Follow TV Tropes

Following

Creator Killer / Film Studios and Production Companies

Go To

    open/close all folders 

    Major Studios and Labels 
  • The failure of the "John Wayne as Genghis Khan" epic The Conqueror is often said to have precipitated the demise of one of Hollywood's major studios, RKO Pictures, at the time owned by Howard Hughes who obviously didn't know what he was doing. It was later sold to a tire company (!), made a few films in the 1980s, and now solely exists to sanction remakes of its films. Because the movie was also filmed near an above-ground nuclear test site (with Hughes even reportedly shipping back some of the sand from the filming area for studio shoots), some believe it to have been a literal career killer, responsible for the cancer deaths of a number of people involved in the shoot, Wayne included.
  • 20th Century Fox's genre film label Fox Atomic never really took off in its first two years of existence, but the failure of Miss March, which was preceded by a long string of massive flops, proved to be the straw that finally broke the camel's back, as the label's later projects were sent to other Fox labels after its failure. Plans for a remake of Revenge of the Nerds were also canned as a result, though part of that was also due to script disagreements and crude subject matter.
  • Paramount's attempt didn't fare much better. Insurge Pictures was formed in 2010 to produce "micro-budget" genre films due to the success of the Paranormal Activity series. The unit didn't get off the ground as they struggled to put projects into production. In fact, the division made a pair of concert documentaries for Justin Bieber and Katy Perry, which strayed away from their purpose. Insurge eventually bit the dust five years later after the disappointing performance of Project Almanac, coupled with management changes at Paramount. Their next four films were all dumped to day-and-date limited theatrical/streaming releases before the label was properly deactivated.note 
    • For that matter, art house division Paramount Vantage has gone completely AWOL following the critically-acclaimed but less-than-stellar box office performance of Nebraska; news outlets were quick to point this out when Insurge was demolished.
    • Another Paramount label: in 2007, Paramount launched the direct-to-video division Paramount Famous Productions. Unfortunately for them, the company wound up having a slew of many awful movies in its roster, many of which were low-quality sequels to existing movies or forgettable original movies. After the poor reception given to Mean Girls 2, the company was quietly retired.
  • Rogue Pictures originally served as Universal's specialty label, which they later sold to Relativity Media whilst keeping ownership of the films under their watch. Unfortunately, their output was more miss than hit in terms of box office. It got to a point where Relativity wasn't even using the name on promotional materials in a couple of cases. After the failure of Movie 43, Rogue was quietly retired.
    • After lying dormant for three years, Relativity revived Rogue for the release of the long-delayed The Disappointments Room. To say it lived up to its title at the box office would be an understatement. This sealed the fate for Rogue as several months later their library was sold to Vine Alternative Investments. Relativity created a new specialty label named R2 Entertainment that served the initial brand's purpose, but it didn't go anywhere, likely thanks to Relativity's struggles with bankruptcy. Rogue was last credited on 2018's The Strangers: Prey at Night.
  • Not even Disney was lucky in that area. Hollywood Pictures originally started out in 1989 as an alternative label to Touchstone Pictures for more adult fare, only on lower budgets. Shockingly, the company was able to survive the box-office and critical disaster that was An Alan Smithee Film: Burn Hollywood Burn (which you can see here), but after releasing a string of box-office flops with only a couple of successes in between (like The Sixth Sense), the brand was pushed back after Just Visiting. Five years later, Disney decided to give Hollywood another chance, this time as a genre label. The studio had already lost the Dimension Films brand to The Weinstein Company and they needed a replacement. Unfortunately, the revamp proved to be ill-thought up. Hollywood was only able to release three more films before Disney dropped the label for good in 2007. It didn't help that their last release, The Invisible, crashed and burned at the box office pretty badly (only gaining $7,717,309 out of an estimated $30,000,000 on its opening weekend).
  • Touchstone didn't have it as bad in regards to the ratio of flops vs. hits, but the primary adult label division also found itself slipping in priority thanks to a general change in the studio focus (namely refocusing efforts more on the main Disney brand and studio, which led to the departures of sister divisions Miramax and Dimension), with Touchstone used only for distributing DreamWorks Pictures films by the early 2010s; not helped by Disney picking up Marvel and Lucasfilm in the meantime and releasing their films simply under their names. The label was ultimately undermined due to the disastrous performance and reception of Strange Magic (which Disney only released due to it being in Lucasfilm's pipeline and dumped it in a January), and DreamWorks moving to Universal after the release of The Light Between Oceans. Tellingly, Disney revived the Buena Vista name, which had been retired in 2007, for the international release of the sequel to Touchstone's Unbreakable, Glass. And with Disney officially acquiring 20th Century Fox in March 2019, Touchstone's fate was all but sealed.
  • The end of their bread-and-butter (though largely-panned) "Cheapquels" era of mediocre-to-awful home video followups of the company's famed theatrical films proved to be the beginning of the end of DisneyToon Studios, Disney's former third animation studio pillar after Walt Disney Animated Studios and Pixar. While their succeeding Disney Fairies franchise of DTV films were generally considered to be of actually respectable quality, they weren't popular enough to stave off shrinking home market sales (which at this time began losing ground to streaming avenues) or sell much tie-in merchandise (which wasn't as successful as the merchandise for other female-oriented Disney properties), and their attempt to cash-in on Pixar's popular Cars series with their short-lived spinoff series Planes were largely considered subpar material. After capping off the Fairies franchise with 2015's Legend of the Neverbeast, the studio went quiet and was ultimately folded by Disney three years later. The fact that Disney at the time of DisneyToon Studios' closure was busy with both acquiring 21st Century Fox (which had their own animation units in Blue Sky Studios and 20th Century Fox Animation) and dealing with the departure of Pixar co-founder John Lasseter (who was instrumental in overhauling the studio direction from the "Cheapquel" era and overseeing the Fairies and Planes series, before being forced to leave the company by an expose of sexual harassment allegations) only served to further complicate matters regarding the studio's future.
    • The studio originally started life at the dawn of the 1990s as Disney MovieToons, a theatrical film unit for Disney's television animation division, intended to bring their animated series to the big screen. Unfortunately, their first attempt with their DuckTales film Treasure of the Lost Lamp was a commercial failure, scuttling their plans to do more theatrical television adaptations. The studio re-emerged a few years later as Disney Video Premiere (finally renamed DisneyToon Studios in 2003), having shifted their focus to direct-to-video films of Disney's theatrical films, where they found better success.
  • Despite being considered the most faithful adaptation of the story, the box office failure of the 2003 Peter Pan film, blamed on competition with The Lord of the Rings: The Return of the King, did this to Universal's parent Vivendi Universal, who was already saddled with massive debt before the film was released. It wasn't until after the film's release that the debt load from the film's failure ensured that conglomerate Vivendi would be unable to pay off the debt without sacrificing profits. Just a year later, Vivendi sold 80% of its stake of Universal Studios to General Electric, the then-parent company of NBC, forming the partnership that became NBCUniversal. Both Vivendi and GE would later give up entirely on the company by selling the conglomerate to Comcast.
