The COVID-19 pandemic reshaped the film industry in ways that are still being felt today. While blockbusters like Dune and Spider-Man: No Way Home managed to draw audiences back to theaters, a slew of critically acclaimed films struggled to find their footing. What’s fascinating—and deeply frustrating—is how these flops weren’t just about quality or timing; they were about a perfect storm of factors that no one could have fully anticipated. Let’s dive into why some of the best movies of the pandemic era failed to connect with audiences, and what this says about the future of cinema.
The Pandemic’s Unpredictable Audience
One thing that immediately stands out is how the pandemic fractured the moviegoing audience. Personally, I think this is the most underappreciated aspect of the era. Films like West Side Story and In the Heights—both dazzling musicals—were released into a world where audiences were either too anxious to return to theaters or too conditioned to wait for streaming. What many people don’t realize is that these films weren’t just competing with each other; they were competing with a new habit: staying home. The pandemic didn’t just change where we watched movies; it changed how we watched them.
Take West Side Story. Steven Spielberg’s reimagining was a masterpiece, but it needed older audiences—the same demographic most wary of COVID-19. Meanwhile, In the Heights was marketed as a post-pandemic celebration, but it arrived in a summer that wasn’t truly post-pandemic. Warner Bros.’ decision to release it on HBO Max simultaneously didn’t help. If you take a step back and think about it, these films were victims of a cultural shift they couldn’t control.
The Streaming Dilemma
Streaming became the default during the pandemic, and this had profound implications. Films like The Tragedy of Macbeth and Wolfwalkers were essentially dumped onto platforms like Apple TV+, robbing them of the theatrical experience they deserved. What this really suggests is that streaming isn’t just a distribution model—it’s a mindset. When audiences are trained to expect content at home, even the most visually stunning films struggle to justify a theater visit.
A detail that I find especially interesting is how this affected smaller, arthouse films like First Cow and Petite Maman. These movies rely on word-of-mouth and a dedicated cinephile audience, but the pandemic overwhelmed viewers with options. VOD releases became the norm, and these films got lost in the noise. It’s not just about the pandemic; it’s about how the industry responded to it.
The Misunderstood Flops
Some films flopped for reasons that were entirely avoidable. Ridley Scott’s The Last Duel is a prime example. Scott blamed millennials for its failure, but the real issue was its release strategy. Dropping it on the same day as Halloween Kills—a streaming-theatrical hybrid—was a recipe for disaster. What this really suggests is that even seasoned filmmakers struggled to adapt to the new landscape.
Similarly, Nightmare Alley and Spencer were released during COVID surges, making theater visits feel risky. But what’s often overlooked is how these films were marketed. Nightmare Alley felt like a throwback to a pre-pandemic era, while Spencer competed with other awards-season contenders in a crowded field. In my opinion, these films weren’t just victims of bad timing; they were victims of bad strategy.
The Broader Implications
What makes this period particularly fascinating is what it reveals about the future of cinema. The pandemic accelerated trends that were already underway—streaming dominance, audience fragmentation, and the decline of mid-budget films. But it also highlighted the resilience of certain genres. Blockbusters thrived because they offered an escape; smaller films struggled because they demanded attention.
This raises a deeper question: What kind of cinema will survive in a post-pandemic world? Will audiences return to theaters for anything other than spectacle? Or will we see a permanent shift toward home viewing? Personally, I think the answer lies somewhere in the middle. The pandemic forced filmmakers to innovate, but it also exposed the fragility of the industry.
Final Thoughts
Looking back, it’s clear that the pandemic wasn’t just a crisis—it was a catalyst. Films like Saint Maud, Pig, and Never Rarely Sometimes Always deserved better, but their failures tell a larger story about adaptation and survival. What many people don’t realize is that these flops aren’t just about box office numbers; they’re about the cultural moment they represent.
In the end, the pandemic didn’t just change how we watch movies—it changed what we expect from them. And that, in my opinion, is the most interesting takeaway of all.
