Cinema has long held a mirror to society, reflecting not just our hopes and dreams but also guiding us toward introspection and, at times, action. It’s a medium that transcends entertainment, embedding powerful messages within its narratives that can shape personal identities, ethics, and career aspirations. The influence of film on personal career choices is profound and wide-reaching, with certain movies becoming catalysts for individuals to reassess their life paths, embrace new challenges, or pursue long-held passions.

This list celebrates films that have not just entertained millions but also inspired them to take bold steps toward fulfilling careers, pushing the boundaries of what they believed was possible for themselves. As we dive in, we invite readers to reflect on their own sources of inspiration and the moments that have shaped their professional journeys.

Through the lens of cinema, we can explore the diverse ways art influences life, encouraging us to dream bigger, work harder, and pursue our passions with relentless determination. These stories of change and transformation remind us that, sometimes, all it takes is a single film to set us on a path toward a new and unexpected future.

Related: 10 Real Historical Events That Inspired ‘Game of Thrones’

10 Erin Brockovich

Erin Brockovich, a film that chronicles the true story of an unconventional heroine, has left an indelible mark on its audience, propelling many to reconsider their career paths and venture into the realm of environmental law and activism. The movie showcases Erin, portrayed by Julia Roberts, as a determined and tenacious single mother who plays a pivotal role in a landmark case against a polluting power company despite lacking a formal legal education. Her relentless pursuit of justice and her unyielding spirit in the face of adversity have not only won hearts but also inspired a wave of individuals to take up the mantle of environmental advocacy, demonstrating that passion and perseverance can indeed effect change.

The ripple effect of Erin Brockovich extends beyond the legal sphere, encouraging viewers to believe in the power of the individual to make a difference. It challenges the conventional narrative of what it means to be a “qualified” professional and underscores the value of grit, intelligence, and moral courage. This film has become a touchstone for those feeling constrained by their circumstances, inspiring them to break free from societal expectations and pursue careers that align with their values and passions.^[1]

9 The Devil Wears Prada

The Devil Wears Prada peeled back the curtain on the high-stakes world of fashion publishing, serving as a beacon for many to either brave the cutthroat industry or rethink their career aspirations within competitive environments. Through the transformation of Andy Sachs (Anne Hathaway) from a naive graduate to a sophisticated assistant, the film offers a gritty insight into the personal sacrifices and relentless drive required to succeed in fashion. This portrayal has not only demystified the glamour associated with the industry but also highlighted the importance of resilience, adaptability, and integrity in the workplace.

Beyond its cautionary tales, the movie celebrates the idea of personal growth through professional challenges, encouraging viewers to embrace opportunities for self-discovery and pursue their passions with determination. For many, The Devil Wears Prada is more than just a film about fashion; it’s a lesson in navigating life’s transitions and the value of hard work, making it a source of inspiration for those standing at the crossroads of their career paths.^[2]

8 October Sky

October Sky, based on the true story of Homer Hickam and his journey from a coal miner’s son to a NASA engineer, ignited the imaginations of countless viewers, steering them toward the stars and the fields of science and engineering. The film captures the essence of determination and the relentless pursuit of one’s dreams, set against the backdrop of a 1950s coal mining town. Hickam’s fascination with rocketry, spurred by the launch of Sputnik 1, becomes a metaphor for the aspiration to rise above one’s given circumstances through education and persistence.

This cinematic gem does more than just recount a tale of ambition and scientific curiosity; it serves as a powerful reminder that the path to achieving one’s dreams is often fraught with obstacles that require courage and resilience to overcome. For many, October Sky is a beacon of hope, a demonstration that passion, coupled with dedication, can lead to a fulfilling and groundbreaking career in science, technology, engineering, and mathematics (STEM) fields.

The film has thus become a catalyst for change, inspiring a new generation to explore the vast possibilities beyond the confines of their immediate environments and to reach for the skies in their professional endeavors.^[3]

7 The Pursuit of Happyness

The Pursuit of Happyness, featuring Will Smith in the compelling role of Chris Gardner, serves as a beacon of hope and a guide for navigating the treacherous waters from despair to success. This film intricately portrays the journey of a father and his son as they face the relentless challenges of homelessness, battling against all odds to achieve a life of financial stability and happiness. Gardner’s story, rooted in real-life struggles, resonates deeply with viewers, illustrating that resilience and hard work can indeed lead to monumental change in one’s life and career.

Beyond its heart-wrenching depiction of hardship, the movie beautifully captures the essence of the American Dream, where perseverance and dedication are rewarded with success and personal fulfillment. It highlights the universal quest for happiness and the inherent belief that everyone can rise above their circumstances despite how insurmountable they seem.

For countless viewers, The Pursuit of Happyness is more than a story of financial success; it inspires and encourages them to pursue their dreams with unyielding determination. It reminds us that the path to success is fraught with challenges, but pursuing one’s goals, powered by hope and hard work, can lead to truly transformative outcomes.

In a world where obstacles abound, the film is a testament to the human spirit’s capacity to overcome adversity. It motivates individuals to not only chase after their professional aspirations but also to seek happiness and fulfillment in their personal lives. The Pursuit of Happyness has empowered many to take control of their destiny, making it a cinematic cornerstone for those looking to change their careers and lives for the better.^[4]

6 Legally Blonde

Legally Blonde revolutionized the way audiences perceive intelligence and ambition, particularly in the context of gender stereotypes. This film narrates the journey of Elle Woods (Reese Witherspoon) as she transforms from a sorority girl to a Harvard Law graduate, challenging the preconceived notions of who can be successful in the rigorous world of law. Elle’s journey is not just about personal triumph; it’s a broader commentary on breaking stereotypes and redefining what it means to be a strong, intelligent woman in a male-dominated field.

The impact of Legally Blonde extends far beyond its comedic surface. It has inspired countless viewers to pursue their ambitions, regardless of how others see their capabilities. The film’s underlying message—that determination, intelligence, and kindness are not mutually exclusive traits—resonates with many who see parts of their own struggles in Elle’s story.

Moreover, Legally Blonde encourages reevaluating one’s self-worth and potential, advocating that true success comes from believing in oneself and pushing through barriers. For many, Elle Woods has become a symbol of empowerment, encouraging individuals to challenge societal norms and pursue their dreams with unwavering confidence and grace. The film is a reminder that with the right mix of perseverance and self-belief, any goal is attainable.^[5]

5 Catch Me If You Can

Catch Me If You Can, starring Leonardo DiCaprio as the notorious Frank Abagnale Jr., presents an unconventional journey from deception to redemption, inspiring viewers to consider careers in law enforcement and security. The film explores Abagnale’s escapades as a con artist and his eventual transformation into an FBI consultant, offering a nuanced perspective on crime and redemption. Its portrayal of Abagnale’s cunning and creativity in evading the law, coupled with his deep understanding of forgery and deception, underscores the complex nature of security work and the importance of innovative thinking within it.

This cinematic masterpiece does more than entertain; it educates its audience about the intricacies of financial fraud, drawing attention to the critical role of security professionals in safeguarding society. Through its captivating narrative, Catch Me If You Can has demystified the FBI’s work and highlighted the potential for change and growth within individuals often dismissed as irredeemable.

For many, the film provided a catalyst for pursuing careers that contribute to the greater good, showcasing that the path to making a meaningful impact is not always linear. Frank Abagnale Jr.’s story encourages reevaluating personal choices and pursuing a career that leverages one’s unique skills and experiences for societal benefit. It’s a testament that redemption and purpose can be found in the most unexpected places.^[6]

4 Forrest Gump

Forrest Gump, with Tom Hanks delivering a performance for the ages, captures the unpredictable journey of life through the eyes of its titular character, who stumbles from one remarkable adventure to another. The film, sprawling across pivotal moments in American history, not only entertains but also inspires with its underlying message: that life is a box of chocolates, full of surprises, and it’s our openness to experience that defines our journey.

