With Project Hail Mary breaking box office records, now is the perfect time to revisit a pair of Ryan Gosling's biggest commercial bombs.
has appeared in several great films over the course of his career, but enthusiastic reception to his work hasn’t always translated to box office success. While the actor has some notable successes under his belt , his commercial track record is far more mixed than some might expect given his stature in Hollywood.
This is one of the many reasons why it was great to see. The sci-fi film was proof that Gosling can be one of the main selling points for a non-franchise blockbuster, which bodes well for his upcoming projects, like his new “untitled event film” with The Daniels.Of course, Gosling should have been cemented as a major box office draw years ago. Two of his biggest bombs were titles that saw him operating in a space similar to, which made only $276.6 million worldwide against a budget somewhere between $150-185 million. A year later, Gosling portrayed Neil Armstrong in the biopic, which underperformed with a haul of $105.7 million globally. It’s a shame these films fared so poorly at the box office because they’re both excellent, and withis one of the most influential films of all time, so producing a worthy follow-up was no easy task. Director Denis Villeneuve joked that he wanted to make the film because he was afraid someone else would mess it up. While‘s box office performance was certainly disappointing, the film itself is a highlight for both Villeneuve and Gosling. Released shortly after legacy sequels had become the hot new trend in Hollywood,by deconstructing the “Chosen One” archetype in a compelling narrative that suitably features an abundance of heady sci-fi themes to keep the audience thinking.is that it doesn’t preoccupy itself with retreading old plot points, fan service, or answering questions people don’t really want the answers to . Instead, like all great sequels, the film expands upon its predecessor, building on the captivating ideas at the center of the original movie. Villeneuve’s approach allowsto maintain a sense of high stakes throughout its run time while simultaneously crafting a character-driven narrative that places Gosling’s Agent K front and center. This is an excellent showcase for Gosling’s dramatic chops, as he turns down his natural charm and comedic sensibilities to deliver a much more understated turn that still commands the viewer’s attention.is a feast for the senses. As has become expected with Villeneuve at the helm, the production design is state-of-the-art, fully immersing the audience in a distinct rendering of the future that honors the aesthetics of Ridley Scott’s original while also carving out its own visual identity.was when legendary cinematographer Roger Deakins finally earned his long overdue Oscar, and it’s easy to see to see why. Each frame inis stunning, and the award-winning visual effects seamlessly blend into the environments. Even long-time sci-fi fans will be left marveling at how extraordinaryis a better film than its groundbreaking predecessor. The emotional core at the heart of the movie is arguably stronger than the original, leading to some poignant and cathartic moments that stand out long after the credits have rolled. Much of the credit there has to be given to Harrison Ford’s heartbreaking portrayal of an older Deckard. He does an excellent job conveying the character’s feelings of grief and guilt, which is what makes the closing moments of, two Best Picture nominees, and took home an Oscar for Best Director. It seemed like he could do no wrong, so when Chazelle reunited with hiswas blanked from the above-the-line categories and fell flat at the box office, but don’t let that reception dissuade you from watching the film.. That’s in large part due to Chazelle’s storytelling approach. The film operates as an introspective look at Neil Armstrong the man, not the astronaut, as he throws himself into his work as a coping mechanism to deal with a family tragedy.isn’t really about the first people to land on the moon, it’s about a grieving father trying to process the loss of his daughter the only way he knows how — even if it results in him becoming increasingly isolated from his loved ones and colleagues. It’s a fascinating perspective to take for a film like this, one that givessees him deliver an introverted performance, creating a character that can be emotionally distant at times but is always interesting to watch. It’s a great example of Gosling’s range. Watchingtoday, you’d be hard-pressed to believe this is the same actor who would go on to belt out “I’m Just Ken,” but he’s a perfect fit for the role. His dynamic with Claire Foy is particularly fascinating as it develops over the course of the film. Chazelle saves the best moment between them for last; the final shot inplays as an evolution of that craftsmanship. There are sequences in the film that are truly a wonder to behold, especially the climactic landing on the moon. Chazelle also takes a page from theplaybook here, leaning into the danger and intensity of an astronaut’s work. He doesn’t shy away from what happens when things go wrong, adding to the high stakes and pressure.can be a truly immersive experience that puts the viewer right in the ship with the astronauts.8 Years Ago, An Unfilmable Sci-fi Book Became a Movie With A Stunning Amount of Cameos30 Years Ago Today, Friends Wrote Out 1 of Its Best Supporting Characters
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