  • Speaking of Universal, the studio's animation unit, Universal Animation Studios (formerly Universal Cartoon Studios, which was built from the foundations of Walter Lantz Productions) decided to take a shot at getting into theatrical films with Curious George (2006), after over a decade of producing Direct-to-Video fare (mostly endless The Land Before Time sequels) and various successful animated shows, such as Back to the Future, Exosquad, Earthworm Jim and The New Woody Woodpecker Show. Unfortunately, the film received mediocre box office returns (despite decent reviews), which combined with poor video sales of The Adventures of Brer Rabbit resulted into UAS being relegated into a shell of its former self, choosing to outsource production of its animated properties to other animation studios rather than producing them in-house. The success of Illumination Entertainment's Despicable Me displaced UAS as Universal's main animation arm, and the DreamWorks Animation acquisition effectively sealed the studio's fate; with its television animation operations being merged into those of DreamWorks and existing as an In Name Only unit of Universal for properties not under the Illumination or DreamWorks banner. Sealing it even further was the recent announcement that a Fast and the Furious animated series was being produced by DWA for Netflix, with more series based on Universal properties in the pipeline.
  • Metro-Goldwyn-Mayer Animation hasn't done another movie or TV series after the critical failures of The Secret of NIMH 2: Timmy to the Rescue and Tom Sawyer (2000). An adaption of the children's book Punk Farm was announced in 2011, but nothing has come out of the project ever since.
  • Marvel Knights was a branch created by Marvel Comics to distribute some more mature comic materials. The subsidiary eventually went into film production, but only two films were released under the brand; the first, Punisher: War Zone, bombed at the box office and led to rights reverting to Marvel proper. This led to a hiatus of several years before the next film to use the brand, Ghost Rider: Spirit of Vengeance. The same thing happened again, and the brand was put in indefinite lockup immediately afterwards.
  • Acquired by Disney in 2011, UTV Motion Pictures served as the company's film production and distribution label for Indian films. UTV was successful with Bollywood blockbusters such as PK and Chennai Express, and Disney began developing Indian films under the Disney label. Unfortunately, UTV couldn't keep up their momentum, and in 2016 they released Mohenjo Daro. Despite boasting stars such as Hrithik Roshan and the director of Lagaan, Mohenjo Daro garnered negative word-of-mouth for the multiple problems it faced during production. When the film proved to be a financial and critical failure upon its eventual release, Disney decided to pull out of Bollywood film production, placing UTV Motion Pictures on the chopping block.
    • With Disney set to buy out Star India as part of its purchase of 21st Century Fox's entertainment properties, Disney may try to take another crack at Bollywood, this time through a stronger presence thanks to the infrastructure of Star.
  • While both films were well-received and maintain a strong cult following, the financial failures of both Mr. Peabody & Sherman and the Penguins of Madagascar movie were instrumental in ending DreamWorks Animation's reign as an independent, pioneering animation studio after more than a decade. It took several job losses and a mediocre restructuring over the next two years to get to that point:
    • The poor performance of both films led to DreamWorks losing a combined $106 million in box office gross ($57 million for Peabody, $49 million for Penguins). After the failure of the latter film, Pacific Data Images, who helped produce both films and the studio's famed Shrek series, was shut down as part of a restructuring of the company.
    • Said restructuring also ended the long run of chief creative officer Bill Damaschke, who had been with the studio since 1995, and the short run of COO and longtime Disney executive Mark Zoradi, who had been with DWA since earlier that summer (Zoradi would take over the Cinemark theater chain months later).
    • And finally, the box office failures were the beginning of the end for founder and CEO Jeffrey Katzenberg himself, with his ambitions against Disney finally getting the better of him. His studio's next two films were financial successes, but not on high enough of a level to please shareholders. This, combined with increasing pressure from said shareholders, eventually led to Katzenberg agreeing to sell the studio to NBCUniversal after just thirteen days of talks (after scrapping a plan to take the company private with PAG Asia Capital) and divest his involvement with DWA on a heavy basis.

    Mini-Majors 
During the late 1980s and early 1990s, what could be considered a curse befell the "mini-majors," film studios that were not bigger than the majors (Columbia, Fox, Warner Bros.), but tried their hand at the risky gamble of movies. The Cannon Group, Carolco Pictures, Orion Pictures, and Vestron were victims. Some could say that they did not have close partnerships with the majors; companies such as Castle Rock Entertainment and Morgan Creek managed that synergy and they still exist. Another problem was that it seemed as though the studios could not survive without being taken over by a conglomerate (Columbia had recently been bought by Sony and Panasonic bought MCA, then-Universal's parent company). In addition, other indies such as Miramax Films and New Line Cinema survived through serving niche audiences; both ended up being bought out by conglomerates.
  • Perhaps the biggest loser of the above problem was Credit Lyonnais Bank (CLB) of France. Wanting to get involved in the glitz and glamor of Hollywood, CLB began lending money to these mini-majors in the 1980s and 1990s, including all the aforementioned companies. It even loaned money to banker Giancarlo Parretti to complete his purchase of MGM. The bottom of CLB's movie venture fell out when the glut of box office flops that followed caused most of the studios on the bank's list to go bankrupt and/or went out of business. To make matters worse, Paretti turned out to be a fraudster who practically stole money from the bank and used MGM as a front for his shady business dealings. This subsequently led CLB to seize MGM and sell it to its former owner Kirk Kerkorian. The bank then bought up the libraries of a few of the defunct companies CLB lent money to, including Nelson Entertainment and Epic Productions. After selling that library to PolyGram in 1997, CLB left Hollywood and never looked back.
  • Although it was considered the dominant force in the European motion picture industry, it is believed that a string of box office failures (including The Big Lebowski and Barney's Great Adventure), prompted PolyGram to leave the film industry, selling off their Filmed Entertainment division (and eventually themselves) to Seagram. Unfortunately they couldn't have decided that at a worse time: one of their final films was Notting Hill, an international smash that would've reversed their fortunes if they hadn't already shut down before it was released. Additionally, The Big Lebowski, which had only barely made back its budget upon original release, quickly picked up a cult following upon home video release and eventually grossed nearly triple what it originally made theatrically — a windfall that PolyGram would miss out on. And Universal ended up being haunted from beyond the grave by one of Polygram's inherited projects- the 2004 Thunderbirds movie (Polygram had started the project while they owned the ITC library for a time in the 90s).
    • It wasn't until February 2017 that Universal Music, the current owner of PolyGram's music catalog, would revive the brand name for film/TV production. Their first production was Ron Howard's Beatles documentary Eight Days a Week, a co-distribution with UMG's sister company Studio Canal.
