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  • The Aikatsu Stars! movie suffered this trope due to being released during Obon, which is a very important holiday for Japanese families and opening on the same weekend as The Secret Life of Pets. On most of the weekends following opening weekend, multiple typhoons hit the country, keeping many families in their houses for the weekend as weather conditions were unsafe.
    • The same problem plagued the movie of fellow Bandai property Happiness Charge Pretty Cure two years prior, but with a better outcome. It opened at number 5 and earned 100,000,000 yen due to Typhoon Vongfong.
  • At the end of the preshow shown during the Fathom Events screening of Dragon Ball Z: Resurrection ‘F’, previews were shown for other Funimation films that would get releases on a nationwide scale, including Shin Godzilla, The Boy and the Beast, Psycho-Pass, both parts of Attack on Titan and Ghost in the Shell: The New Movie. Of these films, only Attack on Titan was released nationwide. However, said release had a subtitling error which got so much backlash that Funimation wound up canceling their plans for the remaining four nationwide releases.
  • Tobidasu PriPara: Aim For It With Everyone! Idol Grandprix, despite the success of the first PriPara movie half a year before, was only screened in fifteen theaters in the entire country because Avex Pictures did not think it would do that well since they saw it as a quickly done cash-grab for its' 3D gimmick. Combine that with the film being released on the same day as Pan and the Go! Princess Pretty Cure movie, and the movie didn't gross as much as the two films based on the franchise that followed it or its' predecessor.
  • Both Shimajiro movies were this: The first was released the same weekend as that year's Doraemon film and the second Pretty Cure All Stars New Stage movie, and the second was released the same exact week as Frozen, which had a 16-week reign at the top of the box office. Both wound up totaling 116,000,000 yen in ticket sales. Box Office Mojo doesn't even list either movie in any list at all for this reason. The films after Shimajiro and the Whale's Song were released only to Aeon theaters as a result, with the exception of the 30th anniversary film Shimajiro and the Rainbow Oasis, which also failed at the box office against that year's Doraemon film and Coco.
  • Love Live Sunshine: The School Idol Movie Over The Rainbow got a horrible case of this. Not only did it open in less than half the theaters of its' predecessor, it also opened on New Year's weekend, which is the most important holiday in Japanese culture and also is a time when many children get a two-week long break from school. The result was that the film opened at #8, curbstomped by Ralph Breaks the Internet, Dragon Ball Super: Broly and Kamen Rider Heisei Generations Forever, all of which were aimed at a child audience, as well as the wildly-popular Bohemian Rhapsody.

    20th Century Fox (Pre-2019) 
  • 20th Century Fox was rather infamous for this in film as well as television under Tom Rothman, who left in 2013 for Sony. Some examples include:
    • 127 Hours: dumped by Fox in favor of Love and Other Drugs due to uneasiness over the film's content. Sabotaged again after Oscar announcements when Fox announced the DVD release two days before a hastily scheduled wide release. However, the film has managed to be a hit in the UK (where it was distributed by Warner Bros.)
    • Babylon A.D.: Taken away from director, and heavily edited from its original concept. Release date postponed to just before Labor Day weekend and died against Tropic Thunder and The Dark Knight.
    • The Big Year: dumped by Fox despite having three bankable names in the lead roles, an established supporting cast and a director whose last two films grossed over $100 million. The studio also released a trailer that misrepresented the plot of the film and had almost no promotion done for it.
    • One example where the screwing didn't work was Borat. With the film being mired in controversy in the months prior to release, and with almost all Middle Eastern countries refusing to clear the film for release, Fox released the film to just 837 theaters on its opening weekend under the belief it would bomb. In a surprise that shocked much of the film industry at the time, the movie won the top spot at the box office with a massive $26.4 million haul, instantly making its budget back. Fox went on to release the film to more theaters the following weekend and it ended up grossing $261.6 million worldwide, becoming the highest-grossing mockumentary of all time.
    • The Crucible: It’s not known why Fox had no hope in this movie. Despite receiving plenty of hype from critics and the film being major Oscar Bait material (in a good way), Fox dumped the film into a limited amount of theaters and gave it barely any advertising, resulting in the film shockingly becoming a Box Office Bomb despite good reviews from critics.
    • Fantastic Four (2015): Taken away from director, hastily re-edited and re-shot, and several significant scenes were cut for reasons unexplained. The release date was postponed numerous times and its advertising campaign didn't start until seven months before release. It died against Mission: Impossible – Rogue Nation.
    • Fantastic Mr. Fox: released on Thanksgiving weekend with almost no marketing whatsoever and died against Twilight: New Moon and The Blind Side.
    • Idiocracy: dumped into 125 theaters with no advertising (due to studio politics and choosing to promote The Marine instead; the film's constant jabs at the FOX network and Fox News might also had something to do with it).
    • Perfect Creature: dumped into regional release for one week and then released straight-to-DVD.
    • The Pyramid: 20th Century Fox did very little promotion for the film outside of horror-centric websites, and dumped it into just 589 North American theatres on the first weekend of December (traditionally one of the worst box office weekends of the year). The following weekend they expanded it to 685 theatres; just barely enough for it to technically count as a "nationwide" release.