The film’s portrayal of Forrest’s unwavering optimism and his accidental successes in various careers—from a shrimp boat captain to a running enthusiast—speaks to the heart’s capability to lead us through life’s myriad paths. Forrest Gump has moved audiences to embrace the unexpected twists and turns of their own lives and encouraged a generation to stay open to the possibilities that come their way, no matter how unplanned they might seem.

Moreover, Forrest’s simplicity, kindness, and integrity, despite the complexities around him, are a powerful reminder of the impact of personal values on success and fulfillment. This narrative has inspired viewers to evaluate their own careers and life choices, encouraging them to find joy in the journey and make the most of life’s opportunities, regardless of the challenges. Forrest Gump’s story is a testament to the idea that sometimes, the most rewarding paths are those taken unintentionally.^[7]

3 Billy Elliot

Billy Elliot, set against the backdrop of a 1984 miners’ strike in England, tells the uplifting story of a young boy’s journey from the boxing ring to the ballet class, challenging societal norms and family expectations along the way. This film captures the struggle of pursuing one’s passion against all odds and is a poignant reminder of the transformative power of art and expression. Despite facing ridicule and opposition, Billy’s defiance and dedication to ballet inspire viewers to follow their own dreams, no matter how unconventional.

The movie’s message resonates deeply with those feeling trapped by their circumstances or pressured to conform to traditional career paths. It encourages an exploration of one’s true interests and talents, emphasizing that fulfillment comes from authenticity and self-expression. Billy Elliot’s narrative is a call to break free from societal constraints and to courageously pursue what truly brings joy and meaning to one’s life.

Furthermore, the film highlights the importance of family and community support and understanding in achieving one’s dreams. It showcases how perseverance and encouragement from unexpected places can lead to achieving the seemingly impossible. For many, Billy Elliot has been a source of inspiration to embrace their passions fully and to make the leap toward a career that resonates with their deepest aspirations.^[8]

2 The Big Short

The Big Short, with its riveting dissection of the 2008 financial crisis, offers a stark revelation of the complexities and vulnerabilities within the financial sector. Through its engaging narrative and innovative storytelling techniques, the film demystifies the events that led to one of the most significant economic downturns in recent history. This eye-opening portrayal has sparked a newfound interest in economics and finance, motivating viewers to pursue careers that strive for transparency, ethical practices, and innovation within the industry.

The film’s unique approach to explaining financial instruments and market mechanisms has made the intricate world of finance accessible to a broader audience, encouraging critical thinking and active engagement with economic issues. By highlighting the consequences of negligence and greed, The Big Short becomes a cautionary tale, urging future finance professionals to advocate for reforms and contribute to a more stable and equitable financial system.

Moreover, the film has inspired a generation to seek deeper understanding and challenge the status quo, emphasizing the importance of integrity in financial dealings. It has paved the way for individuals passionate about making a difference to explore careers in finance, economics, and related fields to prevent future crises and foster a more responsible economic environment.^[9]

1 To Kill a Mockingbird

To Kill a Mockingbird, an adaptation of Harper Lee’s seminal novel, has left an indelible mark on viewers by portraying the profound impact of integrity, empathy, and justice through the eyes of Atticus Finch. Set against the backdrop of racial injustice in the American South, the film transcends its period setting to deliver timeless lessons on morality and human rights. Finch’s unwavering commitment to justice and equality has inspired countless individuals to pursue careers in law with a focus on civil rights and advocacy.

The film’s exploration of themes such as moral righteousness, the fight against prejudice, and the power of compassion is a clarion call to those aspiring to make a difference through the legal profession. It underscores the significance of standing up for what is right, even in the face of societal opposition. It highlights the role of lawyers in championing the cause of the marginalized and voiceless.

Finch’s character has become a symbol of moral fortitude and ethical leadership, encouraging a new generation of legal professionals to strive not only for career success but for the betterment of society as a whole. To Kill a Mockingbird continues to inspire us, reminding us of the enduring power of empathy and justice in driving societal change.^[10]

Filmmaking is big money, but studios and financiers can get so caught up in a concept, a director, an actor, or dreams of a big payday they forget about the nuts-n-bolts of the operation. Indeed, once the other parts are in place, it’s not uncommon for the writing to be the last thing that gets looked at, with half-formed, unfinished, and even non-existent scripts being the standard for big-budget productions. While they still came out on top financially, here are 10 serious films Hollywood let proceed without a finished draft.

Related: 10 Franchise Movies That Needed a Different Director

10 Jaws (1975)

Jaws made cinema history back in the ’70s by taking an inexperienced director, an initially mid-range budget, and a series of on-set mishaps and turning them into box office gold, all while creating the prototype for the modern summer blockbuster. So successful was Steven Spielberg’s shark-based horror thriller that the film is still regarded as one of the most influential pieces of filmmaking in existence today, regularly ranking on Top 100 lists around the globe.

Yet the whole thing was filmed like a very expensive student project, with basically no script and no clear idea of what it was supposed to be, all while shooting out on the real ocean.

According to Richard Dreyfuss (who stars as oceanographer Matt Hooper), the film went into production without a script, a cast, or a functioning shark—the supposed villain of the piece. It was only thanks to Steven Spielberg’s creativity and technical ingenuity—and the financing available to take the picture some $10 million over budget—that they managed to pull the whole thing off.^[1]

9 Boyhood (2014)

Director Richard Linklater has never been one to take the easy route, constantly switching genres, trying new techniques, and generally coming out on top. So when it came to making Boyhood, a film set and shot across 12 years, he leaped at the opportunity.

Linklater used Boyhood to chart adolescence in its entirety, dropping in to film with child star Ellar Coltrane once every year for the whole 12 years. Such is the freewheeling nature of the whole affair; the director let the drama unfold in response to where his actors were in their lives, progressing with only a general idea of the structure—an approach that meant there was no script to work from.

In Linklater’s own words, he worked by “collaborating with Ethan [Hawke] with Patricia [Arquette] and the kids [Coltrane, alongside Linklater’s daughter Lorelei], who, as they matured, they become [sic] even more collaborative.” The resulting film is a labor of love that, despite its seemingly niche indie appeal, managed to make more than ten times its budget back at the box office.^[2]

8 Alien 3 (1992)

The Alien franchise is still going strong 45 years after Ridley Scott’s original deep-space horror, but that doesn’t mean it’s been smooth sailing along the way. In the early ’90s, following the success of James Cameron-directed sequel Aliens, producers David Giler and Walter Hill sought to capitalize on the films’ sustained popularity with Alien 3.

After a tumultuous pre-production, which saw scripts and directors come and go, with $7 million spent before a single reel had been filmed, the studio—20th Century Fox—decided to draft in new guy David Fincher. Hoping to control the rookie director and keep spiraling costs to a minimum, they micromanaged every detail, with only one problem: There was no script.

The chaos that preceded Fincher’s arrival had resulted in a mishmash of unfinished drafts of several different scripts, which they pushed ahead with anyway. This ultimately led to the infamous breakdown between the director, producers, and the studio. Despite the divisive end-product that is Alien 3, the film did well enough to keep the series buoyant and paved the way for some of the more compelling films we have enjoyed since.^[3]

7 Men in Black 3 (2012)

Men in Black fans had to wait an entire decade to see Agents J (Will Smith) and K (Tommy Lee Jones) again after the second film in the franchise had a tempestuous production and was panned by critics. However, a third installment was announced in 2009, Smith and Jones came on board, and the new film seemed to promise good times ahead.

Sony plowed into the shooting of Men in Black 3 in November 2010 because the film’s key players—including stars Smith and Jones and director Barry Sonnenfeld—were untethered from other projects, and a delay could have jeopardized their availability. Plus, there was a big tax break from New York State if they got production underway immediately. However, this meant quite literally filming without a plot.