    • The failure of Barney's Great Adventure has also been theorized to have started the downfall of its production company, Lyrick Studios, the producer of the Barney direct-to-video shows and subsequent television series. The film (which was snapped up from Geffen Pictures and Warner Bros., who kickstarted development of the film in 1994) was reportedly intended for a direct-to-video release, and wasn't part of PolyGram's picture deal; the resulting theatrical release led to disputes between the two companies. Executive Meddling towards the original script (completed back when the film was at Geffen Pictures) didn't help much either. The fallout between the two resulted in Lyrick's career as a production company grinding to a halt outside of their Barney and Wishbone television series made for PBS—following Great Adventure, Lyrick survived on video distribution of other animated series until it was eventually snatched up by HiT Entertainment in 2001. While the Barney show (with HiT taking over production of the show) continued up until the rest of the decade, Lyrick and its other existing properties were shuttered promptly after the acquisition.
    • Speaking of PolyGram, the Gramercy Pictures label also suffered bad luck. Launched in 1992, it was formed as a joint venture between them and Universal Pictures, serving as both PolyGram's American distributor and an arthouse label for Universal (although by 1996 PolyGram bought Universal's half). Plenty of the company's films were box-office hits, and many of the ones that underperformed (ie Mallrats and Dazed and Confused) later became cult classics. Unfortunately for them, they followed cycling between box-office flops and successes with an entire year of bombs (sans The Big Lebowski). The company seemed to be getting back on track with Elizabeth in November of that year, but by 1999 it was too late. That year, Seagram acquired PolyGram and reduced Gramercy into an In Name Only unit (later merged them and October Films into USA Films, which was then renamed Universal Focus, and after that Focus Features). Unfortunately for them, they couldn't have chosen to do that at a worse time—by the time Gramercy was reduced to that status, they put their name on films such as Lock, Stock & Two Smoking Barrels, Being John Malkovich, Nurse Betty, Pitch Black, and many more. Many of these were box-office hits that Gramercy would miss. (See here for more examples of Gramercy screwing up.)
    • Gramercy itself was revived in 2015 as Focus Features' answer to the recently-revived Orion Pictures, with its first release in over a decade being Insidious: Chapter 3. Unfortunately, the critical and commercial calamity of Ratchet & Clank killed the label a second time... and within a year to boot! The brand has no future titles announced and the new management of Focus wants to steer away from genre fare. This means Universal released Insidious: Chapter 4 instead.
  • Some have suggested that Can't Stop the Music ended up killing music label EMI's film studio, but Honky Tonk Freeway, released just a year later, was in reality the bigger perpetrator. The film's scathing reviews from critics for its stereotyping of American culture, combined with revelations that the film was financed by executive producer Roy Tucker through tax dodging schemes with assistance from a banking cartel (which prompted EMI to sell the film rights to investors to clean their hands of the matter), led to audiences staying away from the movie in theaters and was taken out of the screens after only a week. The film flopped instantly as a result and EMI Films spent its final five years producing or financing a string of moderately to poorly successful films, before EMI sold the studio to businessman Alan Bond (who would end up becoming the target of press controversy for scandals that same decade), who in turn sold the remaining assets to The Cannon Group (sans its film catalog, which was acquired by StudioCanal).
    • Meanwhile, Lord Lew Grade, head of Britain's ITC and producer of many Gerry Anderson series plus The Muppet Show, had film aspirations, which led him to team up with EMI (which was headed at the time by Grade's brother, Bernard Delfont) for the American joint venture Associated Film Distribution. At first it seemed like good things were in store, with The Muppet Movie performing very well. But then, Raise the Titanic! staggered into theaters- having a Troubled Production beyond belief, it couldn't make back its $40 million budget- Grade himself commented "it would've been cheaper to lower the Atlantic". Then Can't Stop the Music happened. Grade realized that this wasn't working and cut a deal with Universal to release the remaining ITC/AFD backlog. Another blow against him occurred with one of the ITC/AFD films he sold, The Legend of the Lone Ranger, caused controversy when ITC tried to force classic Lone Ranger actor Clayton Moore to stop making public appearances as the character as he had been doing for decades. This caused extremely negative publicity for the film and the studio, particularly in the United States, where Moore was considered to be a national treasure. The general public overwhelmingly took Moore's side and stayed away from the movie; As a result, it significantly underperformed at the box office. ITC never really recovered from this, and thanks to the loss of their sister ATV in 1982 (which had been semi-replaced in the ITV network by Central) and Grade selling the company that same year, they went into freefall, not producing much anymore, and distributing crap like the infamous 1990 version of Tic-Tac-Dough. As mentioned above, they were briefly owned by PolyGram in the mid 90s, and Grade himself (after having left in the early 80s) briefly came back, but it wasn't enough. Grade died in 1998, and ITC was essentially shut down, with the library passed between multiple owners. Ironically, many of the films AFD sold to Universal ended up being hits and/or cult classics, including The Great Muppet Caper, The Dark Crystal, On Golden Pond and Sophie's Choice.
  • In 1985, ABC Motion Pictures produced a feel-good Coming of Age film called SpaceCamp, where a group of kids were launched into space on the Space Shuttle. Before its summer 1986 release, the Challenger disaster happened. They released it anyway, and it bombed horribly, making only half its budget back at the box office. The studio that released Cabaret, Silkwood and made-for-TV juggernaut The Day After, would never release another film again, unless it was a movie-of-the-week. In fact, the company shut down a year before the film was released.
    • It might not have been SpaceCamp that killed ABC Motion Pictures, though it was the last straw. Much of their output flopped at the box office and proved that television networks were inept at backing feature films; CBS (which tried it in the late '60s-early '70s with Cinema Center Films and in the '80s with CBS Theatrical Films) and NBC (which got the message after the likes of Code Name: Emerald and Satisfaction in the 1980s) also learned that the hard way. The media consolidation drive which began with the abolition of the fin-syn rules in the 90's and continues to this day ensures that ABC and NBC — both now units of companies which own major movie studios — will never have their brands appear at the front of a theatrically-released feature film again. CBS, however, was able to launch CBS Films after its split from Viacom. And so far, it looks like it may beat the Network Film Production Curse (or NFPC for short) this time around, though they've scaled back considerably since the disappointments that were Last Vegas and Inside Llewyn Davis, putting Lionsgate in charge of distributing their future product shortly afterwards. Regardless, CBS Films has lasted longer than their predecessors, and their scaling back helped them well in the long run.
  • Though there may have been a few other factors (such as the departure of Harvey Weinstein, Rich Ross and Bob Iger wanting to cut Disney's film slate, and a few box office bombs like Adventureland and Everybody's Fine prior to 2010), Disney selling Miramax Films to holding company Filmyard Holdings effectively dwindled that company, as Filmyard was only interested in the library and nothing more. Weinstein wanted to buy the name so the label could keep going but Disney (more than likely still angry about his departure) refused.note  For a while, it was essentially a library management company, licensing its content on various platforms and co-producing sequels to its past films, instead of making its own slate of films. Things changed following the departure of Ron Tutor, with the company getting back into investing in original films. In 2016, Filmyard sold Miramax to beIN Media Group and the new management positioned Miramax as a regular production company. With Harvey Weinstein's sexual abuse scandal, the studio has had to distance themselves from him and while their name hasn't been dragged into the mud, it still casts a dark cloud over them. There were even reports of Miramax trying to buy out The Weinstein Company, a vis-à-vis situation from before. As for Disney, they wouldn't re-enter the indie film business until it announced its buyout of 20th Century Fox, including its indie label Fox Searchlight Pictures, in 2017note .