    • Ravenous (1999): dumped into 1,000 theaters with limited advertising (and mismarketed as a teen-oriented horror film).
    • Sunshine: dumped into 500 theaters after one week of successful limited release and left to die against The Simpsons Movie (Fox apparently did this as they didn't like the international numbers).
    • Tigerland: dumped into 5 theaters with no advertising.
    • Titan A.E. was given about a year of production time when Don Bluth was put on the project. His team manged to finish the film just barely. The film then proceeded to lose over $100 million upon its theatrical release, so they decided to close its animation division completely.
    • Whip It: dumped into under 2,000 theaters as Fox spent more time promoting Jennifer's Body (also Fox only sneaked the film to bump up the latter's numbers).
  • The Flamingo Kid, while not a Fox production (ABC produced it), was actually profitable and got applause from critics and audiences. Problem was, Fox only got a cut of the gross from box office performance and not subsequent home video sales, and since they were pouring tons of money on advertising, they made far less money on it than they hoped. So, out of sheer spite, Fox pulled the film not long after release, causing ABC to miss out on potential revenue from home video and pay-TV sales. A big case of Screwed by the Distributor if there was one.

    Dimension Films/The Weinstein Company 
  • Dimension Films does this more than any other film company — they chopped 20 minutes off of The Crow: City of Angels, (most of which were character development scenes and very important plot points) then they released The Crow: Salvation Direct-to-Video after poor test screenings; they cut the planned 2000-plus-screen wide release of Equilibrium down to less than 300 screens because the film was already in profit from international distribution deals and spending money on additional prints or advertising might have ruined those profits; they shelved films like Texas Rangers and My Boss's Daughter for over a year with little explanation. Some films, like Venom (2005) and DOA: Dead or Alive were barely advertised at all and given a very limited release. And releasing Scream 4 during the Easter period while all the others were kept for winter (and notably giving it little publicity outside North America — tellingly, this was the only film of the series where none of the cast did any British promotion, although Hayden Panettiere did go to Germany for that purpose)? Bad move.
  • The indie horror film All the Boys Love Mandy Lane got screwed out of an American release when the Weinstein Company, which had spent three million dollars for the rights to it, suddenly canceled its planned 2007 release after seeing the disappointing box office returns of Grindhouse and other horror films early that year. They sold the rights to Senator Entertainment US, which has since gone out of business, leaving the film in limbo. To this day, it has not seen the light of day in America outside of bootlegs and festival screenings, and until somebody takes care of the legal mess the film is in, it's unlikely that it ever will. Fortunately, this tale has a happy ending — the film was released in Britain, where it made back its budget two-and-a-half times over and Weinstein Co. FINALLY managed to get the rights to the film back in 2013; it got a limited theatrical release in the US in October of that year.
  • The Weinstein Company screwed over the Miley Cyrus film So Undercover by pushing it back several times since it was completed in 2010; finally, it got a release date of October 5, 2012, only for that to be changed to a Direct-to-Video release. (However, it did get theatrically released in some overseas territories.)
  • Weinstein also screwed over Underdogs by moving its release date August 27, 2014 to January 16, 2015. Then, it was moved from January 16, 2015 to April 10th , 2015 so that they could release Paddington. After that. they moved the release date from April 10th, 2015 to August 14, 2015 to avoid competition with Furious 7. The week before the scheduled release date, it was pulled with no explanation whatsoever, which was a bad move on their part since the only kids' movies in wide release at the time were Shaun the Sheep and Minions.

  • Lionsgate (through Summit Entertainment) decided to release Early Man on the exact same weekend as Black Panther, resulting in it having the third worst opening for an animated film of all time in the United States after All Dogs Go to Heaven 2 and Teacher's Pet. It also did poorly in its home country of the United Kingdom due to it being released the same weekend as Coco.
  • The Miley Cyrus film LOL was demoted to a limited release after a year in Development Hell. To make matters worse, they released it the same weekend as The Avengers, which had the then-largest box-office opening of all time. In fact, the studio didn't even do promotion; they gave those duties to its home video arm.
  • The Midnight Meat Train was supposed to get a wide release in 2008, but Lionsgate only ended up releasing it in the secondary market to dollar theaters on a grand total of 100 screens, and the film didn't even make back a quarter of its 15 million dollar budget. Clive Barker was outraged at the poor treatment, claiming that Lionsgate shortchanged the film in order to focus more attention of films like The Strangers (which Barker produced).

    Metro-Goldwyn-Mayer/United Artists 
  • One of the earliest examples known for this to happen in film was Erich von Stroheim's silent masterpiece Greed. It was dumped with almost no advertising by MGM on its opening day, instead leaving those duties to William Randolph Hearst's newspapers. The film was poorly received and was an instantaneous box office failure. Historians blame MGM's poor micromanagement and their falling out with Stroheim on the film's poor performance, as they had removed at least seven hours of crucial footage from the film (the original cut was nine hours long) and trimmed it to two hours, leaving the film a complete mess and numerous plot holes unresolved in the process. Since the film is held in a higher regard today than in any point in history (thanks, in no small part, to Turner Classic Movies' four hour restoration of the film that tries to be as faithful to the original cut as possible with what little surviving footage they had), this is perhaps the most tragic example of being a film being Screwed by the Studio.