With only one act of the film on paper, the production steamed ahead despite producers, screenwriters, and onscreen talent fighting over which direction to take it in. It should come as no surprise then that, when it finally came lumbering over the finish line, MIB 3 had run up a production bill somewhere in the region of $220 million.^[4]

6 Jurassic Park III (2001)

Until 2022’s Jurassic World: Dominion, Jurassic Park III was regarded as the low point of the Jurassic film series. The first film not based on Michael Crichton’s novels, III had to stand on its own clawed feet while attracting the same numbers as its predecessors—a tall order considering it had only one member of the original cast in a starring role (Sam Neill), no Steven Spielberg and, well, no script.

There were originally two finished versions of the script that director Joe Johnston and an array of writers wrote, storyboarded, and scheduled, but which were ultimately abandoned before shooting began. Working as they went, Johnston and the cast were given pages to work from on the day of shooting, with no preparation time and no idea of the sequences or characters’ overall trajectory.

This meant they couldn’t shoot later and earlier scenes back-to-back where they were set in the same location, adding additional costs to the movie as the crew moved between Hollywood soundstages and filming locations in Hawaii. Nevertheless, Johnston put his all into a film that, in his words, “did not have a final script until after we wrapped the movie.”^[5]

5 Pirates of the Caribbean: At World’s End (2007)

Hard to believe the global success that is the Pirates of the Caribbean franchise began life as a theme park attraction, but harder still to believe the second and third films were put into production without a plot.

Following the success of the first Pirates movie, Disney set a timeline for release and asked director Gore Verbinski to make two more. As a result, he shot the second and third films, Dead Man’s Chest and At World’s End, simultaneously, using the same locations and sets, first without a script for either, then, as the script for the second film developed, without one for the third.

With only vague ideas set by Dead Man’s Chest to work from, Verbinski and his team were writing disjointed scenes for At World’s End while shooting so they could figure out what sets needed to be reused before they were torn down. This included shooting Captain Jack’s (Johnny Depp) final scene from the third movie only four days into filming the second one, with no idea how it would fit into the narrative. Lucky for them, then, that the films took in around $2 billion between them.^[6]

4 Pretty Woman (1990)

Big-budget romantic comedy Pretty Woman didn’t begin life as a glossy star vehicle for Richard Gere and Julia Roberts. Back when it was called 3000, the film’s screenplay was a much darker affair, with Roberts’s prostitute Vivian Ward addicted to hard drugs and winding up alone and destitute in the final act. However, the original production company folded and the movie was canned, leaving Roberts, who was signed on to star, at a loss.

Not long after, Disney caught wind of the picture, picked it up, financed it, and put Beaches director Garry Marshall behind the camera. Despite this unprecedented piece of good luck, there was only one problem for Roberts and everyone else involved—Disney wanted nothing to do with the original script.

This meant Marshall, his writers, and his cast had to write the movie as they filmed. And when they were out of ideas? The director would turn the camera on, tell his actors to “be funny,” and let them improvise. Luckily, Marshall was able to inject his iconic humor into the film and lead the production to success, creating one of the archetypal rom-coms of the late 20th century.^[7]

3 Edge of Tomorrow (2014)

Time travel actioner Edge of Tomorrow is regarded as one of the best non-franchise sci-fi movies Hollywood has made this century. With Tom Cruise and Emily Blunt as the film’s leads, it’s obvious why. Yet it had a turbulent journey to the big screen.

Despite having a complete script from original screenwriter Dante Harper and a $178 million budget, director Doug Liman ditched most of the script when he came on board, keeping only the broader concepts and characters. This ignited a baton-passing of scripts from writer to writer as Jez and John-Henry Butterworth, Simon Kinberg, and Christopher McQuarrie all turned in drafts to try and satisfy Liman.

But nothing was enough, and the movie moved forward without a finished script, with Liman revising his plans on the go, including demanding on just the second day of shooting that his crew reshoot everything filmed on the first day. Cruise and McQuarrie collaborated to get the lead character’s trajectory right, and there was no third act until time to film it had caught up with them. Fortunately, they nailed it, and a sequel has been in the works since then.^[8]

2 Casablanca (1942)

Few movies have the name recognition of Casablanca, which has managed to remain relevant to audiences across the eight decades since its release. Starring Humphrey Bogart as nightclub owner Rick Blaine, the movie sets up a love triangle between him, his former flame Ilsa Lund (Ingrid Bergman), and her current fella Victor Laszlo (Paul Henreid) against the backdrop of WWII.

Although the movie is loosely based on Murray Burnett and Joan Alison’s unproduced play Everybody Comes to Rick’s, much of the film was penned by writers as they went along, with director Michael Curtiz clobbering together what he could. This included the final act, which, according to Bergman, “no one knew how to end,” meaning she had to play the entire film, not knowing whether she was meant to be in love with Rick or Victor.

While this uncertain situation brought out the best in Bergman, it had other effects on Bogart. Frustrated by the lack of a script, the legendary actor spent much of the shoot in a mood and snubbed his co-stars—but that didn’t stop his trademark charisma oozing across every frame.^[9]

1 Iron Man (2008)

The cornerstone of the Marvel Cinematic Universe, Iron Man set the tone for the immense superhero movie franchise, leveraging all of Robert Downey Jr’s untapped star power and charisma. Despite the responsibility that rested on the film’s shoulders, it was anything but a product of the smooth movie-making machine that has defined Marvel’s big screen output.

Prior to Iron Man, director Jon Favreau had only made one commercially and financially successful film, but producers Avi Arad and Kevin Feige saw something they liked, and Marvel entrusted him with a $130 million budget. While Favreau and his team had casting down to a tee—recognizing Downey’s perfect fit for the conflicted millionaire playboy and slotting Jeff Bridges into the hot-n-cold role of mentor and mastermind—the script was another matter.

Throughout pre-production, the script took on many forms, with input from an array of talent, including several comic book writers. However, when it came time to shoot, whatever pages they had were far behind the sequences and storyboards Favreau had come up with. This meant Downey, Bridges, Favreau, and a squad of producers had to put the movie together on the fly, often coming up with scenes and dialogue right before the cameras rolled.^[10]

Superhero movies have been massive hits at the box office, pulling in audiences with their thrilling stories of heroes and villains. One key part of these films is the casting, which brings beloved characters to life in unique ways. Some casting choices are obvious, but others are surprising and push creative boundaries.

In this list, we’ll look at some interesting and unexpected casting ideas that could have given superhero movies a different twist. Think about comedians in serious roles or seasoned actors playing characters with unexpected quirks. Imagine a Wolverine who’s not just a tough guy but has a surprising twist or a Hulk who’s more than just muscle.

These casting ideas show how different actors can change how we see these characters and add new layers to their stories.

Related: 10 Underrated Superhero Films & Shows That Aren’t Marvel Or DC

10 Danny DeVito as Wolverine

Picture this: the ferocious, unstoppable Wolverine, but with the inimitable charm and wit of Danny DeVito. While Hugh Jackman has made the role iconic with his towering presence and fierce intensity, DeVito would bring a completely different yet equally compelling energy to the character. His portrayal could lean into the grizzled, world-weary aspects of Wolverine, adding a layer of humor and unpredictability that would make the character uniquely his own.

Imagine the berserker rage scenes infused with DeVito’s signature sarcasm and unorthodox physicality—a Wolverine that slices through enemies with both claws and cutting one-liners. This unlikely casting choice isn’t just a whimsical flight of fancy; there’s a dedicated fan movement advocating for DeVito to take up the adamantium claws. Fans have even started a petition, arguing that his unique take could add a refreshing twist to the Marvel Cinematic Universe, making it both memorable and distinct.

It’s an idea so bold and out-of-the-box that it just might work, bringing a new dimension to a beloved character. [1] ^[1]

9 David Duchovny as the Incredible Hulk

David Duchovny, renowned for his role as the introspective Agent Mulder in The X-Files, was once considered for the part of Bruce Banner, the man behind the Hulk. This potential casting would have brought a unique depth to Banner’s character, emphasizing his intellectual struggle with the monstrous alter ego. Duchovny’s experience in portraying complex, psychologically rich characters could have provided a fresh take on the scientist’s internal battle with his own destructive impulses.