  • Vestron Pictures had a huge success in 1987 courtesy of Dirty Dancing, a film they had originally planned to release in theatres for only a weekend, and then send straight to home video, since they had originally been in the video distribution business long before entering film production. Unfortunately, instead of capitalizing on the film's success with more mainstream films, they instead continued with their normal brand of B-movies, a good chunk of which flopped. One of these was Earth Girls Are Easy, which massively underperformed at the box office despite mixed-to-positive reviews. These flops, coupled with the fact that many of their former clients were now forming their own home video divisions and thus no longer needed their services, caused Vestron's titular parent company to go bankrupt in 1990.
  • The failure of The Golden Compass in the US, along with other films released in 2007, led Time Warner to absorb New Line Cinema into Warner Bros. proper in 2008. Today, New Line exists as a division of Warner Bros. Pictures, mainly releasing films based on their properties. What's worse is that they could have avoided it all by not selling off the foreign distribution rights, which contributed to 80% of the film's earnings.
    • The 2008 merger of Warner Bros and New Line Cinema also managed to take down both of its arthouse labels, Warner Independent Pictures and Picturehouse, with it as Warner Bros. had planned for the latter to serve as its label for smaller films (instead, New Line became a label mostly used for sequels to previous New Line films, horror movies, and comedies while Warner Bros. got the lion's share of the productions). Before then, the formation of Picturehouse (a joint venture between New Line and HBO) managed to kill off Fine Line Features as New Line decided that having two art labels was excessive. Fortunately for Picturehouse, founder Bob Berney bought the label from Warner Bros. and revived it as an independent studio in January 2013.
  • The critical and box office disaster of the 1979 disaster movie Meteor led to the rapid downfall of American International Pictures (AIP). Their new owners, Filmways, folded them over merely a year later after a few more forgettable movies (Mad Max being the lone exception). Of course, Filmways themselves got hit by box office duds and financial issues and the only way they escaped bankruptcy was by selling some of their assets. They were then bought by Orion Pictures in 1982 and everything was good, until...
  • Executives at Orion Pictures declared bankruptcy in 1991, blaming their destruction on UHF, the wacky comedy starring "Weird Al" Yankovic which they considered the fork in the road for the studio. The film tested so well that they pit it against a murderer's row of blockbuster franchises, including Indiana Jones and the Last Crusade, Licence to Kill, Star Trek V: The Final Frontier, Ghostbusters II, Lethal Weapon 2 and Batman (1989). While UHF would later be Vindicated by Cable and become a cult classic, the loss of money (as well as the loss of critical favor which they had been building throughout the 80s) seemed to mentally break the studio's already-disheveled management: aside from Dances with Wolves and The Silence of the Lambs, the entirety of Orion's post-UHF releases were one poorly-thought-out disaster after another. How things could have turned out differently if UHF had been released during a different season is debated to this day.note 
    • MGM, who acquired the studio after exiting bankruptcy in 1997, revived Orion as a genre unit in 2013 with their first release being Grace Unplugged.
  • The Cannon Group. By the mid-'80s, the heads of CG - Menahem Golan and Yoram Globus - decided to go big and establish Cannon as a major studio. They purchased rights to several different franchises: Superman, Masters of the Universe, Spider-Man and Captain America, along with several other projects, and released a total of 43 movies in 1986 alone. Most of them flopped heavily, but it was the failures of Superman IV: The Quest for Peace (which had budget cut severely to a meager 17 million and still bombed heavily),The Barbarians (released in 1987 when the brief frenzy caused by the Conan movies faded completely) and Masters of the Universe (which brought a small profit only when Mattel Inc. was conned on the copyright issues) that completely ruined the attempt by Cannon Group to become a legitimate film studio. Not too surprisingly, Cannon closed up shop by the dawn of the 1990s.
  • Mini-major FilmDistrict was torpedoed by the double whammy of Oldboy (2013) and Pompeii. Another major factor to their departure was that its founder, Peter Schlessel, became the new CEO of Focus Features. Because of this, FilmDistrict was shut down as a distributor and all of its subsequent films (including That Awkward Moment and Walk Of Shame) were transferred to FilmDistrict's Spiritual Successor, Focus World. Schlessel was eventually fired by Focus after just two years on the job after he turned down Ex Machina, which Focus' parent studio Universal produced but declined to pick up for a US release (A24 got the US rights instead).
  • Overture Films didn't make the splash parent company Starz was hoping for as it was beset with flops like Pandorum and Capitalism: A Love Story. Even more successful titles like Law Abiding Citizen were not enough to diminish a potential sale. What really did Overture in was when Relativity Media took over their distribution and marketing operations and intentionally sabotaged the advertising for Let Me In. In spite of rave reviews, it bombed hard at the box office and Overture was sent to their grave by the end of 2010. Their final film was Stone, which also flopped.
  • Atlantic Releasing Corporation was one of the bigger indie film studios in the 70s and 80s, and while the company didn't pull out massive hits, the company did score success with films like Valley Girl, Night of the Comet and Teen Wolf. Unfortunately, things came crashing down when the company decided to distribute The Garbage Pail Kids Movie. Costing $30 million to make, the film only raked in $1 million at the box office and is considered one of the worst, if not the worst, movies of all time. Parents complained about the film's many adult content for a kids' film, and wound up successfully pulling the film from theaters only a week after its premiere. Director Rod Amateau never took helm of another major project after this film. After this film came a truly amazing streak of flops; with the exception of Teen Wolf Too (which even then was critically panned), nearly every movie released by Atlantic after The Garbage Pail Kids Movie flopped at the box office. The amount of losses from the film and other Box Office Bombs released during the time caused the company to sell itself to their home video distributor at the time, Kartes Video Communications (owned by the Scripps company).
  • Ted Turner Pictures was unable to produce another movie after the critical and commercial calamity that was Gods and Generals, which also killed prospects of a third Civil War film that began with Gettysburg.
  • Founded by Wall Street billionaires Daniel and Gabriel Hammond in 2014, Broad Green Pictures was poised to be the next mini-major in Hollywood. Unfortunately, their image became nebulous as they kept changing their focus when they got hit by a bomb. At first, they specialized in acquisitions but after the failure of The Infiltrator, Broad Green switched their gears to in-house productions. While they had many projects in development, the films they were able to produce like Bad Santa 2 and the bungled documentary Buena Vista Social Club: Adios also didn't fare well at the box office. After their horror hopeful Wish Upon underperformed financially and became widely mocked by both critics and audiences for being a So Bad, It's Good horror movie that completely failed to be scary, Broad Green shut down their production division, sending over 50 projects in turnaround, and laying off 15 employees. They tried to pull a new leaf by seeking acquisitions at film festivals, but that amounted to nothing. With two shelved films being sold to Netflix, they only had one film to potentially turn their fortunes around. The critical and commercial disaster of Just Getting Started was ultimately the straw that broke the camel's back. Broad Green has since ceased operations and their headquarters were taken over by workspace operator Serendipity Labs.
