In the glittering world of Hollywood, success is celebrated with pomp and panache. But what about the films that crash and burn spectacularly at the box office? Film critic Tim Robey’s new book “Box Office Poison” delves deep into the fascinating realm of cinema’s most stunning failures, offering an erudite and wildly entertaining chronicle of movie excess.
Monumental Flops Etched in Hollywood History
Robey kicks off his exploration with the tale of Intolerance, a 1916 epic that left behind a crumbling, 300-foot Babylon set as a testament to its catastrophic performance. This silent film serves as a cautionary tale, warning against the perils of unchecked ambition in Tinseltown.
Yet, Hollywood rarely heeds such warnings, and Robey gleefully chronicles a diverse array of cinematic disasters. From the rampaging baboon-lizard hybrids of A Sound of Thunder to the smug, unpronounceable Gigli, each chapter unveils a new tale of hubris and folly.
Unearthing Treasure in the Trash
What sets “Box Office Poison” apart is Robey’s genuine affection for these misfit films. He passionately defends the misunderstood merits of Babe: Pig in the City, a darkly surreal sequel helmed by Mad Max director George Miller. Robey’s description of a menacing pink poodle is so hilarious, readers may find themselves pausing to catch their breath.
Even the most notorious flops are given a fair shake. Robey attempts to rehabilitate the reputation of Gigli, arguing that it contains one of Jennifer Lopez’s most appealing performances. However, some films, like Eddie Murphy’s disastrous sci-fi comedy The Adventures of Pluto Nash, defy redemption.
Heroes, Villains, and Lessons Learned
Throughout the book, Robey highlights the heroes who faced their failures head-on. He praises Halle Berry for gamely accepting a Razzie Award for her role in Catwoman, and commends the Coen Brothers for learning from the hollow excess of The Hudsucker Proxy to create the masterful Fargo.
Conversely, Robey reserves his harshest criticism for the “out of control white male genius” directors who recklessly steered their films toward disaster. He spares no mercy for the likes of Erich von Stroheim and Tod Browning, whose abusive behavior on set tarnished their legacies.
Lessons from the Losers
Amidst the schadenfreude, “Box Office Poison” offers valuable insights into the inner workings of Hollywood. Robey demonstrates how flops can’t always be predicted, with Sorcerer looking like a sure bet in 1977 while Star Wars was deemed a risky gamble. He also laments the industry’s increasing risk aversion in the wake of streaming and digital backlots.
“They already don’t make ’em like Cats any more,” Robey wistfully concludes, mourning the impending end of the era of the grand, ambitious flop.
“Box Office Poison” is a must-read for any film buff who relishes the behind-the-scenes drama of the movie business. Robey’s witty prose and infectious enthusiasm make for a wildly enjoyable romp through Hollywood’s hall of shame. You’ll never look at a box office bomb the same way again.
Yet, Hollywood rarely heeds such warnings, and Robey gleefully chronicles a diverse array of cinematic disasters. From the rampaging baboon-lizard hybrids of A Sound of Thunder to the smug, unpronounceable Gigli, each chapter unveils a new tale of hubris and folly.
Unearthing Treasure in the Trash
What sets “Box Office Poison” apart is Robey’s genuine affection for these misfit films. He passionately defends the misunderstood merits of Babe: Pig in the City, a darkly surreal sequel helmed by Mad Max director George Miller. Robey’s description of a menacing pink poodle is so hilarious, readers may find themselves pausing to catch their breath.
Even the most notorious flops are given a fair shake. Robey attempts to rehabilitate the reputation of Gigli, arguing that it contains one of Jennifer Lopez’s most appealing performances. However, some films, like Eddie Murphy’s disastrous sci-fi comedy The Adventures of Pluto Nash, defy redemption.
Heroes, Villains, and Lessons Learned
Throughout the book, Robey highlights the heroes who faced their failures head-on. He praises Halle Berry for gamely accepting a Razzie Award for her role in Catwoman, and commends the Coen Brothers for learning from the hollow excess of The Hudsucker Proxy to create the masterful Fargo.
Conversely, Robey reserves his harshest criticism for the “out of control white male genius” directors who recklessly steered their films toward disaster. He spares no mercy for the likes of Erich von Stroheim and Tod Browning, whose abusive behavior on set tarnished their legacies.
Lessons from the Losers
Amidst the schadenfreude, “Box Office Poison” offers valuable insights into the inner workings of Hollywood. Robey demonstrates how flops can’t always be predicted, with Sorcerer looking like a sure bet in 1977 while Star Wars was deemed a risky gamble. He also laments the industry’s increasing risk aversion in the wake of streaming and digital backlots.
“They already don’t make ’em like Cats any more,” Robey wistfully concludes, mourning the impending end of the era of the grand, ambitious flop.
“Box Office Poison” is a must-read for any film buff who relishes the behind-the-scenes drama of the movie business. Robey’s witty prose and infectious enthusiasm make for a wildly enjoyable romp through Hollywood’s hall of shame. You’ll never look at a box office bomb the same way again.