  • The 1992 film adaptation of Of Mice and Men was dumped to just 398 theaters and grossed only $5.4 million in its run. Since the film was well-received and is regarded as one of the finest adaptations of the original novel, one can scratch his or her head wondering what prompted MGM to think the film wasn't worth it.
  • Rock & Rule was initially a co-production between Canadian animation studio Nelvana and Metro-Goldwyn-Mayer and things seemed to go well early in production. However, when the film was halfway through, MGM had merged with United Artists. Thanks to the executive shuffling that followed, the old management was gone, the new management had no idea what they were co-producing, and decided the film wasn't worth their time or money. To celebrate, they ordered Nelvana to make dozens of changes to the American release, most notably recasting Omar from Greg Salata to Paul Le Mat (of American Graffiti fame) and changing the film's title to Ring of Power for releases outside North America. In the end, MGM just added salt to the wound by choosing to give it a limited release in Boston with absolutely no promotion. It grossed only $33,000 against an $8 million budget, making it one of the biggest animated box office bombs of all time.

    Paramount Pictures 
  • Paramount screwed The Adventures of Tintin in the U.S. by choosing to open the film on the same day as the expansion of another Paramount title, Mission: Impossible – Ghost Protocol. While Mission: Impossible got trailers months in advance, a large IMAX push, heavily-promoted advance screenings and deluxe treatment by Paramount, Tintin was treated as an afterthought (granted, the character and his comics never caught on in the United States) with a light marketing push, limited awareness, and the cancellation of IMAX evening showings. All despite having none other than Steven Spielberg as director and the premiere of the trailer for The Hobbit on select prints. As a result, Tintin was outgrossed on opening day by the third Alvin and the Chipmunks film. The good news here was that the international release was far more successful.note 
  • Paramount had utterly no faith in Annihilation, giving it a single trailer and little marketing while setting the release date just one weekend after the smash hit Black Panther (2018). Even though the film wound up playing great with critics, the studio also failed to hold press screenings that could have helped word of mouth spread earlier, only lifting the embargo a day before release. Finally, in a bid to mitigate potential losses, the studio sold distribution rights (outside the United States, Canada and China) to Netflix, despite protests from both the film's creators and eventual audiences that it was meant to be seen on a big screen. With such confidence behind it, it's hard to believe the film only did $11 million on its opening weekend and will struggle to match its $40 million budget - meaning the film will not recoup its costs in North America, while any profits from the Netflix deal come at the cost of strengthening a competitor's brand with an acclaimed prestige studio title.
  • The 1992 slapstick comedy Brain Donors (a modern-day Three Stooges-meets-The Marx Brothers-style farce starring John Turturro) was originally produced by David and Jerry Zucker as Lame Ducks for Paramount. However, when the Zuckers left for another studio, Paramount scrapped the planned publicity campaign, changed the title, and withdrew the film after its initial screenings. It sank into obscurity and has since developed a cult following due to the VHS/DVD releases.
  • Cirque du Soleil: Worlds Away is a good example of boneheaded thinking when it comes to releasing a niche production (a 3-D Movie compilation of Cirque live show highlights brought together by an Excuse Plot). Paramount released it during the crowded Christmas 2012 period — on the same day as another Paramount release, Jack Reacher, to be exact! And unlike that Tom Cruise vehicle, the Cirque film didn't get a big ad push; given the film's no-star cast, they may not have known how to promote it beyond a trailer, poster, and a TV spot or two. To make matters worse, it only managed two showings per day on the 800-or-so screens it reached in North America, as it was forced to share space with other films. Paramount might have sacrificed better exposure for Worlds Away in an effort to keep Rise of the Guardians — a far more expensive family film that they were distributing for DreamWorks Animation and had surprised the industry with its box-office underperformance — on screens through the season. And to their credit, they did manage wide exposure for Worlds Away’s DVD release the following spring.
  • Friday the 13th Part III has had a bizarrely poor treatment from Paramount despite being one of the most important films in one of the studio's biggest franchises. The film was originally shown in 3D, and nearly every scene in the film is designed to take advantage of this, with weapons, blood, body parts, popcorn, yo-yos, and juggled fruit all flying at the camera. However, for some reason the movie has never been given a remotely competent 3D home video release. Both the DVD and Blu-ray releases use the old-school anaglyph (red and blue) 3D system, which can be used very effectively, but both versions suffer from a number of downright amateur encoding issues that result in nauseating double vision with little to no 3D. Now that the 3D Blu-ray format, which is far superior to anaglyph, has become commonplace, fans have been waiting for Paramount to give Part III that treatment, but it doesn't look like it's ever going to happen, leaving the film a nonsensical mess of things flying at the camera in 2D.
  • Paramount's next stunt was postponing G.I. Joe: Retaliation to March 2013 (after TWO Super Bowl spots no less) when its plum July 4, 2012 weekend release date was only a month away, for two reasons: 3-D conversion (to earn more money) and re-shoots to give Channing Tatum more screentime (while it might lead to Character Development, it is cashing in on a rising star's name). Fans did not take this well to say the least. The studio got what it gave for this decision — since Retaliation was their one self-produced tentpole movie for summer 2012 (The Avengers and Madagascar 3 respectively being distribution-only efforts for Marvel Studios and DreamWorks Animation,note  neither of which they would see the bulk of the grosses on), it effectively left them with a hitless summer.note  For all that, it actually did well at the box office when it finally came out in the spring of 2013, but who knows how much better it might have done had things gone as planned?