  • Open Road Films (a joint venture between theater chains AMC and Regal) never had the most consistent track record with some flops (Killer Elite, The Host, Rock The Kasbah) in between commercial successes (The Grey, The Nut Job, Nightcrawler), but it seemed like they had a bright future ahead of them when Spotlight was not only a box office hit, but landed a surprise win for Best Picture at the Oscars. However, that did not turn out to be the case as their slate afterwards was mostly filled with bombs like Snowden, Max Steel, Collide, The Promise, and The Nut Job 2: Nutty by Nature. They ended up getting bought by Tang Media Partners and merged with sales agent IM Global to become Global Road Entertainment. This rebranding didn't last long and the studio met their demise after Hotel Artemis and AXL failed. Open Road immediately declared bankruptcy and their library was sold to Raven Capital Management in 2019.note 
Advertisement:

    The Weinstein Company 
The collapse of this company has been so great, and its image so tarnished, that it deserves its own section. During the late 20th and early 21st centuries, Miramax and The Weinstein Company co-founder Harvey Weinstein had a successful résumé of producing a large catalogue of critically-acclaimed (and usually commercially-successful) independent films, including but not limited to cinematic touchstones like Pulp Fiction, Clerks, and sex, lies, and videotape. Even his controversial reputation as a meddling film executive responsible for sabotaging theatrical releases for certain acquired films and studio edits against the directors' wishes didn't seem to have a negative impact on his career. But his career momentum was abruptly halted in October 2017 when two Pulitzer Prize-winning investigations from the New York Times and the New Yorker were published and led to the infamous sexual harassment and assault allegations that would eventually lead to the #MeToo movement for greater awareness of sexual assault in media industries. He was dismissed from TWC and his then-wife Georgina Chapman separated from him, alongside a third of the TWC's board of directors resigning from the company. But even before the scandal, TWC had a bad track record of divisions getting shut down:
  • Our Stories Films was a joint venture between the Weinsteins and Robert L. Johnson to produce films for African American audiences. They only made one film together, the critical and commercial disaster Who's Your Caddy?. The division was consequently spun-off as an independent company and made one more film, Jumping the Broom, before fizzling out.
  • Dimension EXTREME Films was an offshoot of the genre label to release foreign and indie horror films straight to video. It was never heard from again after the extremely negative responses to its Ash Can Copy sequels, Children of the Corn: Genesis and Hellraiser: Revelations.
  • Dragon Dynasty was a joint venture between TWC and Genius Products (their DVD distributor at the time) to release Asian martial arts films on video. However, their releases drew criticisms for not including the original audio track for some films, not including the full uncut versions for American releases, and not releasing certain films at all. These complaints, coupled with some key executives leaving, caused the division to be phased out by 2015.
  • Third Rail Releasing was another joint TWC/Genius venture for theatrical distribution of lower-budgeted fare. It only lasted for a year and was quietly deactivated after the commercial failure of Outlander (which was not a low budget production).
  • The Weinstein Company's Kaleidoscope-TWC label was killed off a total of two times:
    • First, it was originally formed to distribute direct-to-video family films. Unfortunately for them, the poor sales of the 2008 CGI version of The Nutty Professor led to the label being shelved for a couple of years, with further family releases (like Unstable Fables and Hoodwinked Too!: Hood vs. Evil) being released under the company's normal name.
    • Then, in 2013, it was relaunched and released its first theatrical film, Escape from Planet Earth. Its negative critical reception and mediocre box office take-ins proved that it would be its last. The company's next family release, Paddington, was instead released under the TWC-Dimension banner, and it looked unlikely that Kaleidoscope-TWC would be releasing another film soon...until 2016, when the oft-delayed Underdogs finally made its way to Netflix and DVD.
    • TWC had another go at a family label with Mizchief. That ended in October 2017 with Harvey Weinstein's sexual abuse scandal, after they had released only one film, Leap!. Although Carly Rae Jepsen's soundtrack contribution "Cut to the Feeling" was one of the most critically acclaimed singles of the year, the film was a box office flop domestically and the song's promotion hardly even mentioned Leap! at all, to the point where most people just assumed it was a standalone release. Leap!'s failure, coupled with the Harvey Weinstein scandal, sank the label entirely and it vanished without a trace long before TWC declared bankruptcy a few months later. Tellingly, the film itself was outrighted to Lionsgate, TWC's home media distributor, for its DVD and Blu-ray release after the scandal broke.
  • TWC-Dimension, the aforementioned joint label for films that both Bob and Harvey Weinstein had interest in, disappeared after the failure of Gold. Harvey Weinstein's sexual abuse scandal, combined with Warner Bros. gaining the rights to the sequel of the company's first film, Paddington, assured that it was never coming back.
  • TWC itself was in total ruination after the critical and commercial disaster of Tulip Fever. As Harvey Weinstein's sexual abuse scandal was a month away, it was clear that the company's days would be numbered. TWC declared bankruptcy in February 2018 after failing to meet standards with the New York District Attorney on new sexual harassment policy and failing to set up a fund for Harvey's victims, which became effective on March 19.
  • The company's final theatrical release under their Dimension Films label had the misfortune of coming out smack in the middle of the Harvey Weinstein scandal. Amityville: The Awakening was already beset by getting delayed multiple times to the point that they had to settle on a very limited theatrical release in October 2017 while offering the film on Google Play free of charge for a limited time beforehand. The film's failure even in that field, with a paltry $742 gross, also took down their specialty label RADiUS. It's been expected that Bob Weinstein will start his own company and take the Dimension Films label with him now that he has stepped down from TWC's board.
  • The collapse of the Weinstein Company has been so great that it's even affected their non-film units. As mentioned in the main Creator Killer page, Hachette Book Group closed Weinstein Books in October 2017 following the allegations, while A+E Networks, owners of Lifetime, terminated their contract with them for production of Project Runway.
  • When all was said and done, TWC was acquired by the private-equity firm Lantern Capital on July 2018 and rebranded it as Lantern Entertainment.