In the early 2000s, Marvel Studios was exploring various actors for the Hulk, and Duchovny’s name came up as a top contender. His thoughtful and nuanced acting style might have portrayed Banner’s transformation into the Hulk not just as a physical change but also as a profound personal conflict. This approach would highlight Banner’s fear and frustration over losing control of his inner beast, offering a more emotionally layered and introspective view of the character.

Duchovny’s potential involvement with the Hulk could have redefined the character, focusing on balancing Banner’s intelligence and the Hulk’s brute strength. His portrayal would likely have added a cerebral element to the narrative, presenting the Hulk as a figure struggling with the duality of intellect and rage. This casting might have offered audiences a more relatable and psychologically complex version of the Hulk, moving beyond the traditional portrayal of the character as simply a destructive force.^[2]

8 Will Smith as Superman

Imagine Will Smith donning the iconic red cape and soaring through the skies as Superman. Known for his versatility and charisma, Smith could bring a fresh and dynamic energy to the Man of Steel, combining heroic gravitas with a modern, relatable charm. His previous roles in action-packed films like Independence Day and Men in Black showcase his ability to balance intense action with moments of humor and heart, qualities that would make for a captivating Superman.

Despite Smith’s proven track record in blockbuster hits, he reportedly turned down the role of Superman due to concerns about racial typecasting and the immense pressure of stepping into such an iconic character’s boots. This decision left many fans imagining the unique spin he could have brought to the role, merging traditional superhero ethos with his own distinctive flair. Smith’s portrayal could have addressed and expanded the cultural relevance of Superman in today’s world, bringing a new dimension to the beloved character.

The idea of Will Smith as Superman highlights the potential for superhero roles to evolve and reflect a broader spectrum of humanity. His presence could have redefined Superman for a new generation, emphasizing themes of diversity and resilience. It’s a casting decision that invites us to rethink the boundaries of traditional superhero narratives and celebrate the possibility of a more inclusive cinematic universe.^[3]

7 Robin Williams as the Joker

Envision the late Robin Williams, with his unparalleled comedic talent and dramatic depth, stepping into the chaotic shoes of the Joker. Williams was known for his ability to switch seamlessly between humor and intensity, qualities that are essential for portraying Batman’s arch-nemesis. His interpretation of the Joker could have been a mesmerizing blend of dark humor and chilling menace, offering a performance that balanced the character’s madness with a profound psychological complexity.

Williams was reportedly considered for the Joker role in Tim Burton’s Batman but ultimately lost out to Jack Nicholson. Fans and critics alike have often speculated how Williams’s unique approach could have transformed the character, emphasizing the tragic backstory and deranged psyche behind the Joker’s anarchic actions. His portrayal could have highlighted the character’s tragicomic essence, adding a layer of pathos and unpredictability that would have set his Joker apart in the annals of superhero cinema.

Williams’s potential take on the Joker remains one of the great “what ifs” of superhero casting. It’s fascinating to imagine how his signature blend of humor and pathos could have redefined the character and left an indelible mark on the Batman franchise.^[4]

6 Joaquin Phoenix as Doctor Strange

Imagine Joaquin Phoenix, known for his intense, transformative performances, taking on the role of Doctor Strange. Phoenix’s ability to dive deep into complex, often troubled characters would have brought a unique gravitas to the Master of the Mystic Arts. His portrayal could have emphasized the darker, more introspective aspects of Stephen Strange’s journey from a brilliant but arrogant surgeon to a humbled and powerful sorcerer.

Phoenix was reportedly in talks for the role before Benedict Cumberbatch ultimately took up the mantle. Fans often wonder how Phoenix’s interpretation might have diverged from the established portrayal, potentially offering a more brooding and enigmatic take on the character. His Doctor Strange could have delved into the psychological and moral complexities of wielding such immense power, providing a more nuanced and possibly more haunting exploration of the character’s inner demons and mystical responsibilities.^[5]

5 Emily Blunt as Black Widow

Emily Blunt, known for her commanding presence and versatility, would have brought a refreshing take on Black Widow. Her ability to seamlessly navigate between action-packed and dramatic roles could have infused Natasha Romanoff with a unique blend of sophistication and raw intensity. Blunt’s portrayal could highlight the character’s complex layers—a lethal assassin with a haunted past constantly seeking redemption, adding a new depth to Black Widow’s internal struggles and resilience.

Blunt was initially cast as Black Widow in the Marvel Cinematic Universe but had to decline due to scheduling conflicts. This missed opportunity has left fans speculating how her interpretation might have differed from Scarlett Johansson’s iconic performance. Blunt’s version could have emphasized the character’s intelligence and strategic prowess, bringing a nuanced portrayal that would have expanded Black Widow’s arc within the Avengers. It’s intriguing to imagine how Emily Blunt’s Black Widow could have redefined the character and added a fresh dynamic to the Marvel Universe.^[6]

4 Tom Cruise as Iron Man

Imagine Tom Cruise, the epitome of Hollywood action stardom, taking on the role of Tony Stark, aka Iron Man. Cruise’s dynamic presence and undeniable charisma would have made for an intriguing take on the billionaire genius. His experience in high-octane films like Top Gun and the Mission: Impossible series would bring an authentic intensity to Iron Man’s thrilling aerial battles and daring escapades, making him a natural fit for the role’s physical demands.

Cruise was reportedly considered for the role before Robert Downey Jr. was cast, a decision that shaped the Marvel Cinematic Universe as we know it. While Downey Jr. brought a quirky and rebellious charm to Tony Stark, Cruise’s portrayal could have leaned more into the traditional action hero archetype, emphasizing Stark’s relentless drive and perfectionism. His interpretation might have highlighted the character’s struggle with the duality of being a man and a machine, offering a different but equally compelling dimension to Iron Man’s persona.

Fans often wonder how Cruise’s high-energy approach could have influenced the development of Iron Man’s character and the overall tone of the Marvel franchise. His involvement would likely have resulted in a more action-centric narrative, potentially changing the direction of the entire cinematic universe. It’s fascinating to think about how Cruise’s portrayal of Iron Man might have reshaped our perception of one of the most beloved superheroes.^[7]

3 Glenn Howerton as Star-Lord

Glenn Howerton, widely recognized for his role as the scheming Dennis Reynolds on It’s Always Sunny in Philadelphia, was James Gunn’s original choice for the role of Star-Lord in Guardians of the Galaxy. Howerton’s sharp wit and comedic timing made him a strong candidate to bring a unique and edgy humor to the character of Peter Quill. His portrayal could have emphasized Quill’s mischievous and flawed nature, making the character more relatable and down-to-earth amid the cosmic chaos.

James Gunn, who directed the film, had Howerton in mind during the casting process but eventually decided on Chris Pratt for the role. Gunn had initially considered Howerton because of his ability to balance humor with a hint of unpredictability, which could have added a sardonic and self-deprecating layer to Star-Lord’s character. Howerton’s interpretation might have brought a distinct comedic style to the role, offering a fresh dynamic to the ensemble cast and potentially shifting the tone of the film to a more grounded and cynical perspective.

The idea of Howerton as Star-Lord invites curiosity about how his unique approach could have influenced the Guardians of the Galaxy series. His portrayal might have leaned more into the darker and more complex aspects of humor, contrasting with Chris Pratt’s more heroic and upbeat performance. Howerton’s version could have added a different flavor to the Guardians’ adventures, blending the outlandish with a more sarcastic and introspective take on the character’s journey.^[8]

2 John Krasinski as Captain America

Imagine John Krasinski, widely loved for his role as Jim Halpert in The Office, stepping into the star-spangled boots of Captain America. Krasinski’s everyman charm and commanding presence could have added a unique blend of relatability and strength to Steve Rogers. His portrayal might have emphasized Captain America’s humble beginnings and unyielding moral compass, presenting a hero with courage rooted in everyday virtues rather than superhuman abilities.

