One flub is forgivable, but two in quick succession? Disastrous. Costner's star status was officially jeopardized. While 1996's Tin Cup was a charming enough dramedy, it still failed to excite audiences, and his next would-be blockbuster, 1997's The Postman, brought out even fewer viewers and was roundly panned by critics. A notorious production nightmare that barely made any money due to its engorged budget, it took a critical flogging that sent Costner down a path of many pans to come. When Costner put his clout behind the high-concept dystopian actioner Waterworld, though, he ended up over his head. Despite his best efforts, he's been unable to claw his way back since. Ron Hubbard adaptation cost $73 million to make and returned less than $30 million, sinking Travolta's career once more. Two $100 million-grossing films followed (1996's Phenomenon and 1997's Face/Off), but poor choices over the next few years meant his career re-imploded with the millennium.Ģ000's Battlefield Earth was branded one of the worst movies ever made by The Guardian, and critics across the board agreed-the film has a pitiful 3 percent approval rating on Rotten Tomatoes. Pulp Fiction allowed Travolta to reinvent himself once more, and Tarantino even guided him down the right path afterwards, advising him to accept a part in Barry Sonnenfeld's Get Shorty. It wasn't until the mid-'90s that he became relevant again thanks to Quentin Tarantino. He shot back to the top at the turn of the decade after rom-com Look Who's Talking raked in an unexpected fortune (almost $300 million worldwide), though agreeing to appear in two sub-par sequels put Travolta right back where he started.
"He might still be on the list, but pretty far down, and certainly not the A-list." "There is no doubt that a studio would think twice about casting him as a lead after the poor performances of both Battleship and John Carter," box office analyst Jeff Bock told Yahoo! Movies. The studio lost $200 million on the failed blockbuster, according to Forbes, and "John Carter" became another way to say "box office bomb." The disappointing performance of Battleship later that year proved to be the nail in Kitsch's coffin. In 2012-dubbed by Gawker "the year that Hollywood took a chance on Taylor Kitsch and failed miserably"-the actor fronted Disney's disastrous John Carter adaptation. Gawker argued the actor was "a victim of the Friends effect," claiming Kitsch fans didn't want to see him in tentpole roles, something the studios didn't count on. Kitsch gained a cult following during his time on the NBC football drama, which may have ultimately worked against him. That break came when he won the part of running back Tim Riggins in Friday Night Lights.
Jane also failed to turn a profit, Moore receded from the spotlight, and eventually became better known for her marriage to (and divorce from) Ashton Kutcher. We would have to drag them kicking and screaming to see this movie." After G.I. "We don't know what to do," one senior executive reportedly told Newsweek (via the Daily Telegraph). Jane, which they had already signed off on. She was branded box office poison overnight, to the point that the Disney Corporation started sweating over the release of the Moore-led G.I. She had salt rubbed in her wounds at the Golden Raspberry Awards, where Striptease cleaned up, taking home six Razzies including Worst Picture. The erotic comedy tanked ( opening behind The Nutty Professor, Eraser, and Disney's The Hunchback of Notre Dame) and Moore's reputation went down with it. Moore remained a hot property throughout the early '90s, and by the middle of the decade she officially became Hollywood's highest-paid actress, agreeing to a record $12.5 million payday for 1996's Striptease.
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