    Indies 
  • In 1968, failed aviator Edward L. Montoro founded Film Ventures International (FVI), an independent studio specializing in B-movies, usually in the horror genre. They were notorious throughout The '70s for releasing films derivative of the big studios' blockbusters, making them The Asylum of their time. Still, these films racked up huge profits keeping them afloat. All this success was not to last. In 1982, FVI churned out Great White: a blatantly obvious Jaws knock-off from Italy. When Universal got wind of this, they sued FVI for plagiarism and won, screwing the film out of release. This was a huge blow on FVI's part as they spent $4 million to promote the film and the withdrawal of Great White snowballed into major financial issues. The studio hoped that Mutant would turn over their fortunes, but it ended up being a Box Office Bomb. The last straw came when Montoro nabbed a million dollars from FVI to bail out of his divorce and flee the US, forcing the company to file for Chapter 11 bankruptcy. INI Corporations, a TV syndication company, acquired the now defunct FVI studio in 1985 and revamped them into an even lower-budgeted distribution firm. Their output consisted of questionable rereleased/retitled films with new, yet cheap, title sequences, often incorporating clips from other movies! FVI's “films” wound up on Mystery Science Theater 3000 where their opening titles became a prime source of mockery. The studio was laughed out into oblivion by the end of The '90s. Around 2011, FVI resurrected themselves and attempted a comeback of their glory days, but their website was seized two years later, so it's safe to say that they're gone for good.
  • RCR Media went into distribution with the Ed Harris / David Duchovny flop Phantom. Is it any wonder that this is their only release?note 
  • Clarius Entertainment would probably be just another indie distribution company, had they not basically imploded out of the gate due to having one hell of a track record when it comes to bombs. Showing up out of nowhere in 2010, they somehow managed to mess up what would've been their first film, Dino Time. It failed to meet its December 7, 2012 release date and the studio couldn't reschedule as the Korean producers were unable to obtain a chain-of-title for the film, forcing the company to put it in turnaround.note  In due course, Clarius released some movies in 2014 with Legends of Oz: Dorothy's Return, And So It Goes and Before I Go To Sleep... all of which flopped. They hoped to save themselves by picking up rights to Peter Bogdanovich's She's Funny That Way, but the failures left them so financially strained they were unable to actually release the film. Unhappy with this ordeal, the producers had to take the film to Lionsgate. Things went from bad to worse for Clarius as they dropped two more films from their slate: an adaptation of Stephen King's Cellnote  and The Outskirts.note  They ended up with one film for 2015, My All American, but before they could do anything with it, their main financier Macquarie left the film industry and because of their bad reputation, Clarius was unable to find a replacement, forcing them to put all of the three aforementioned films in turnaround. In a last ditch effort, the founders of Clarius formed a new distribution company Aviron Pictures and took My All American over there along with Clarius' P&A resources to retain its release date. Not that it would've mattered as that film bombed as well. Clarius died a quiet death not long afterwards, and time will tell if Aviron will thrive as a distributor, even as they try to distance themselves from their former incarnation. See this article for details.
    • Legends of Oz also had the unfortunate effect of killing off CGI film studio Summertime Entertainment, who shut down a year after the film was released. The company planned on giving the film two sequels and a TV adaptation, all of which have gone into limbo.
  • German studio Senator Entertainment tried their hands at making American films with The Informers not only being their first US production but also their first foray into distribution. The film had a disastrous premiere at Sundance, but Senator went ahead with the release anyways. That turned out to be more ruinous as it tanked with a $300,000 opening weekend against an $18 million budget and it was pulled from theaters after only a week. The failure of The Informers was so great, Senator had to cancel the releases of Splice and All the Boys Love Mandy Lane, effectively spoiling their ambitions. Their distribution arm shut down and the company as a whole filed for bankruptcy.
  • National Lampoon's Gold Diggers had the dubious honor of killing two companies after its spectacular box office bust in addition to further tarnishing the brand's reputation. It spoiled financer Delfino Entertainment's film ambitions as they failed to obtain additional investments for future projects. The film's distributor P&A Releasing was also never heard from again thanks to the embarrassingly low numbers that came in.
  • Bobby Jones: Stroke of Genius was a biopic centering on the titular golf player as played by Jim Caviezel. Producer Rick Eldridge not only raised the money through private investors, he also released the movie himself through his new distribution company Film Foundry Releasing. They had high hopes that Bobby Jones would hit a hole in one at the box office and gave it a big marketing push. Unfortunately, audience ignored the film resulting in atrocious box office numbers. To make matters worse, sponsors hit Eldridge and his team with lawsuits up the ass over unpaid advertising costs. All these suits and loss of money rest assured that Film Foundry would never release another film again.
  • The Film Department wasn't screwed over by a bad film exactly (their first film, Law Abiding Citizen, was a box-office hit); it was their inability to pay their release expenses that killed the company. As a result, they lost millions of money trying to pay off their debt. Their next and final movie, The Rebound, did well worldwide, but wound up going direct-to-DVD in the U.S. because the company ceased operations before its American release.note 
  • The initial commercial failure of The Last Unicorn was a major blow to independent distributor Jensen Farley Pictures. After other subsequent flops, they fell into bankruptcy and cease operations by the end of 1983.

    Production Companies 
  • The failure of Astro Boy at the box office resulted in Imagi Animation Studios going dormant, including the production of a Science Ninja Team Gatchaman film in the works, as well as an Astro Boy sequel.
  • Battlefield Earth was such a terrible film that Franchise Pictures lost huge amounts of money. However, the final nail in the coffin was when Franchise was hit by a lawsuit from investors who accused the company of deliberately inflating the film's budget to pad their coffers. Franchise Pictures lost the lawsuit and declared bankruptcy. John Travolta's reputation got a bad rap due to this movie, but he later bounced back. Battlefield Earth also killed moviegoers' chances of taking any L. Ron Hubbard or Scientology film seriously.
  • Although the magazine was suffering from slumping sales by the late 1980s, it has been argued that the film Vegas Vacation was this to what remained of the original National Lampoon magazine. After reaching high marks with film adaptations such as Animal House and the first film in the Vacation series, the magazine's humor started dying off and so did the humor of their film adaptations by 1986, when the magazine ended up getting issued six times a year instead of every month. Once Vegas Vacation was released, it was widely mauled by critics and fans of the Vacation series, mostly for its bland, aging humor, poor writing and its lack of punchlines, and was especially noted for featuring no involvement from John Hughes, who wrote the screenplay for the first three movies and produced the third one. It's been said that National Lampoon disliked the film so much that they demanded that their label not be placed in it. While the film itself was a moderate box office success, it became the lowest-grossing film of the Vacation series and wasn't enough to convince J2 Communications, owner of the magazine since 1991, to continue the once-treasured publication that defined American humor when it first started in 1970. Its final issue was published in November 1998.
  • The British film company Goldcrest never really recovered from the one-two punch of 1985's Revolution (a massively expensive movie about the American Revolution with the singular casting of Al Pacino and Nastassja Kinski - which may explain why it was 15 years until there was another one) and 1986's Absolute Beginners (a hugely expensive musical set in the 1950s which derailed star Eddie O'Connell's career (his IMDb page is very skimpy after the film, and he has nothing after 2003), and served as a speed bump for Patsy Kensit's). See the book My Indecision Is Final for the whole sordid story.