Krasinski was a top contender for the role before Chris Evans ultimately took on the mantle. Fans have often speculated how his version of Captain America would differ, possibly bringing a warmer, more approachable demeanor to the character. Krasinski’s background in comedy and drama could have provided a balanced portrayal, highlighting both the heroic and human aspects of Captain America, making him an inspiring yet grounded leader for the Avengers.^[9]

1 Pierce Brosnan as Batman

Pierce Brosnan, famously known for his portrayal of James Bond, was once a top candidate for the role of Batman in Tim Burton’s 1989 film. His natural elegance and sophistication could have brought a unique twist to Bruce Wayne, highlighting the character’s dual life as a charming billionaire and a vigilant protector of Gotham City. Brosnan’s extensive experience in action roles would have added credibility to the physically demanding role of Batman, while his dramatic range would explore the deeper, more complex aspects of Bruce Wayne’s tortured soul.

However, Brosnan’s chance to don the cape and cowl slipped away during a meeting with Burton. In a moment of levity, he made a quip about the absurdity of Batman’s character, referring to him as a man running around in his underwear. This comment, though meant as a joke, likely influenced Burton’s decision to cast someone who would take the role more seriously, leading to Michael Keaton’s eventual casting. Keaton’s darker, more serious portrayal set a new standard for Batman, focusing on the character’s internal struggle and complex psychology.

If Brosnan had been cast, his portrayal of Batman might have leaned more toward a debonair and strategic figure, emphasizing the intellectual aspects of Bruce Wayne’s persona. Brosnan’s version of Batman could have highlighted the detective side of the character, solving Gotham’s mysteries with a blend of sophistication and tactical prowess. It’s intriguing to imagine how this interpretation could have influenced the Batman legacy, offering a different but equally compelling take on the iconic hero.^[10]

It goes without saying that actors are often front and center. Movies and TV shows usually make them as prominent as possible. These thespians want to be seen and remembered. Doing so enables them to stay relevant in the industry, score more gigs, and expand their craft. Not to mention, it feeds their inherent vanity. Some defy that mantra, however.

Certain actors take jobs where they’re largely hidden from the camera. Often, this is because they’re new to the industry and not yet established as stars. Not all cases fall into that category, though. Sometimes, even the most decorated performers just want to have fun by popping in for a sneaky cameo. Whatever the circumstances, these actors are extremely hard to spot. If you blink, you just might miss them.

Related: 10 Most Powerful Movie Scenes Between Real-Life Spouses

10 Elijah Wood

Some actors are in big flicks from the start. That certainly goes for Elijah Wood. His first movie was Back to the Future Part II. During the opening sequence, Marty goes into a café and sees two young boys booting up an old arcade game. He gets a high score to show off, but the kids lambaste him for playing with a “baby’s toy.” Wood plays one of those kids. Needless to say, it’s not a huge role.

It certainly contrasts with the prominent parts he’d score later. Today, fans mainly know him as Frodo Baggins in The Lord of the Rings, but he’s also appeared in other genre projects. He’s played Kevin in Sin City, Mumble in Happy Feet, Ryan in Wilfred, Beck in Tron: Uprising, and Spyro in the Legend of Spyro trilogy. He usually occupies the starring spot or other significant role, so his brief beginning in Back to the Future seems pretty quaint in hindsight. At the risk of sounding self-indulgent, you never know what the future may hold. ^[1]

9 Jason Scott Lee

The other oddity in the film’s cast is Jason Scott Lee. Also in the early futuristic sequence, his role is slightly more substantial. He’s a member of Griff Tannen’s gang. Like the rest of his family, this bionic bully has a crew of thugs backing him up. They basically just yell, laugh, and repeat their boss’s stupid comments. Lee does that as well as anyone, but he’d quickly do more.

This actor has occupied all kinds of characters throughout his career. His starring roles included Bruce Lee in Dragon: The Bruce Lee Story and an adult Mowgli in 1994’s The Jungle Book, both of which came soon after his Back to the Future bit part. Since then, he’s had supporting parts and guest spots in a number of other projects, from Lilo & Stitch to Hawaii Five-0 to 2021’s Mulan. None of them have been as small as his futuristic role, though, leading to the same amusing hindsight as Wood.^[2]

8 Salma Hayek

Four Rooms is a comedic anthology movie, so it contains a plethora of unexpected appearances. However, the most bizarre part goes to Salma Hayek in the “Misbehavers” segment. She pops up on a dirty TV program, which the naughty children watch out of curiosity. That’s silly enough, but you don’t even see her face. The camera just lingers on her scantily-clad body as she dances. It’s a cartoonish cameo.

Then again, the segment comes courtesy of director Robert Rodriguez. Hayek frequently has memorable roles in his hyperactive flicks, the most famous being Carolina in Desperado and Santanico Pandemonium in From Dusk Till Dawn, but that’s not the extent of her filmography.

The actress also charmed audiences in other hits. Examples include Frida Kahlo in Frida, Kitty Softpaws in the Puss in Boots movies, and Sonia Kinkaid in the Hitman’s Bodyguard flicks. That’s not including her early days in small Mexican productions. Despite that success, one of her first Hollywood parts amounted to nameless eye candy.^[3]

7 Bruce Spence

Some performers make their mark as character actors. Bruce Spence is one such performer. He’s filled his career with quirky figures like Zeddicus Zu’l Zorander in Legend of the Seeker, Mr. Wall in Dark City, and the wily gyro pilot in two Mad Max flicks: The Road Warrior and Beyond Thunderdome. At first glance, he seemed to do the same in The Lord of the Rings.

Spence shows up in the third entry—Return of the King—as the Mouth of Sauron. Leading up to the grand finale, the Fellowship rides to Mordor and demands that the Dark Lord Sauron come to discuss terms. Emerging from the gate is a cloaked rider who tries to taunt and demoralize the heroes. However, it’s nearly impossible to see Spence in this character. Only the lower half of his face is visible, showcasing a malformed mouth with sharp teeth. Plus, the sound team deepens his voice to a hellish growl. For the cherry on top, this scene is only in the Extended Edition. These factors make it a challenge just to find Spence in this four-hour epic, let alone recognize him.^[4]

6 Cate Blanchett

Talk about being out of your league in more ways than one. Early in the absurdist action-comedy Hot Fuzz, stalwart cop Nicholas Angel faces ostracization for his one-track mind and annoying need for perfection. Among those washing their hands of him is his ex-girlfriend, played by Cate Blanchett. With such a high-profile talent, you’d think the filmmakers would draw attention to her, but she’s completely covered from head to toe. Her character is part of the forensic team, so only her eyes are visible. That’s not even the weirdest part.

Audiences mainly know Blanchett for her dramatic work. She’s made her name playing regal, serious figures like Queen Elizabeth I in the Elizabeth films, Galadriel in The Lord of the Rings, Katherine Hepburn in The Aviator, and Irina Spalko in Indiana Jones and the Kingdom of the Crystal Skull. Hot Fuzz is not her kind of movie. The fact that she’s in such an elusive, inconsequential part is baffling. Of course, that’s probably part of the joke.^[5]

5 Maude Hirst

The Harry Potter films are a veritable “Who’s Who” of acclaimed English actors, but they also house several fresh-faced child stars who would go on to other projects. Among them was Maude Hirst, who appeared in Harry Potter and the Philosopher’s Stone. Her character isn’t named; she’s simply one of the many Hogwarts students. Thankfully, that changed as she got older.

Though she’s had other projects over the years, Hirst’s career largely stays in the family. She’s the daughter of Michael Hirst, the writer of such historical dramas as the Elizabeth films, The Tudors, and Vikings. Maude had recurring roles in the latter two projects. In The Tudors, she played Kat Ashley, a lady in waiting, while Vikings saw her as Helga, the wife of a pivotal boatbuilder. Given her historic wheelhouse, it’s funny to think that Hirst’s first role was a fantasy flick.^[6]

4 Daniel Webber

An actor who’s quietly emerged in recent years is Daniel Webber. He’s made a name for himself playing young, troubled souls like Paul Large in Danger Close, Vince Neil in The Dirt, and Lewis Wilson in The Punisher TV show. His most high-profile role has been Jesse Evans in 2022’s Billy the Kid series, where he acts as the former friend and fierce rival of the titular outlaw. During that show, though, he stepped into a much smaller part.