  • God Particle was a science-fiction film set to come out in early 2018. Fearing a bomb, Paramount ultimately took the film to J.J. Abrams' Bad Robot, who shot additional scenes and re-worked the film into The Cloverfield Paradox, and then the studio sold the film to Netflix, who then debuted it immediately after the Super Bowl. note 
  • Paramount did this to Hugo after picking the film from Sony (due to the film's producer/co-financer wanting to open the film on Thanksgiving and Sony wanting Arthur Christmas for that spot). Examples include: mismarketing the film as either a comedy or an Inception-style thriller, barely marketing the film before the release, reducing the film's theatre count from 3,000 theatres to just 1,200 a week before opening and choosing to go with a quiet expansion rather than spreading awareness. Not even the film's massive critical acclaim and awards nominations and wins helped Paramount change their minds.
  • Paramount canceled the United States release of The Little Prince just a week before its scheduled release, making it one of the most abrupt release cancellations ever. Paramount allegedly feared the film would not hold out against either Zootopia (which was a massive hit) or Batman v Superman: Dawn of Justice (which was scheduled for release the week after The Little Prince's canceled release), and would've served as another box office bomb in Paramount's history booksnote . The distribution rights were eventually picked up by Netflix on the week of its intended release.
  • Mission: Impossible II was taken away from director John Woo and was heavily re-edited as studio executives were skeptical on the elements of the film. It's believed that Woo had been locked out from the editing room to prevent him from interfering with their progress.
  • Silence, a long gestating passion project from Martin Scorsese, got a piss poor release in the States. Rather than have a 2017 release (Scorsese just finished editing two months before release), due to awards potential, Paramount gave it a Christmas release, had it playing in less theaters than the other awards contenders and gave it minimal advertising. Even when they expanded the amount of theaters later on, it was too late and the film became a flop.
  • The Sponge Bob Movie Sponge Out Of Water was this in Japan. First of all, it was only played at one theater chain, Aeon, who has only a handful of theaters in Japan. Second, it was released at a time when Cinderella (2015) captured the hearts of Japanese audiences - it owes part of its success in Japan to the popularity of Disney in Japan, especially the characters in the short that plays alongside the movie. Third, a few family films based on more popular animated shows had just come out. Nice job ruining it, Nickelodeon!
  • Star Trek: Nemesis was so botched, that Paramount basically sacrificed it to The Two Towers, knowing it didn't have the remotest chance of competing with that movie. Curb-Stomp Battle doesn't even begin to describe how this film fared in that little competition. This, combined with bad word of mouth (the movie performed dismally even taking its competition into account) basically turned the movie into one of the most notorious flops of any major release, and killed the TNG film franchise.

    Sony Pictures (Columbia/Tri Star/Screen Gems) 
  • Terry Gilliam's The Adventures of Baron Munchausen is a rather infamous example of this. It was greenlit by Columbia Pictures, then under the management of eccentric British producer David Puttnam, who wanted to make Columbia the anti-Hollywood of the Hollywood studios and flopped miserably. Puttnam eventually resigned while Columbia cleaned house and hired new management who didn't care about the remaining Putnam films, so Munchausen — which had a Troubled Production, sadly typical for a Gilliam film, resulting in an over-$46-million budget to make back — was dumped into 117 North American theaters with next to no publicity. It made only $8 million in the end. It still managed a few Academy Award nominations for its technical strengths (though it didn't win any) and did well with critics; today it's considered one of Gilliam's best films.
  • Attack the Block was dumped into just 11 markets with almost no advertising by Screen Gems despite having mostly excellent test screenings and word-of-mouth. Supposedly, Screen Gems wanted to build Paranormal Activity-esque hype on the film but their choices of theatres was completely random and entire markets were shut completely out on the film. There was also no website that listed when theaters would be getting the film.
  • The Sam Peckinpah western Major Dundee was taken out of the eccentric director's hands after a troubled shoot, before certain crucial scenes could be filmed, and released with a score he didn't like and missing what key character-focused footage had been shot. A 2005 recut of the film provided a new score and restored what lost footage could be found.
  • Part of the reason Muppets from Space bombed was because it was originally made with a February 2000 release in mind. Sony, however, wanted another hit for their summer 1999 slate alongside Big Daddy. So quick was the change that the advertising budget was cut, to the point where by the time the film premiered there was not as much hype as the previous Muppet film, Muppet Treasure Island (which was released on a February and did fairly well box office-wise) to turn audiences out.
  • Othello was a bad example of the trope, being run in a crowded market (that included Sony's own Jumanji and Toy Story, among others), but even more shocking was the theater count: not only did it only show in two theaters on opening weekend, the widest release for the movie was less than three hundred. As a result, it only grossed $2-some million on an $11 million budget, despite generally receiving favorable reviews from critics.
