Lowest-Grossing Superhero Films of the 21st Century

Ever since Christopher Reeve soared onto the screen in 1977’s Superman: The Movie, captivating audiences worldwide, it became evident that superhero movies were destined to become a cinematic force to be reckoned with. Fast-forward a few decades, and these movies have evolved into the new cultural phenomenon, akin to what westerns were in their heyday. In the 21st century, the era of the superhero has truly come of age, offering a beacon of hope in a world hungry for heroes. From the web-slinging adventures of Spider-Man in 2002 to the epic saga of Avengers: Endgame in 2019, Hollywood has embraced these tales of heroism, sometimes with outstanding success and at other times, with less stellar outcomes.

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However, despite the genre’s massive popularity, recent releases such as The Marvels and The Flash serve as reminders that even superhero movies are not immune to box office disappointment. While some failures, like 2019’s dismal Hellboy, might be expected, others, such as James Gunn’s Super, may simply have been ahead of their time. Yet, true to their nature, superhero films often manage to achieve both greatness and failure in equal measure.

10. The New Mutants (2020)

Box Office: $23,852,659

The final installment in Fox’s X-Men franchise, The New Mutants, faced numerous setbacks, including multiple delays, Disney’s acquisition of Fox Studios, rumored re-shoots, and the global pandemic. Despite its promising premise – a group of mutant teens housed at an institution for dangerous mutants – the film failed to reach its full potential.

Director Josh Boone, known for The Fault In Our Stars, adapted the Demon Bear saga from the comics, infusing it with elements of horror and young adult genres. While the film’s scary imagery and the characters’ horrifying powers offered a refreshing take on the superhero genre, it often fell short of fully committing to its horror elements, leaning too heavily towards the young adult demographic. Despite these challenges, Boone’s attempt to create a new type of superhero movie deserves recognition.

Release Date: August 26, 2020
Director: Josh Boone
Runtime: 94 minutes

9. My Super Ex-Girlfriend (2006)

Box Office: $22,530,295

Released during the heyday of formulaic romantic comedies, My Super Ex-Girlfriend offered a unique twist on the genre by introducing a superhero element. Starring Uma Thurman as a superhero ex-girlfriend, the film explored themes of jealousy and obsession within the confines of a romantic comedy.

While Thurman’s portrayal of a jealous ex-girlfriend with superpowers added novelty to the film, it ultimately succumbed to the clichés of the romantic comedy genre. Despite its potential, a lack of edgy humor prevented it from becoming a standout success. With a more daring approach, the film could have elevated the superhero romantic comedy genre to new heights.

8. Hellboy (2019)

Box Office: $21,903,748

Lionsgate’s decision to reboot the Hellboy franchise, rather than concluding Guillermo Del Toro’s trilogy, proved to be a misstep. Despite the casting of David Harbour in the titular role and impressive makeup and character designs, the film failed to capture the magic of its predecessors.

While the reboot embraced its R-rating with intense action scenes, it struggled to maintain coherence amidst a barrage of disjointed exhibitions, locations, and characters. The result was a film that lacked the singular vision necessary to resonate with audiences. Despite its shortcomings, Hellboy showcased the enduring appeal of the character and the potential for future adaptations to succeed.

Release Date: April 2, 2004
Runtime: 122 minutes

7. The Spirit (2008)

Box Office: $19,806,188

Based on Will Eisner’s comic about a private investigator who returns from the dead to fight crime, The Spirit failed to captivate audiences during its Christmas release. In a year dominated by successful superhero films like The Dark Knight and Iron Man, its cheesy tone fell short of audience expectations.

Initially conceived as an animated feature in the 1980s, The Spirit suffered from Frank Miller’s disjointed direction, borrowing heavily from his visual style in Sin City. While Sin City successfully balanced stylized visuals with compelling characters, The Spirit struggled to find its footing, resulting in a film that felt like a step backward for the superhero genre.