Webber briefly pops into Furiosa: A Mad Max Saga. Namely, he’s one of the War Boys: the pale, devoted followers of merciless cult leader Immortan Joe. The villainous despot has hundreds of these guys at his command, and their designs make them all look the same. It’s virtually impossible to pick Webber out from the crowd. Such an insignificant part may seem beneath him, but he’s Australian by birth. Because of that, he probably thought it was a treat just to dip his toe in the Mad Max world.^[7]

3 Garret Dillahunt

Another character actor, Garrett Dillahunt, has been virtually unpredictable in his film and TV choices. In addition to countless guest spots and supporting roles, fans know him as Burt Chance in Raising Hope, John Dorie in Fear the Walking Dead,, and two AI entities in Terminator: The Sarah Connor Chronicles.

He also appeared as two characters in the Deadwood TV show. In the first season, he played the sleazy Jack McCall, the drunkard who shoots Wild Bill Hickok. In the second season, he returned as Francis Wolcott, an unhinged agent employed by the crooked George Hearst before being fired. This makes his movie cameo all the more ironic.

In what must be a private joke, Dillahunt donned yet another new face in Deadwood: The Movie. One of the final scenes sees Hearst beaten by an angry mob. Among the attackers is a drunk guy with a bushy beard. He mumbles about how Hearst tried to kill him. This quick cameo could be a reference to how Hearst’s harsh words drove his previous character to death. Considering Dillahunt’s other colorful appearances, though, it’s probably just par for the course.^[8]

2 Timothy Olyphant

In many ways, Rango is an animated tribute to classic westerns. It makes no secret of that through its familiar story of an intrepid lawman coming to town and saving it from outlaws. When that lawman is at his lowest, though, he wanders the eerie desert and discovers a man in a golf cart. He’s the very image of a gunslinger—decked out in dusty cowboy garb and a ragged poncho. Rango even refers to him as “The Man with No Name.” This guy is clearly supposed to be Clint Eastwood from the Dollars trilogy, but that’s not who plays him.

Instead, Timothy Olyphant voices the mythic figure. He’s not exactly a starving actor, so you wouldn’t expect him to settle for such a small part, especially one where he’s easily mistaken for someone else. On the other hand, maybe he considers it an honor. Many of Olyphant’s best-known characters have been cowboys and/or lawmen. Just look back at Seth Bullock in Deadwood, Raylan Givens in Justified, and Cobb Vanth in The Mandalorian. Stepping into Eastwood’s shoes must have been a dream come true. Of course, he’s not the only Western star on the list.^[9]

1 John Wayne

John Wayne was one of the biggest movie stars who ever lived. The Duke headlined countless classics over his long career. The Ringo Kid in Stagecoach, Jacob McCan in Big Jake, Sean Thornton in The Quiet Man, Ethan Edwards in The Searchers, Hondo Lane in Hondo, and Rooster Cogburn in 1968’s True Grit were just a few of his iconic characters. Most of his projects were westerns, which is why people saw him as indicative of the genre. It’s also what made his last movie so unexpected.

Technically, John Wayne was in Star Wars. During the 1977 original, the heroes attempt a stealthy escape from the seedy desert planet of Tatooine. Unfortunately, a spy informs the Galactic Empire of their plans. The hooded rat is an alien who only speaks in indeterminate squeaks. Sound designer Ben Burtt revealed that those sounds are actually unused audio samples from the Duke’s movies. He fished them from the trash and distorted them to produce this strange noise. It’s impossible to tell, so one wonders why the filmmakers bothered. Whatever the reason, this Western icon’s last movie was a sci-fi space adventure. There’s something poetic in that.^[10]

Modern audiences have grown accustomed to a pattern of TV broadcasting: war stories over Memorial Day weekend, frightening flicks before Halloween, and Christmas themes in December. Yet surprisingly, the original debut dates of these seasonally flavored films were not coordinated with the calendar, whether due to obstacles, indifference, or even intent.

Related: Top 10 Christmas Movie Moments

10 The Shop Around the Corner

The heartwarming dramedy The Shop Around the Corner unfolds during the run-up to Christmas, as two coworkers in a leather goods store in pre-WWII Budapest bicker constantly, unaware that they are falling in love as anonymous pen pals. However, holiday decorations were already down by the time it was released on January 10, 1940.

Director Ernst Lubitsch planned to begin filming before the end of 1938, but the deal fell through. The timetable was pushed back again when he changed studios. Lubitsch then made Ninotchka (1939) while waiting for his preferred stars, James Stewart and Margaret Sullavan, to become available. Once work finally began, the movie was shot in twenty-eight days.

This plot may sound familiar, having been recycled twice without the holiday setting. In the Good Old Summertime (1949) changed the venue to a music store to create a vehicle for Judy Garland. You’ve Got Mail (1998) brought the love/hate into the computer age with Meg Ryan and Tom Hanks at competing bookstores.^[1]

9 Holiday Inn

In Holiday Inn (1942), Bing Crosby and Fred Astaire sing, dance, and compete for the same woman at a country inn that only does business at select times. Though its scenes are structured around holiday-specific songs, the film had its New York City opening in the holiday desert of August. Only later would it become a December TV staple, thanks to its Oscar-winning hit “White Christmas.” (These days, the “Abraham” number for Lincoln’s birthday is often cut due to its use of blackface as part of a plot device.)

Current events had a significant influence on the film’s content. When the bombing of Pearl Harbor occurred during production, the patriotism of the segment honoring Independence Day was amped up with images of munitions production, military exercises, General MacArthur, and President Roosevelt. Likewise, Astaire’s dance number “Let’s Say It with Firecrackers” had so many real explosions added around his feet that crew members had to wear goggles.

On a more playful note, the introduction to November has an animated turkey jump between Thursdays on a calendar page, a reference to the confusion before Congressional action standardized Thanksgiving as the fourth, rather than last, Thursday of the month to encourage a longer Christmas shopping season.^[2]

8 Christmas in Connecticut

In a major holiday mismatch, Christmas in Connecticut (1945) opened on the Fourth of July. Barbara Stanwyck plays a magazine writer who entertains her readers with accounts of her domestic skills in the rural home she shares with her husband and baby. In reality, she is single and childless, lives in a New York City apartment, and cannot boil water. When her publisher insists that she prepare a homecooked dinner for a World War II veteran, hijinks ensue as she pulls together a borrowed farm and family plus a holiday feast.

The movie itself had its share of fakery. The New England country house featured was the same California set used for Bringing Up Baby (1938). The sleigh ride scene was filmed on a Warner Bros. sound stage, with soap-flake snow as phony as the lead character’s cooking skills. But with the war finally coming to an end, this celebration of romance and returning soldiers was a perfectly timed hit, even if audiences stepped outside from a Christmas charade into the summer sunshine.^[3]

7 It Happened on 5th Avenue

Premiering It Happened on 5th Avenue on April 5, 1947, in Miami, Florida, was an equally peculiar choice for a story that takes place at Christmastime in Manhattan. The comedy-romance was originally announced in 1945 as the first project of director Frank Capra’s new production company, but he chose to make It’s a Wonderful Life (1946) instead.

Capra then sold the rights to Monogram Pictures, a studio known for B-movies and Westerns that wanted to upgrade its image with classier fare. Filming began on August 5, 1946, and was completed by mid-October, yet the movie waited almost six months for release.

Even with a change in directors, the movie is loaded with Capra-esque themes: a homeless man and others needing refuge move into the vacant mansion of “the second richest man in the world,” who has gone south for the winter. Complications arise when the millionaire’s adult daughter unexpectedly returns home. Under the guise of being poor, she falls in love with one of its other “guests” and then manages to reunite her divorced parents.