  • Peter Bogdanovich's Texasville the long-awaited sequel of The Last Picture Show, is another example of getting "Screwed by the Studio" (and Bogdanovich actually used those words to describe it). Columbia Pictures was supposed to re-release Picture Show - which was rarely shown on TV and never released on video at the time - prior to releasing the sequel, a promise that was later reneged. Originally 2½ hours, Bogdanovich cut 25 minutes off of Texasville, predominantly scenes that would have not made sense to a viewer that had not seen the earlier film. To make matters worse, Columbia subsequently dumped Texasville with limited distribution. A director's cut was released on Laserdisc, and nowhere else.

    Universal Pictures/Gramercy Pictures 
  • Happened to David Lynch with his 1984 film adaptation of Dune. It was such a negative experience that he actually turned down the chance to do a director's cut years later and had his name taken off the extended version that was made without him.
  • Even though Universal agreed to finance the British indie film Ex Machina, the US studio rejected the film believing it didn't fit with their slate in 2015 (they did release the film in the rest of the world, though). So the producers thought that Universal's indie label Focus Features would be more than happy to pick it up, except then-Focus head Peter Schlessel gave the movie a thumbs-down as well. With no unit at Universal US interested, the producers had no choice but to sell the rights to another indie studio, A24. To Universal's surprise, the film ended up grossing far more money in the US than any other international market, and Universal didn't see a dime from the gross. This left Universal so humiliated that Schlessel was fired from Focus almost a year later.
  • Possibly due to Gramercy Pictures' split management (it was a joint venture between Universal and Polygram Filmed Entertainment, serving as the former's arthouse and low budget label and the latter's North American distribution arm), this kept happening to their movies:
    • Dazed and Confused tanked in its initial release largely because of two bad decisions by Gramercy: releasing it in September (when much of its potential audience was heading back to school), and misleadingly promoting it as a Stoner Flick.
    • Mallrats was an in-between case- Universal was handling it, and while producer Jim Jacks mainly helped Kevin Smith by trimming a lot of excess scenes, there were still problems, not to mention the miserable box-office take it had (combined with Michael Moore's Canadian Bacon, it was a one-two punch that nearly killed Gramercy).
    • The Mystery Science Theater 3000 movie was given exactly no publicity, as the studio threw its muscle behind Barb Wire. Yes, a film based on a series about mocking B-movies was shafted so the studio could advertise a glorified B-movie. Can you say "irony"? (Especially when both movies tanked, but MST3K actually had an active crowd.)
    • For more on Gramercy's troubles, see here.
  • Rob Zombie's film House of 1000 Corpses managed to get screwed by two studios. First, Universal was set to release the film in 2000 (it was even filmed at one of their theme parks), but after seeing the final cut, Universal execs worried that the film would recieve an NC-17 rating, and later decided to drop the film. Second, Rob Zombie made a deal with MGM to release the film in October of 2002, only to drop the film afterwards after Zombie claimed that the company had no morals for releasing the film. So, then, he had no other choice but to release the film independently, until Lionsgate showed interest in the film, and so they were able to cut some footage for an R-rating and they successfully released the film in April of 2003, 3 years after the film wrapped up filming.
  • Phantasm III: Lord of the Dead was hit by this...twice.
    • First was after the film was completed. Universal decided that it was not of their interest to release the film theatrically and only gave it a test run in two cities (Grand Rapids, Michigan and Baton Rouge, Louisiana) to fulfill a contractual obligation. Even after it performed well in those two cities alone, Universal refused to expand the film further and sent it straight-to-video.
    • But then, the video release got screwed by that multi-headed beast known as Blockbuster Video. Universal made a deal with McDonald's to sell some VHS copies of certain films exclusively at their stores for the 1994 Holiday season, similar to a deal the fast food chain made with Paramount a year earlier and Orion the year before that. Those three deals were controversial among some video stores who considered it an unfair business practice and a disadvantage to the rental market. According to Phantasm maestro Don Coscarelli, Blockbuster retaliated by refusing to stock Universal's lower-profile releases, of which Phantasm III was one of them, cutting sales of the film dramatically.

    Walt Disney Studios 
  • In re-releases, Aladdin has been this. The Platinum Edition was released direct to DVD after The Lion King failed to meet expectations in IMAX, and the Diamond Edition was released too late to hop on the 3D bandwagon, let alone the theatrical bandwagon, after The Little Mermaid's 3D theatrical rerelease was cancelled and released direct to Blu-ray 3D, followed by Disney temporarily dropping support of Blu-ray 3D in North America the next year.
  • According to The Hollywood Reporter, Disney's purchase of both Marvel Comics and Lucasfilm, as well as the ousting of then-studio chairman Dick Cook, was a motivation for DreamWorks leaving Disney for Universal. By the time Disney began to focus more on tentpole films following the purchases, DreamWorks' film slate was drastically cut (although financial troubles within DreamWorks were also to blame), and many DreamWorks films under the deal were disappointments at the box office even if they were critical successes (with Bridge of Spies being an example). DreamWorks head Steven Spielberg later had a falling out with Disney regarding their treatment of his studio and decided to reorganize it, heading back to his long-time home at Universalnote  and bringing both DreamWorks and Amblin Entertainment full circle.