6. Zoom (2006)

Box Office: $11,989,328

Tim Allen’s Zoom, nominated for a Razzie Award, followed the story of a failed superhero tasked with training a group of young meta-humans. Despite its potential to explore darker themes, the film opted for a more family-friendly approach, reminiscent of ’90s straight-to-video movies.

While Zoom showcased impressive sets and special effects, its tonal inconsistencies hindered its ability to resonate with audiences. However, Allen’s charismatic performance and the endearing portrayal of super-powered youths offered moments of genuine entertainment, making it a noteworthy addition to the superhero comedy genre.

5. The Powerpuff Girls Movie (2002)

Box Office: $11,412,414

Based on the hit Cartoon Network series, The Powerpuff Girls Movie served as a prequel to the television show. Despite its sleek animation and attempt to cater to adult fans, the film failed to capture the essence of the original series.

While the series embraced edgy humor and dark themes, the film opted for a more subdued approach, missing the mark with both children and adult audiences. Despite its potential, The Powerpuff Girls Movie failed to deliver the same level of excitement and creativity that made the series a cult classic.

Release Date: July 3, 2002
Director: Craig McCracken
Cast: Cathy Cavadini, Tara Strong, Elizabeth Daily, Roger Jackson
Runtime: 73 minutes

4. Punisher: War Zone (2008)

Box Office: $8,050,977

The reboot of Marvel’s Punisher franchise failed to resonate with audiences, despite its ultra-violent set pieces. While previous adaptations struggled to capture the essence of the character, Punisher: War Zone faced criticism for its excessive violence and lackluster plot.

While the Punisher’s violent tendencies have always been a staple of the character, the film’s gratuitous violence proved alienating to even the most dedicated fans. Additionally, disjointed dialogue and a lack of character development further detracted from the overall viewing experience.

3. Batman: The Killing Joke (2016)

Box Office: $3,775,000

Despite the popularity of movies featuring The Joker, Batman: The Killing Joke failed to resonate with audiences due to its disturbing themes and controversial first act. While Alan Moore’s classic comic provided a compelling narrative, the film’s execution left much to be desired.

The decision to include an unnecessary first act focusing on a romantic subplot between Batman and Batgirl detracted from the film’s impact. However, when the film remained faithful to Moore’s original story, it offered a compelling exploration of the Joker’s psyche and the nature of good and evil.

Release Date: July 24, 2016
Runtime: 72 minutes

2. Super Capers: The Origins of Ed and the Missing Bullion (2009)

Box Office: $30,955

Director Ray Grigg’s low-budget superhero spoof failed to make a significant impact at the box office. Despite its campy charm and homage to classic superhero tropes, Super Capers struggled to find an audience beyond a niche fanbase.

While the film’s low production values were evident, its earnest attempt to parody popular superhero films resonated with some viewers. By straddling the line between parody and homage, Super Capers carved out a unique space within the superhero genre, albeit with limited commercial success.

Release Date: March 20, 2009
Cast: Justin Whalin, Sam Lloyd, Ryan McPartlin, Danielle Harris, Ray Griggs, Pancho Moler
Runtime: 98 minutes

1. Super (2010)

Box Office: $327,716

James Gunn’s offbeat indie film Super follows the story of a disillusioned short-order cook who adopts the persona of a masked vigilante. Despite its limited commercial success, the film garnered a cult following for its unconventional approach to the superhero genre.

In typical Gunn fashion, Super blends humor with darker themes, offering a satirical take on the superhero archetype. By subverting audience expectations and embracing its absurd premise, the film serves as a testament to the genre’s capacity for innovation and reinvention.

In conclusion, while these lowest-grossing superhero movies may not have achieved financial success, they each contributed to the rich tapestry of the genre. Whether through bold experimentation or earnest homage, these films remind us of the boundless potential of superheroes to captivate our imaginations and inspire us to embrace our own heroism, both on and off the screen.