The script received an Oscar nomination for Best Writing, Original Story but lost to yet another Christmas film released later that spring and set just across town.^[4]

6 Miracle on 34th Street

20th Century Fox studio head Darryl F. Zanuck believed more people went to the movies in the summertime, so Miracle on 34th Street (1947) had its debut on June 4, 1947, with the word “Christmas” dropped from its title. Its cryptic trailer made no reference to the holiday or gave the slightest clue to its plot. Previews merely listed the stars and praised the film as “Hilarious! Romantic! Delightful! Charming! Tender! Exciting! and even Groovey!”

Multiple cameras were set up along the route of the Macy’s Thanksgiving Day Parade on November 28, 1946, to capture this one-take opportunity. Edmund Gwenn’s Santa Claus addressed the real crowd in front of the Macy’s marquee, and scenes inside Macy’s were filmed at night after business hours. Although audiences may have come in from the heat, the onscreen winter was all too real. During the closing scene when young Susan ran to her dream house, it was so cold that cameras froze, and a neighbor invited the crew inside her home to warm up while they were repaired.

Zanuck also thought the story was too corny to succeed, but this yuletide classic earned three Oscars, including Best Supporting Actor for Gwenn and Best Original Story for its screenwriter Valentine Davies, as well as a nomination for Best Picture.^[5]

5 Easter Parade

When composer Irving Berlin wanted an old-timey tune for a 1933 musical revue, he repurposed the melody from his 1917 number “Smile and Show Your Dimple” with new lyrics to create “Easter Parade.” Years later, he reused the song in Holiday Inn, and, like “White Christmas,” this sentimental favorite ultimately inspired a spinoff story of its own.

However, the resulting film missed its spring target date and did not reach theaters until June 30, 1948, because of delays caused by casting changes. The original leading man, Gene Kelly, broke his ankle while playing volleyball and was replaced by Fred Astaire. Ann Miller stepped in for Cyd Charisse, who suffered a knee injury on another film.

Even with its new cast, the production had its share of drama. Costar Judy Garland had recently been released from a sanitarium for treatment of mental health issues and drug dependency, and her psychiatrist recommended that director Vincente Minnelli, her then-husband, be taken off the picture to reduce her stress. Miller performed her rapid-fire tap numbers wearing a back brace due to an injury she had suffered when her drunken (soon-to-be-ex) husband had thrown her down a flight of stairs while she was pregnant.^[6]

4 We’re No Angels

We’re No Angels showcases Humphrey Bogart in a rare comedic role. He is joined by Peter Ustinov and Aldo Ray as three escapees from Devil’s Island on Christmas Eve, 1895, who plan to rob a struggling shopkeeper to fund a getaway. In response to the family’s kindness, the trio decides “cutting their throats might spoil their Christmas.” Instead, they plot to save the couple and their daughter from greedy relatives, with the aid of a small poisonous snake named Adolphe.

Paramount purchased the rights to the French source material in mid-February 1952. During the lengthy merry-go-round of development, trade magazines variously announced Van Heflin, Audrey Hepburn, Irene Dunne, Gig Young, and two members of the Los Angeles Rams as part of the cast.

Once Bogart was attached to the project, Michael Curtiz, who had won an Oscar working with Bogie on Casablanca (1942), was brought on board to direct. Principal photography was completed in early August 1954, yet this quirky Christmas tale sat on the shelf until July 7, 1955.^[7]

3 The Ten Commandments

Though today it is an Easter/Passover broadcast tradition, The Ten Commandments (1956) first dazzled audiences on October 5. But even without a holiday tie-in, director Cecil B. DeMille’s last film was easily the box office leader of its year. This three-hour forty-minute Technicolor spectacle was an expansion of DeMille’s 1923 silent film of the same name, in which the first part had portrayed Moses leading his people out of Egypt, followed by a contemporary tale that demonstrated the human cost of breaking the commandments.

Completing the movie was a miracle in itself. Executing DeMille’s vision required not only the famous parting of the Red Sea but also 1,200 storyboard sketches, more than 14,000 extras, and 15,000 animals. After years of pre-production, the 73-year-old DeMille suffered a serious heart attack in 1954 during three months of filming in Egypt.

Back in Hollywood, he completed almost four months of shooting on set, followed by fourteen months of post-production work. While perhaps not concerned about release dates, DeMille did reportedly time filming to enable Charlton Heston’s three-month-old son, Fraser, to play baby Moses.^[8]

2 Ben-Hur

The other perennial Easter epic, Ben-Hur, clocks in at only eight minutes shorter than its Old Testament companion piece. It took about as long from conception to release on November 18, 1959. MGM planned to begin shooting in July 1954 but encountered delays due to multiple script revisions and changes in the director, producer, and major studio executives.

By the time filming began in Rome in May 1958, set construction was long underway. The track for the chariot race covered 18 acres (7.3 hectares) and took six months to build. The race itself fills ten minutes of screen time but took ten weeks to shoot and ate up one-quarter of the $15 million budget ($162 million in 2024). Even though director William Wyler maintained a sixteen-hour, seven-day-a-week schedule, filming took nine months to complete. Recording the lengthy musical score alone required twelve sessions over a seventy-hour period.

MGM’s long wait and huge financial gamble paid off, with a five-fold box office return and a then-record-setting eleven Academy Awards, including Best Picture, Best Director, and Best Actor for Charlton Heston, his only career nomination.^[9]

1 Die Hard

Despite its frequent F-bombs, a body count of eighteen, and a release date of July 12, Die Hard (1988) has long been heralded for its many holiday elements, beginning with Run DMC’s “Christmas in Hollis” in its soundtrack. The action ramps up as Bruce Willis’s character, John McClane, and his estranged wife, notably named Holly, attend a company Christmas party. Festive trees and ornaments deck the halls of the building under siege. McClane even leaves a bad guy in an elevator wearing a Santa hat and a sweatshirt that reads, “Now I have a machine gun ho-ho-ho.”

Director John McTiernan is on record that Die Hard evolved into a Christmas movie during production, and 20th Century Fox came to agree. The studio brought the film back to theaters in November 2018 and released what it called a “30th Anniversary Christmas Edition” on Blu-ray with a trailer promoting it as “the greatest Christmas story ever told” and the tag line: “CHRISTMAS MOVIE? YIPPEE KI YES!”

Peter Billingsley, who played young Ralphie in A Christmas Story (1983), endorsed the Christmas claim during a podcast conversation with Die Hard cinematographer Jan de Bont in December 2023. Billingsley said of this rare holiday thriller, “Most importantly, I think it embodies the themes of Christmas of acceptance, forgiveness, love and family.”^[10]

A core appeal of video games is their interactivity. By pressing the buttons in a certain way, you move your character through the virtual environment. You then feel like part of the adventure, as your actions dictate the success or failure of the hero. What’s more, your skill often earns you great rewards. While these titles may tell a deep, compelling story to tie their objectives together, that narrative should never overshadow the gameplay. Of course, not everyone gets that message.

Recent years have given way to an unsettling trend: games trying to be movies. These titles often have minimal interactivity. Instead, they box you into preset situations with minimal skill or input. They then frame these sections with hours upon hours of cutscenes. You soon spend more time watching the game than playing it. Sure, this approach wins awards and earns attention from artsy parties outside the gaming sphere. After a while, though, you, as the player, wonder why you’re here. If the developers want to tell their story in such a specific way, then they should quit the façade and make a movie.

Related: 10 Video Game Cut Scenes That Were Better Than the Game Itself

10 Senua’s Saga: Hellblade II

To be fair, Hellblade: Senua’s Sacrifice is already limited in its gameplay. Combat boils down to the same few combos, and you have little choice but to move forward through on-rails environments. Nevertheless, the presentation makes it a worthwhile experience. The adventure is haunting and atmospheric, and it puts those atmospheric aspects toward some decent environmental puzzles. Best of all, it brilliantly uses sound and visuals to simulate the protagonist’s psychosis. All of these elements add up to a quaint yet promising foundation.