  • Final Fantasy: The Spirits Within killed Square Pictures and nearly killed the merger between Squaresoft and Enix (the companies did eventually merge into Square Enix in 2003), and pressured Hironobu Sakaguchi, the guy who came up with the idea for Final Fantasy (probably saving Squaresoft from shutting down entirely back in the 1980s) into resigning from the companynote , since the film was his 100-million-dollar-losing project. To put this into perspective, this was during the Turn of the Millennium, a time when Squaresoft was one of the most successful and dominant video game companies. Despite the success of Final Fantasy X and the Kingdom Hearts series, Square has yet to completely reverse the backslide it suffered from the failure of Spirits Within. Whereas at the turn of the century Square was seen as the single greatest RPG maker in the entire industry of gaming, now they're facing stiff competition from emerging Western developers like Bioware, and their position of complete dominance brought about by groundbreaking games such as Final Fantasy VII has long since faded.
  • Francis Ford Coppola's One From the Heart is often compared to Heaven's Gate as a great financial disaster. A small art film that went seriously overbudget, it led to the demise of Coppola's revolutionary and state-of-the-art Zoetrope Studios, which he put up for auction not long after the film lost money. Coppola's career didn't take a major hit as Heaven's Gate director Michael Cimino did, but he ended up spending the next two decades directing more commercial fare and less artistic ones to pay off the massive debt this film had caused.
  • A subversion: Alan Ladd, Jr. was perhaps one of the top, if not the top, Hollywood executives during his tenure at 20th Century Fox, having overseen the production of Star Wars and Aliennote , but after the latter was released he left the studio to start his own company, and while it did produce some blockbuster hits, like Police Academy, and Chariots of Fire for Warner Bros. (plus Blade Runner, which wasn't a smash upon release, but did well enough), he could not really survive on his own and ended up producing three high-profile flops in 1983-1984, The Right Stuff, Twice Upon a Time, and Once Upon a Time in America (such a shame too, since these films have since been recognized as classics). After these flops Ladd shuttered his studio and was left unheard of for a while, before going to MGM in 1985 and bouncing back to the top. After his tenure with that company, he re-established his studio in 1993 and again went alone, with moderate to high success. He's pretty much stayed there since then.
  • Up until 2015, the Terminator franchise had bad luck with this; with the first four films in the series having the involvement of production companies (Hemdale, Carolco, C2, and The Halcyon Company) that ended up being dead or dormant.
    • Hemdale Film Company, responsible for the first Terminator, ended up falling into a string of critical and commercial bombs, resulting in the company closing shop by the mid-1990s and assets being sold to PolyGram then later Orion Pictures. It holds a consolation prize of being lucky enough to hang around at the time Carolco's Terminator 2: Judgment Day was released.
    • Carolco themselves later got torpedoed by the big disaster that was Cutthroat Island a mere few years later, which drove them into bankruptcy (more on that can be read back on the main page). Film producer Alex Bafer bought out the Carolco name and logo two decades later, under the intention of relaunching the brand with his own production company. Unfortunately, StudioCanal (the current owners of the original Carolco film library) eventually brought these plans down due to a legal dispute over the Carolco trade mark. In 2017, StudioCanal acquired the Carolco name, logo and the new company was renamed to Recall Studios.
    • C2 Productions, started by Carolco's co-founders, was intended to be a spiritual successor to Carolco (and Cinergi) and resurrect the Terminator series. C2 only got as far as Terminator 3: Rise of the Machines and the first season of the television series Terminator: The Sarah Connor Chronicles before The Halcyon Company purchased the global rights to the Terminator series, rendering the company defunct, and the death of Andrew G. Vajna in 2019 ensured the company would not be coming back. It didn't help that their only two non-Terminator productions (an In Name Only film adaptation of I Spy and Basic Instinct 2) were both critically-savaged box-office flops.
    • The Halcyon Company attempted to pick up where C2 left off with the second season of The Sarah Connor Chronicles and Terminator Salvation, the latter of which was intended to start a new film trilogy. Despite making a good profit on Salvation (which received mixed-to-negative reviews and failed to break even), a lawsuit related to the film drove Halcyon into bankruptcy. They only escaped being killed outright by selling the film rights off to a hedge fund that invested in the company, and even then it took the company four years to produce another movie afterwards.
    • Averted with Skydance Productions, who produced Terminator Genisys. Despite the film receiving worse reviews than Salvation and being the franchise's lowest-grossing film to date in the US (overseas gross pushed the film to just barely failing to break evennote ), Skydance is in relatively good standing. This can largely be credited to the production company having a close partnership with major studio Paramount (who has financed and distributed all of their films to date) and having a otherwise consistently solid box-office track record.
  • Cinergi Pictures, which was formed following Andrew G. Vajna's departure from Carolco, tried to rival the latter with films featuring big-name stars and a distribution agreement with Disney. Unfortunately, the triple-hit knockout of Shadow Conspiracy, Deep Rising and An Alan Smithee Film: Burn Hollywood Burn sent the firm into financial meltdown quickly, eventually shutting down after the third film grossed a staggering $52,850 against a $10 million budget. The rights to all of Cinergi's films save for Die Hard with a Vengeance were sold to Disney following its closure as a condition of canceling the distribution agreement. Vajna would use the name on an intermittent basis on video games and Hungarian films over the next decade and spend the rest of his life as head of the Hungarian National Film Fund. At least the studio was lucky to have been hanging around several years longer than Carolco.
  • Caravan Pictures was intended to be a specialty division for Disney when it was formed by famous Hollywood producers Roger Birnbaum and Joe Roth in 1992. The label's first movies (The Three Musketeers, Angels in the Outfield, and A Low Down Dirty Shame to name a few) were moderate to large box offices successes, but when Roth left the studio to become chairman of Walt Disney Pictures, a string of huge box office bombs followed and the few films that did turn up a large profit (While You Were Sleeping, G.I. Jane, and Six Days Seven Nights) were not enough to convince Disney to repair the label's critically damaged reputation. This led to Birnbaum, who was placed in the chairman's seat following Roth's departure, leaving the studio to form his own company, Spyglass Entertainment, in 1998. Disney shut down Caravan in 1999 following the release of the commercially successful but critically thrashed Inspector Gadget Live-Action Adaptationnote . What remained of Caravan was absorbed into Birnbaum's then-new Spyglass Entertainment.
  • Spyglass Entertainment themselves were forced to close up shop in 2011, though not because of the performance of their films (their last three productions were all box-office successes); rather, Spyglass's demise came as the price of the company's founders (Birnbaum and Gary Barber) overseeing the new holding company for Metro-Goldwyn-Mayer in 2010, who had recently escaped from bankruptcy at the time. The company heavily dialed down its output following this change, eventually ceasing operations altogether. After Barber was ousted by MGM in 2018 over studio politics, he revived the company a year later with the above-mentioned Lantern Entertainment as Spyglass Media Group.
  • John Ford and Merian C. Cooper's Argosy Pictures suffered a unique case of a lingering death. Their initial collaboration was The Fugitive (1947), an adaptation of Graham Greene's The Power and the Glory that proved a colossal box office bomb. Though Ford made successful pictures like Fort Apache and 3 Godfathers under Argosy's banner afterwards, Argosy never made up the losses from its first feature, and the company merged with RKO in 1948 before being disbanded in 1953.
