The COVID-19 pandemic reshaped the film industry in ways we're still unpacking. While blockbusters like Dune and Spider-Man: No Way Home thrived, countless other films—some critically acclaimed, others creatively daring—were left in the dust. What’s fascinating, though, is not just the list of flops, but the why behind their failures. It’s a story of timing, audience psychology, and the seismic shift in how we consume cinema.
The Pandemic’s Unfair Game
Take West Side Story (2021). Steven Spielberg’s reimagining of the classic musical was a masterpiece by many accounts, yet it flopped. Why? Personally, I think it’s because it targeted the wrong demographic at the wrong time. Older audiences, who might’ve appreciated its nostalgia, were still wary of theaters. Meanwhile, younger viewers were flocking to action-packed blockbusters. This raises a deeper question: Can a film’s success hinge on something as arbitrary as release timing? Absolutely.
In the Heights, another musical, faced a similar fate. Despite its vibrant energy and cultural relevance, it was overshadowed by Warner Bros.’s decision to release it simultaneously on HBO Max. What many people don’t realize is that this hybrid release model diluted its theatrical appeal. Audiences had no urgency to see it in cinemas when they could stream it at home. This wasn’t just a pandemic problem—it was a strategic misstep.
The Adult Drama Dilemma
Films like The Last Duel and Nightmare Alley highlight another trend: the decline of adult dramas. Ridley Scott’s The Last Duel was a thematically rich period piece, but it grossed just $30 million against a $100 million budget. Scott blamed millennials, but what this really suggests is that audiences weren’t ready to engage with complex, slower-paced narratives during a time of collective stress. Nightmare Alley, despite its Oscar nod, suffered similarly. If you take a step back and think about it, these films demanded emotional investment that pandemic-weary viewers couldn’t muster.
Streaming’s Double-Edged Sword
Streaming saved some films but buried others. The Tragedy of Macbeth, a surreal masterpiece, was relegated to a limited theatrical run by Apple TV+. It grossed just $500,000. A detail that I find especially interesting is how streaming platforms prioritized subscriber growth over theatrical experiences. Films like Wolfwalkers, an animated gem, were lost in the shuffle of streaming catalogs. What makes this particularly fascinating is that these platforms became both lifeline and graveyard for cinema during the pandemic.
The Indie Struggle
Indie films like First Cow and Saint Maud faced unique challenges. First Cow, released just as lockdowns began, was quickly moved to VOD. One thing that immediately stands out is how the sudden shift overwhelmed audiences. With so many films vying for attention, smaller projects got lost. Saint Maud, despite its critical acclaim, grossed just $1.6 million. From my perspective, these films deserved better, but the pandemic’s chaos left little room for nuance.
What Does This Mean for Cinema?
These flops aren’t just casualties of bad timing—they’re symptoms of a larger shift. The pandemic accelerated trends like streaming dominance and audience fragmentation. What this really suggests is that the traditional theatrical model may never fully recover. Films that once relied on word-of-mouth or niche appeal now face an uphill battle in a landscape dominated by algorithms and instant accessibility.
Final Thoughts
As we look back, it’s clear that the pandemic didn’t just change how we watch movies—it changed what we expect from them. Blockbusters thrived because they offered escapism, while smaller, more introspective films struggled to find their audience. Personally, I think this is a loss for cinematic diversity. But it also forces us to ask: What kind of stories do we want to tell—and how do we ensure they’re seen?
The films that flopped during COVID-19 weren’t just victims of circumstance; they were canaries in the coal mine, signaling a future where cinema’s survival depends on its ability to adapt. And that, in my opinion, is the most important story here.