    • The above fallout between Disney and Spielberg may have also played a role in the failures of The BFG, Spielberg's first (and possibly only) effort with Disney and the penultimate film of DreamWorks' deal with Disney, and The Light Between Oceans, the last film of the deal. For the former, Disney barely promoted the movie aside from trailers and TV spots, and chose to make more bets on Finding Dory, which had the biggest opening for an animated film in years. Since The BFG didn't look like anything Disney would want to make a franchise out of, they dumped its release date two weeks after Finding Dory's release, with disastrous consequences at the box office. Meanwhile, the latter also suffered from lax promotion (not to mention mediocre reviews), and was dumped to just before Labor Day weekend, already a traditionally-poor month. The film grossed just $12 million against a $20 million budget domestically, with international gross just barely helping recoup its budget.
  • In Japan, Inside Out was released on the same day as Hero 2 and had competition in the form of the critically-acclaimed The Boy and The Beast. Due to this, it became Pixar's second lowest-grossing film in Japan, only beaten by Brave, which was beaten by a Pokémon film. The ironic part? Inside Out made more money than the Pokémon film that came out that same weekend, although that could be in part due to its declining popularity in the country thanks to Yo Kai Watch. It later became popular and knocked the Pokémon film out of the top ten on its third weekend, and has already made more money than Annie did in its entire run.
  • Max Keeble's Big Move bombed because it was released a few weeks after September 11th, limiting the amount of advertising the movie got as most television stations note  during this time period pulled their advertising and showed PSAs in the place of regular advertisements.
  • Miramax Films (under Disney's watch) managed to run the Pokémon franchise's theatrical series in the States to the ground. After Pokémon 3 failed to meet Warner Bros.' financial expectations, the contract with Warner lapsed and the rights were passed on to Miramax, then owned by Disney. Apparently, Miramax had no interest in the Pokémon series and sabotaged the U.S. releases of Pokémon 4Ever and Pokémon Heroes respectively. First they gave the films an extremely small advertising campaign, released them at less than 300 theaters (compared to Warner's films, which were released in more than or around 3,000 theaters) and pulled them from the theaters after two months. The end result was that both films failed to gross more than $10 million at the box office, with Heroes failing to reach the $1 million mark. As a result, Pokémon: Jirachi: Wish Maker and Pokémon: Destiny Deoxys were made exclusively direct-to-video before Disney's license expired, after which Pokémon USA permanently assumed the rights to the entire anime. It would take thirteen years for The Pokémon Company to decide to give worldwide theatrical distribution another chance, partnering up with Legendary Pictures for a live-action Pokémon movie, but rather than expand the anime's story or start a new live-action Pokémon universe, the trio decided to go a new direction: focusing entirely on Pikachu and his escapades and base it on the spin-off Detective Pikachu, which had not been released outside Japan at that point. Ironically, Warner Bros. will handle distribution of this film (after Universal broke off from their deal with Legendary), marking the first time in 18 years the studio distributed a Pokémon film.
  • When the opening box office weekend for The Rescuers Down Under didn't live up to expectations, studio head Jeffrey Katzenberg pulled the plug on the promotional campaign. It also didn't help that the movie competed against Home Alone (that said, Katzenberg did have a Pet the Dog moment with that movie's producer over the phone, and Rescuers Down Under got better reviews than Home Alone).
  • Sleeping Beauty almost made a return to theaters in Spring 1993, with a trailer even appearing on the 1992 Beauty and the Beast VHS. However, the failure of Pinocchio's Summer 1992 theatrical re-release convinced Disney that most of the public didn't feel interested in visiting cinemas just to watch a movie they either already owned on video, or could borrow from someone else. Consequently, this engagement of Sleeping Beauty underwent a two-year delay, then played in only a few theaters.
  • Disney more or less abandoned Solo following the film's Troubled Production. Since the movie went over budget by $80 million, Disney refused to spend more money in marketing the film, and instead focused on promoting the more lucrative Avengers: Infinity War. Disney also denied Lucasfilm’s request to delay the movie to December, having already reserved Mary Poppins Returns for that month. Subsequently Solo was trounced at the box office by Infinity War and Deadpool 2 and is on track to lose $50-80 million, making it the first Star Wars movie ever to lose money in theaters.
  • Strange Magic was made by Lucasfilm, but the studio was bought out by Disney before it could be released. Disney released it in January with minimal advertising under Touchstone Pictures specifically so they could disown it, and the film got pulled from theaters after playing for a short amount of time. To make matters worse, the film has only been released on DVD, with no Blu-Ray release in sight.
  • Disney had a bad case of treating Studio Ghibli films this way. First, they were supposed to release Castle in the Sky and Kiki's Delivery Service into theaters, but they both wound up being released Direct-to-Video instead. It's also worth noting that the home video release of Castle In The Sky was delayed constantly for five years before it eventually got released. Then, the films they did put into theaters (save for The Secret World of Arrietty) were only released in a handful of theaters. This lead to Disney dropping their partnership with Studio Ghibli and instead releasing their films through GKIDS starting with From Up on Poppy Hill.