  • Igor was the first and last mainstream animated film made by Exodus Film Group. After the film bombed, it took another 6 years for them to make their next film, The Hero Of Color City and, to add insult to injury, that movie was only released to a limited amount of theaters. It was also the only animated CGI film distributed by MGM until Sherlock Gnomes in 2018 (albeit with Paramount), although the financial troubles they were having at the time probably didn't help.
  • With Nicholas Sparks adaptations reaping in piles of cash throughout the 2000’s, the author founded a self-titled production company in 2012 to not only continue turning his books into films but also develop TV projects. Unfortunately, these romance films slowly started to lose their click with audiences with unstable to diminishing returns for Safe Haven, The Best Of Me and The Longest Ride. The underperformance of 2016’s The Choice proved to be the last straw and Nicholas Sparks Productions shut down later that year.
  • Dark Castle Entertainment has yet to release another film after the critical and commercial failure of Getaway. Four years later, the company released Suburbicon, which so far has also performed horribly at the box office.
  • In 1995, The Jim Henson Company and Sony Pictures founded Jim Henson Pictures in order to produce a variety of family films, including several Muppet movies. They only made three films: Buddy, Muppets from Space and The Adventures of Elmo in Grouchland...and they all tanked at the box office. The back-to-back failures of the latter two films caused the two companies to end their partnership with the latter company using the label in-name-only for whatever films Henson managed to produce; the Jim Henson Pictures name was finally being retired after the lackluster performance of Good Boy. It's also believed the failures of both Space and Elmo prompted the Henson family to sell the company to EM.TV, only for EM.TV to experience financial hurdles and put the company on sale, resulting in the Henson family buying the company back a few years later for barely a tenth of the original price (the company was initially sold for $680 million, and was re-aquired for $58 million). The aftermath of that event ultimately cost the company its signature Sesame Street Muppets (sold to Sesame Workshop by EM.TV) and the main Muppets franchise and Muppet trademark (sold to Disney shortly after the Henson family got the company back). This is also why Disney went solo with their two Muppet outings.note 
  • Dualstar Entertainment, the production company of Mary-Kate and Ashley Olsen, found itself in an unstable situation following the failure of New York Minute (which also had the side effect of being the Olsen twins' last theatrical outing and last film period showing them together), ultimately going dormant in 2007. The company was revived in 2013 but they've shifted gears to fashion instead and have seen better success in that field.
  • The English language remake of Funny Games was the most expensive project for Tartan Films and due to the film’s poor box office gross the company had to shut down.
  • Revolution Studios had never had the most consistent box-office track record for their films during their initial tenure in film, as their films varied between commercial hits and commercial flops. 2007 however was a year which saw the majority of their theatrical output (which included Perfect Stranger, Next, The Brothers Solomon, and Across the Universe) fail heavily at the box office, prompting the studio to abandon film production and focus strictly on their television work. Understating their film's budgets certainly didn't help them in the long run. In the meantime, Revolution boosted their library by acquiring Morgan Creek (Ace Ventura: Pet Detective), GK Films (Hugo), Cross Creek Pictures (Black Swan), and Cold Spring Pictures (Up in the Air). The studio returned to theaters in 2017 with XXX Return Of Xander Cage —the release of which marks their first theatrical production in an entire decade. The film (ironically) became the studio's highest-grossing film to date, but whether they capitalize on its success with more films in the future is yet to be seen.
  • Austrian crystal jewelry company Swarovski decided to go into film production with their first feature being the 2013 version of Romeo and Juliet with Hailee Steinfeld. Showing how serious they were with their ambitious plans, Swarovski Entertainment commissioned Oscar winning costume designer Milena Canonero to design jewelry for the film that would later be sold around release and handled almost all aspects of marketing (Relativity Media served as a rent-a-distributor). The film was critically panned for diverting too much from Shakespeare's words and tanked at the box office, causing Swarovski to have second thoughts on their film division.
  • York Entertainment's failure isn't so much from a specific movie note  but from the actions of its founder Tanya York. From several websites like this, Tanya has been described by filmmakers note  who've worked with her as a scam artist who frequently breaches her own contracts by failing to update them on their film's status and embezzles money from them by claiming their films aren't making enough or have yet to be released at all; despite evidence saying otherwise. While it's unknown how much of these rumors are true, numerous lawsuits have been reportedly filed against Tanya York with her last credited film role being in 2005 as the producer of Dr. Chopper. York Entertainment hasn't produced a film since 2011 as Tanya has shifted her focus towards cosmetics with a new company called MicroArt Makeup.
  • The spectacular failure of Mannequin 2: On the Move took down Gladden Entertainment, resulting in a messy lawsuit between them and 20th Century Fox over losses. Gladden was soon forced into bankruptcy due to unpaid residuals and its founder, David Begelman, committed suicide in 1995 as a result of his company's ruination.
  • PentAmerica was done in by the dual failures of Man Trouble and Folks, costing them most of their $60 million investment. Their parent company, Penta, shut them down before the release of their last film, Dangerous Game, which was dumped by MGM.
  • MGM hoped that their Bill Murray vehicle, Larger Than Life, would be a box office splash, but the exact opposite occurred. The company responsible for financing the film, Majestic Films, crumbled and their library was sold off a year later.
  • Kodiak Films bankrolled the Cold War pic The Fourth War, which dated itself immediately upon release in 1990 as communism had already collapsed in the USSR a year prior. It predictably bombed at the box office and Kodiak only made one more film, the Mad Max knockoff Neon City that went Direct-to-Video, before filing for Chapter 7 bankruptcy.
  • Worldview Entertainment was already unstable thanks to general mismanagement and financial shenanigans that not only led to some messy lawsuits but prevented them from investing in further films (their output were mostly duds). The triple whammy of Triple 9, Rules Don't Apply and Tulip Fever was the straw that broke the camel's back. The company has since gone defunct.
  • Codex Pictures shut down pretty much immediately following The failure of Ultramarines, and took any chance that Warhammer40000 might become a movie franchise in the near future with them.

    Other 
  • Low viewership and cost overruns of original series like season six of Community, Outer Space and Sin City Saints destroyed Yahoo!'s Screen service. The already-troubled tech company was seeking to diversify its industries by jumping to entertainment, shutting down its former Yahoo Video service to the ire of Yahoo's user base. However, the process took longer than expected, as Yahoo Screen wouldn't start up until September 2013, by which time Netflix had already dominated the streaming media industry by that point. Despite getting some success with picking up Community (which had been canceled by NBC after five seasons) for a sixth season, as well as a digital telecast of an NFL game, Yahoo wrote all three series off due to financial problems, costing an estimated $42 million from the company. The financial fallout from the service as well as increasing executive meltdowns at Yahoo ultimately resulted in Screen shutting down in January 2016.

Advertisement:
Top

Example of:

/

Feedback