though Secret Empire isn’t about politics, multiple pages of the issue are dedicated to conveying the basic idea that pseudo- Nazism (Hydra are Nazis; deal with it) is bad and that punching a Hydra figurehead is a good thing. That’s a lovely sentiment to espouse, but it comes at a point in Secret Empire when readers have had to watch as Captain America murdered thousands and sent minorities to internment camps.

To lazily pile on the “punching Nazis is good” imagery without actually taking the time to unpack the psychological and emotional impact the story’s had on its characters is outrageously bad. This is what Secret Empire’s been building up to for months now and it’s a disappointment of the highest order. Secret Empire closes with Good Steve defeating Bad Steve and the entire world deciding to just go along with the idea that everything’s going to be all right now that the bad Hydra bogeyman is no more. There’s a milquetoast epilogue involving an important Inhuman character being released from an internment camp that entirely glosses over what it means to live as a minority in a community of people who were literally just calling for your extermination.

The Inhuman returns home to find his home covered in “Hail Hydra” spray paint messages, but by the next day his home’s gleaming like it’s new thanks to his neighbors coming together to clean the graffiti off. Isn’t that nice? Isn’t that nice? It’s difficult to say what Marvel was trying to accomplish with Secret Empire #1. But that’s honestly understandable when you look back at just how much of a mess this has been for a while now. For all its grandstanding and shocking headline grabs, in the end Secret Empire was little more than your typical big superhero event: good guys fighting bad versions of themselves instead of each other, for once, but still a story that superhero comics have told a thousand times before.