  • Terry Jones' The Wind in the Willows barely got a theatrical release by Disney in the States after its poor box office in the UK. This was despite the New York Times’ glowing review and Variety lashing out against the distributors for burying a terrific film. According to Jones:
    "Disney had always been reluctant to do much with it, they didn’t get idea of live action cartoon and wanted to put it straight out on video. I was doing a documentary in New York at the time and remember getting a phone call saying my film was actually playing at a cinema in Times Square. So I rushed down there only to discover it was showing at one of those seedy little porno theatres. Nevertheless I shot off to buy an instant camera just so I could get a photo of its name up in lights on the awning outside, but by the time I got back they’d taken it down again. That’s how long it ran for."
  • Disney released Winnie-the-Pooh in the US on the same weekend as Harry Potter and the Deathly Hallows - Part II (the highly-anticipated Grand Finale to that respective film franchise) with virtually no marketing to support the film. The reason for the studio's bleak outlook on the film was actually due to its disappointing international numbers (where the film flopped against Rio and Hop) and because other Pooh movies haven't fared well theatrically, but have done nicely on DVD. The box-office failure of this movie caused Disney to seriously reconsider making any future hand-drawn animated films, prompting some to question if Disney deliberately sent it out to die so they shift focus once more exclusively towards CG animated filmsnote .

    Warner Bros. 
  • The Apparition: The film was shot in early 2010, but Warner Bros. kept delaying the release until it finally came out in August of 2012. While it hasn't been confirmed, the finished film has all the hallmarks of Executive Meddling with what appear to be heavy cuts and reshoots. The movie was produced by Dark Castle Entertainment, who Warner Bros were just then discontinuing a distribution deal with. The studio not only delivered it two years late, they dumped it into just 810 theatres with little to no marketing - just one week before Lionsgate's heavily-marketed, 2,860-theatre release of The Possession. It opened in 12th place at the domestic box office and grossed less than $10 million worldwide against a $17 million production budget.
  • Batman: Mask of the Phantasm suffered from an eleventh-hour lack of faith by Warner Bros., refusing to screen the film for critics until the last minute and giving it the Invisible Advertising treatment. It was ultimately dumped by WB in favor of Grumpy Old Men, which was screened for critics, given a solid advertising campaign and opened the same day as Mask of the Phantasm, even though the latter was produced in a comparatively lower budget. The result? The film opened a measly $1.2 million against a budget of $6 million on opening weekend, and while Grumpy Old Men would go one to gross a blockbuster $70.2 million against a $35.1 million budget, Mask of the Phantasm fell $400,000 short in its entire theatrical run, only turning a profit thanks to home video sales. It should be noted that the film was intended to be a direct-to-video release, but WB thought it would make more money in theaters than on video. The whole debacle made WB make sure they didn't the repeat the same mistake with the follow-up, Batman & Mr. Freeze: Sub-Zero, five years later.
  • Warner Bros. attempted to screw Bonnie and Clyde by releasing it in August, where it would have certainly bombed, because they were alienated by the excessive violence that plagued the film. It ended up backfiring on them when the film turned out to be a massive hit with audiences, especially young moviegoers, and not only did it become a box office success, but it ended up being one of WB's highest grossing films at the time.
  • Collateral Beauty was not only sent to be released on the same weekend as Rogue One, but Warner Bros. crafted a deliberately misleading marketing campaign in an attempt to market it as a hopeful spiritual drama, the exact opposite of what the film was really about. As a result, the film failed to even recoup its $36 million budget domestically. Even for a film that was obvious Oscar Bait for star Will Smith, one really has to wonder if the film would've done much better if Warner was honest about the film's plot (though some, including YouTube reviewer Chris Stuckmann, speculate that Warner did this because they were embarrassed by it).
  • According to BuzzFeed's article on the film's 20th anniversary, a month before releasing Empire Records, even after forcing director Alan Moyle to cut 40 minutes and several characters, Warner still planned to give it a wide release and advertise it heavily late in September 1994. One test screening in the LA area with a teen audience bore out the hopes that it would be a huge hit with the teen audience. But then, after another one with a mostly Latino teen audience elsewhere in the city, didn't go so well (maybe because all the characters were white, as was the music they listened to?), the studio drastically changed its mind and cut the release to less than a tenth of the theaters originally planned, with no national ads. It took the film a generation to become the Cult Classic it could have become in weeks that year.
  • Happened with The Iron Giant. When Quest for Camelot was a failure, WB assumed it was because traditional animation was dead and not because the movie had many flaws. As a result, WB barely advertised The Iron Giant and dumped it on an August weekend...and thanks to the sleeper smash of The Sixth Sense opening the same day, the overwhelmingly positive reviews Iron Giant received (a 96% rating on Rotten Tomatoes and an 85/100 on Metacritic) didn't help it garner moviegoers. It did receive better treatment for its home video release, but it still took a few years to become an outright Cult Classic.
  • One can only wonder how Looney Tunes: Back in Action would've fared if Warner Bros. kept its July release instead of fretting that it would be crushed by Finding Nemo, which had been out for almost two months and had dropped out of the top 5. Not helping matters was that the film ended up competing against the well-received Elf and Master and Commander, and the heavily-advertised The Cat in the Hat, after which Warner Bros. didn't bother promoting the film that much at all.
