Financial science fiction FLOPS That DESERVE Another Chance

The Matrix Resurrections, a production in which many sci-fi fans had pinned their hopes, turned out to be quite a spectacular financial flop. That’s how you fall from a high horse. Apparently, Lana Wachowski was crushed by her own ambition. I’m curious, however, whether in a few years we’ll talk about this film in the same context as the rest of the titles on this list. Because I felt, even after the first screening, that Resurrections isn’t as bad as it seems.

In the meantime, check out my picks of other sci-fi films that flopped at the box office but are still worth giving a second chance.

After Earth

Budget: $130M / Total Gross: $244M

It was a time when M. Night Shyamalan didn’t have a great public image.

After a series of flops, the American director of Indian descent decided to step into the world of science fiction, seeing it as a chance at redemption. He struck a deal with Will Smith and brought in his son too, further emphasizing the film’s family-oriented character. After Earth tells the story of a father and son’s journey to a planet once inhabited by humans. The bond between the two protagonists is put to the test when confronted with the wild. Not everything in this film worked, I’m willing to agree with that. The special effects could have been better, and the story a little less sentimental. But to be perfectly honest with you, I liked the movie and I’m sure there will come a time when I’ll rewatch it with my son.

Screamers

Budget: $14M / Total Gross: $6M

When talking about films based on the work of Philip K. Dick, Blade Runner or Minority Report come to mind easily.

It’s much harder to recall Screamers. The film partially earned its obscurity, being a rather clunky spectacle with a B-movie vibe and cheesy special effects. But what does it matter when RoboCop’s Peter Weller is still endlessly charismatic, and the film has an indescribable, captivating atmosphere of cosmic isolation. A rare kind of flop, yes, but also one of those sci-fi productions that, over time, will enjoy cult status.

The Chronicles of Riddick

Budget: $105M / Total Gross: $115M

I’m a fan of the film series chronicling the adventures of Richard B. Riddick. Within the space opera genre, it offers a very interesting alternative to the boy-scout-style Star Trek.

Riddick, played with gusto by Vin Diesel, is a cosmic tough guy, a brawler who prefers brute force and supernatural skills over reasoned argument. The second part of the series shows the broadest scope of the Riddick universe. The context clearly expands compared to the intimate Pitch Black and Riddick. The more there was to show, the more money it took to make, which raised the risk of financial failure. The Chronicles of Riddick didn’t pay off for the creators, and we had to wait many years for the third part.

However, this is a film worth giving a chance, because it offers a completely different quality—more politics, more dialogue, more characters, more action, scenery, set design, and costumes. A good spectacle.

Cloud Atlas

Budget: $128.

5M / Total Gross: $130M

The Wachowskis’ career trajectory mirrored that of M. Night Shyamalan. After releasing a masterpiece, their filmography began to decline. While I could’ve just as well used the unjustly forgotten Speed Racer as an example here, I decided that Cloud Atlas is more telling. It proves how hard it is to turn around a losing streak. Despite the creators’ efforts, a few bad choices can mire them in a realm of negative reviews where the work goes unappreciated.

Yet Cloud Atlas is, in every respect, a quality film—unconventional, original, and captivating from the first minutes with its multilayered concept. Of course, at some point, one can feel the Wachowskis got carried away with their philosophy, making the film seem overly intellectual. But to be honest, in the sci-fi genre, I’d love to see more such spiritual journeys.

Titan A.E.

Budget: $75M / Total Gross: $37M

A cartoon for big kids—that’s how you could describe this work, in which none other than Joss Whedon had a hand.

This vibrant animated space opera invites us on a cosmic journey alongside Cale, a fearless and rebellious young man. I’ve seen this movie several times and still don’t understand what might have caused its poor reception. Maybe the plot had some gaps, or maybe the tone didn’t quite appeal to the parents who took their kids to see it. Titan A.E. is uneven, sure, but each time it gave me a refreshing dose of positive impressions. I dare say that such risky, darker, more energetic animations simply aren’t made anymore—because they’re no longer profitable. A pity.

Lost in Space

Budget: $80M / Total Gross: $136M

While the Lost in Space series has already had its third season—clearly a success—the 1998 film of the same name has largely been forgotten. Unjustly so. To me, it’s a solid sci-fi spectacle, with a distinctly ’90s aesthetic. It’s also well-acted, well-paced, and features great music. If you’re curious about what else Matt LeBlanc did besides Friends, or think you’ve seen every villain role Gary Oldman has played, check out Lost in Space.

It’s a fun space adventure—light, family-friendly, and well-executed.

Ender’s Game

Budget: $110M / Total Gross: $125M

There were big plans. There were big hopes. After all, the literary foundation of Ender’s Game is a prominent sci-fi book series by none other than Orson Scott Card.

This movie was supposed to be just the beginning of a new, high-budget science fiction franchise. Nothing came of those plans, and to this day, I can’t understand why. Ender’s Game has scale, and it has exciting moments. But that’s not the core of this project. With well-cast actors, the film explores fascinating themes from the world of military sci-fi—growing up with a sense of mission, responsibility, and leadership. It also has narrative surprises that make the experience memorable even years later. A shame that all that effort dissolved into the cosmic void.

Splice

Budget: $30M / Total Gross: $27M

Vincenzo Natali is one of my favorite science fiction creators. His Cube from 1997 is, to me, a somewhat forgotten sci-fi masterpiece.

There’s very little dark, original, intriguing, and auteur sci-fi like that being made today. Before Natali fully embraced the world of television series (you can admire his work in Westworld, and more recently in The Stand), he directed a few more feature films. One of them is Splice. It’s sci-fi in the style of David Cronenberg, full of corporeality and biology. But, as always with Natali, it’s original and intriguing. Maybe even too original at times—that’s probably why Splice failed to win over audiences. It’s worth giving this film a chance, while also reflecting on the sad state of modern sci-fi, where nobody tries anything new anymore, just goes with the path of least resistance.

Valerian and the City of a Thousand Planets

Budget: $177M / Total Gross: $225M

This is one of those sci-fi flops that not only deserves a second chance—it practically begs for a sequel.

I can’t understand what made audiences ultimately dislike this film. It’s energetic, colorful, and engaging. The actors are well-cast, and the world in which the action unfolds is beautifully designed. Sure, the comic-based plot shows signs of instability—you can tell it’s a bit awkwardly stitched together from different issues—but the fact remains that it’s easy to follow and easy to enjoy this world. It’s surprising how hard it is to launch a new sci-fi brand into the market. We remember John Carter, too. Once again, with Besson, there were grand plans that ended in failure.

Yet we continue to swallow the nonsense of the new Star Wars without complaint, making their creators millions.