The movie industry is in turmoil, and it’s not just about popcorn prices. Imagine pouring millions into a film only to watch it flop at the box office—this is the harsh reality for some of Hollywood’s biggest players right now. Every Monday, cinema owners like Virginia-based Mark O’Meara dread reviewing the weekend grosses, and last week was no exception. Despite high hopes and critical acclaim, several Oscar-worthy films tanked, leaving industry insiders scratching their heads. But here’s where it gets controversial: Are audiences simply not showing up, or have studios lost touch with what moviegoers really want? Let’s dive in.
A24’s The Smashing Machine, a sports biopic starring Dwayne Johnson as MMA fighter Mark Kerr, crashed and burned at the box office, according to O’Meara. Meanwhile, Channing Tatum’s dramedy Roofman failed to ignite any excitement, leaving theaters eerily quiet. ‘It was slow as hell,’ O’Meara lamented. ‘These movies had so much hype, but it just didn’t translate into ticket sales.’ And this is the part most people miss: Even critically acclaimed films like Paul Thomas Anderson’s One Battle After Another, led by Leonardo DiCaprio, struggled to break even. Despite a global haul of $140 million, the film needs a staggering $300 million to turn a profit. Why? Warner Bros. invested heavily—$130 million in production and $70 million in marketing—and DiCaprio’s first-dollar gross deal means he gets paid before the studio recoups its costs.
But here’s the kicker: Fandango’s Shawn Robbins argues that these ‘prestige’ films failed to create a sense of urgency among audiences. ‘They weren’t event-ized enough,’ he says. And this raises a bigger question: Have viewers been conditioned to wait for streaming releases, especially for films without superheroes or blockbuster spectacle? Since the pandemic, studios have slashed theatrical exclusivity windows from 90 days to just a few weeks, shifting viewer expectations dramatically. ‘People now expect these movies to hit their living rooms much sooner,’ Robbins explains.
While Roofman’s modest $19 million budget limits its losses, One Battle After Another is on track to lose $100 million, according to insiders. Warner Bros. disputes these claims, pointing to its $4 billion box office success in 2025, but that figure reflects revenue, not profit. Still, the studio’s hits like Sinners and A Minecraft Movie help offset such failures. Yet, the real value of One Battle may lie in its Oscar potential, which could boost Warner Bros.’ prestige beyond financial gains.
Now, let’s talk about A24’s risky strategy. After a $3.5 billion valuation in 2024, the indie studio has shifted to pricier films like The Smashing Machine ($50 million budget) and the upcoming Marty Supreme ($60–70 million). While A24 aims to fill the mid-budget gap left by major studios, higher costs mean bigger losses when films flop. For The Smashing Machine, A24 sold foreign rights to limit its losses to $10 million, but this move left international partners bearing the brunt. ‘This is an epic bust,’ one indie executive noted. ‘A24 protected itself, but everyone else got burned.’
Despite these challenges, analysts urge studios to keep making diverse films. ‘It’ll take movies of all shapes and sizes to revive moviegoing,’ says Eric Wold of Texas Capital Securities. Yet, with revenues still 20% below 2019 levels, the path forward is uncertain. So, here’s the question: Are studios prioritizing profit over creativity, or are audiences simply not interested in original stories anymore? Let us know your thoughts in the comments—this debate is far from over.