  • Mowgli was supposed to be released in October 2018 and even had the trailer attached to a few movies, but because Warner Brothers was afraid that people would mistake it for a kids' movie or misconceive it as a sequel to Disney's live action ''Jungle Book'', they sold the rights to Netflix three months before its release.
  • Nancy Drew and the Hidden Staircase was given no advertising besides a trailer and was so quietly dumped that WB didn't even bother to list the amount of theaters it was in or the box office gross.
  • Osmosis Jones was envisioned first as a PG-13-rated animated adult comedy film, with swearing, excessive violence and gross-out live-action sequences in the script. Halfway through production, however, the animation-is-for-kids mentality kicked in at Warner Bros. and a number of changes were ordered, turning it into a PG-rated buddy cop film for family audiences, though the live-action sequences remained. Since Warner Bros. had no idea if Osmosis Jones was either an adult film or children's film, they proceeded to send it to an August weekend and gave it a rather confusing marketing campaign, which tuned potential audiences out. It grossed just $14 million on a $70 million budget in its theatrical run, leading to a massive write-down at Warner Bros. and accelerating the death spiral of Warner Bros. Feature Animation (Looney Tunes: Back In Action, released a couple years later, just put the coffin on the ground).
  • Warner Bros. greenlit The Powerpuff Girls Movie in 2000 and budgeted it at $25 million. The film was completed for $11 million (leaving the other $14 million for them to sit on) and was released—despite heavy promotion on Cartoon Network to the point that even [adult swim] got involved—the same day that Men in Black II premiered in North America. It probably didn't help that WB's first live-action Scooby-Doo movie had just been released a few weeks prior and was already a huge hit, since it may have been occupying the studio's attention. The failure of The Powerpuff Girls Movie is the reason why Cartoon Network's plans to make series finale feature films for Ed, Edd n Eddy and Codename: Kids Next Door were scaled back to be made-for-TV films, with Regular Show: The Movie and Steven Universe: The Movie later on being made directly for TV, though this could soon change due to Warner Bros. assuming ownership of Cartoon Network due to a Warner Media restructuring in 2019.
  • Teen Titans Go! To the Movies didn't get a big advertising push, and was done at the same time as Incredibles 2 and Hotel Transylvania 3: Summer Vacation, and was released against Mission: Impossible – Fallout, grossing only $10 million dollars on its opening weekend. Kind of surprising, considering how the company usually treated the series prior to the film's release.
  • Trick 'r Treat was supposed to come out in theaters October 2007. It got dropped from Warner Bros.' schedule, with the guesses being either Warner didn't want it to compete against Saw IV, or they were upset with Michael Dougherty for the disappointing box office on Superman Returns. It eventually got put out on DVD in October 2009.
  • Both Don Bluth and Gary Goldman blamed Warner Bros. for deliberately sabotaging the release of A Troll in Central Park, alleging that the studio had no confidence in the film, gave it an extremely limited theatrical run and proceeded not to promote the movie at all in favor of The Specialist, which came out the same day as A Troll in Central Park. The end result? A domestic gross of $71,368 out of a $23 million budget, making it the biggest box office failure in the medium of animated film until Delgo.

  • Dino Time was supposed to be released in January 2013, but was pulled from theaters before its release due to scuffles between American distributor Clarius Entertainment and its original producers CJ Entertainment. Two years later, it was released Direct-to-DVD as Back to the Jurassic, possibly to tie in with the release of Jurassic World.
  • When ITV showed the Dollars Trilogy, each film was presented in a pan-and-scan version and in their original UK theatrical versions, which meant the loss of four minutes of footage from A Fistful of Dollars, for example. Needless to say, the fans were displeased.
  • Duck Duck Goose was scheduled for a release in late April 2018, but was pulled because Open Road Films feared that the movie would be overshadowed by Avengers: Infinity War. It did however make it to Netflix in July of 2018.
  • Missing Link was released in the midst of three major superhero releases. This, combined with the surprise success of competitor Dumbo, resulted in the film having a 5 million dollar opening weekend.
  • Postal, Uwe Boll's film based on the video game, was originally scheduled to be released in 2007, then pushed back to 2008. Three days prior to the U.S. premiere date, its theatrical run was reduced from 1,500 screens to 21 (Boll offered to pay more theatres in New York to screen the film, but they refused). In addition, it was opened against Indiana Jones and the Kingdom of the Crystal Skull. To say it was buried at the theatre is a gross understatement.
  • Postman Pat: The Movie in the United States: Shout Factory promised to release the film into more theaters after its NYC/LA release, but it was put onto DVD three months later.
  • Andrei Konchalovsky's 1987 film Shy People was dumped into 300 theaters in the American Southwest with virtually no advertising by the then-financially struggling Cannon Group. To add insult to injury, another distributor attempted to buy the distribution rights to the film only to discover that Cannon had already released it and pulled out of the deal. Despite getting good reviews from critics such as Roger Ebert, Shy People flopped massively, earning a measly $769,119 at the box office.
  • Ugly Dolls opened a week after Avengers: Endgame and wound up only making a little over eight million dollars on its opening weekend, despite the film having decent promotion.


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