Sadly, the sequel fails to build on that foundation. Senua’s Saga: Hellblade II bears its predecessor’s weaknesses and undermines its strengths. The gameplay remains as shallow as ever but without the mental illness intrigue to back it up. Senua is no longer on her own, ditching the oppressively isolating atmosphere in lieu of simple conversations. Often, these talks unfold in static cutscenes or casual strolls through the village. With this misguidedly broadened scope, Hellblade becomes just another entry in the long list of Viking dramas in recent years.^[1]

9 The Order 1886

Talk about wasted potential. The Order 1886 presents a fascinating alternate history where the Knights of the Round Table protect a steampunk London from supernatural threats. You naturally want to explore this intriguing setting, but the game denies you that privilege. The total playtime is only a few hours. Not only is it shorter than some movies, but you have no freedom during that time.

The gameplay is painfully underrealized. Despite the city setting, you can only move forward in predetermined paths. Combat boils down to generic third-person shooting with only a small selection of weapons and an even smaller pool of enemies. The developers clearly want you to experience this new IP in a specific way, but their efforts suck out all the excitement.^[2]

8 Ryse: Son of Rome

Some games exist as tech demos for a new console, and Ryse: Son of Rome functions as such for the Xbox One. It boasts photorealistic humans, an immaculate Roman aesthetic, and a theatrical presentation. The developers are clearly shooting for a historical epic much like Gladiator or Troy. They meet that high standard, offering an impressive showcase of the console’s power. They just forget that they’re making a game.

You fight your way through fixed levels in a hack-and-slash style. That wording might be deceptive, though, as Ryse has no style. The hero’s few sword and shield combos are as generic as they come, not that he ever needs anything more complicated. Enemies never deviate from recycled soldiers and brutes. Dispatching them quickly grows monotonous. These uninspired elements aren’t meant to stand on their own. They solely serve to get you to the next scripted set piece and nothing more.^[3]

7 God of War: Ragnarok

Retooling the action-packed God of War games into slower, introspective dramas was always an odd choice, and Ragnarok represents the final stage of that evolution. Engaging gameplay is no longer the top priority. The combat may remain relatively solid, but it fails to improve on its predecessor in any meaningful way. That’s largely because the role-playing still lacks the depth of the game’s more dedicated peers.

By that same metric, there are a handful of side quests, but you have no incentive to seek them out. Most of them are just passing curiosities—boring and inconsequential. Not to mention, the level design doesn’t encourage going off the beaten path since it’s rife with corridors and invisible walls. Even if you indulge in them, your playtime pales in comparison to the main narrative.

Ragnarok has a ludicrous amount of cutscenes. Most of these scenes are painfully drawn out because of the game’s pretentious single-shot approach. Characters walk slowly from place to place, take long pauses between each sentence, and silently reflect on their journeys. You spend only a small portion of this game actually playing it. Even then, some of the gameplay amounts to walking forward and listening to exposition. With such a lopsided ratio, you wonder why the developers bothered with any role-playing at all.^[4]

6 The Last of Us Part II

This sequel has the same problems as God of War. The massive number of cutscenes stands radically out of proportion with the gameplay. Similarly, these cinematic sequences all have a glacial pace—every second is steeped in hyper-emotional drama. Now, plentiful cinematics are nothing new for developer Naughty Dog. Jak & Daxter and Uncharted are rife with cutscenes. The latter series even has a linear structure, but it never eclipses the exhilarating gameplay.

The Last of Us Part II coasts by in that department. Rather than platforming through multidimensional levels, this post-apocalyptic follow-up falls back on its predecessor’s rudimentary shooting, crafting, and stealth. You use these actions to take out the same moronic zombies and faceless thugs. That’s if you’re fighting at all, as the game continues the tired trend of walking through boring hubs while listening to mandatory conversations. Such superficial aspects are more apparent as the game shamelessly stretches to an obscene length. Well, fans now have a Last of Us TV show, so this bloated bore is even more irrelevant.^[5]

5 Quantum Break

Quantum Break deviates from its cinematic peers in a key way. It doesn’t want to be a movie; it wants to be a TV show. This mind-bending thriller unfolds in a series of episodes, and each one features live-action scenes with actors like Shawn Ashmore and Lance Reddick. These segments comprise about half the total playtime. The other half sees their photorealistic likenesses fight their way through sci-fi set pieces in seamless transitions. The design strives to blur the line between games and television, but intent can only get you far.

All the tiresome hallmarks are here. You have repetitive third-person shooting copied and pasted from other series. You have pedestrian platforming where you can only go one way. You have primitive “puzzles” where you hit a single button to proceed. What should be a multifaceted experience swiftly reveals itself as a mundane mashup of familiar building blocks with nothing defining them. Combined with the prominence of live-action beats, that lack of identity tells you all you need to know about the developers’ priorities.^[6]

4 Final Fantasy XIII

Final Fantasy is one of the seminal role-playing series. Players love traveling the world, building a party, and customizing that party to their style. Final Fantasy XIII is an outlier in that it excises all those strengths while pretending it doesn’t. On the surface, it’s still about a grand adventure across a fictional landscape, but the route is always predetermined. Most of the environments are narrow hallways with no deviations. You spend dozens of hours walking in a straight line. The game opens up near the end, but it’s too little too late. The developers could have lessened the monotony through role-playing, but no.

The gameplay follows the same on-rails mindset. As you level up, you can invest your skill points in each character’s stats and abilities. The catch is that they’re all unlocked in a particular order. If a fire spell is the next item on the progression plane, then that’s what you get. The developers even discourage you from using these skills on your own. You only control one of your party members in battle; the others just do what they want.

In addition, the recommended “Auto-Battle” takes away even that choice, instead activating whichever abilities the developers deem best.FFXIII somehow saps the freedom out of a genre practically built on it.^[7]

3 Death Stranding

Hideo Kojima usually garners a mixed response for his convoluted storytelling and bizarre concepts, but this post-apocalyptic mailman simulator reeks of his worst tendencies. Death Stranding immediately showers you with cutscenes. For most of the opening hours, you barely touch your controller. Instead, you watch the most pointlessly pretentious weirdness ever put to screen, much of it unfolding in slow motion. The only breaks come in the form of tedious tutorials. Before long, you’re begging to actually play the game.

There’s admittedly some skill and depth to delivering packages. Not only do you navigate uneven environments, but you must anticipate the dangers on your route and prepare supplies accordingly. The downside is that the developers never let you get into a groove. Every mission yields another exposition dump—either in an audio announcement or another overlong cutscene. This is what happens when Kojima has no one to rein him in.^[8]

2 Until Dawn

Audiences often lambaste people in horror films for their dumb decisions. Until Dawn aims to answer that by placing players in their own slasher flick and letting them decide who lives and dies. That applies to the familiar setup as well as the gameplay. You can’t explore the cabin or the surrounding area. On rare occasions when you can freely move, the game only gives you a few feet to walk around. Instead, the style is a “Choose Your Own Adventure” endeavor like the Telltale titles.

The problem is that there’s not much choice. You expect to watch a lot of cutscenes for this type of game, but these cinematics are long even by this genre’s standard. Whenever you do make a decision, it usually doesn’t affect the narrative in any meaningful manner. In most cases, the characters can’t even die. Failing a button prompt just resets the sequence for a few seconds so that you can try again. That pattern undermines the game’s selling point, making it just another horror flick filled with stupid victims.^[9]

1 Most Quantic Dream Games

Imagine a whole series of games with the same issues as Until Dawn. That’s developer Quantic Dream in a nutshell. This studio languishes in linearity. Its titles practically beg you to take them seriously as arthouse films. The endless cutscenes bombard you with melodramatic acting from big-screen celebrities rendered in grotesque, uncanny detail. These performances convey pathetically pretentious plots with no deviation whatsoever.

That philosophy extends to the navigation. Invisible walls fill the tiny environments, and puzzles typically have a single, simple solution. The conversations should have more room to experiment, with each exchange offering choices for what to do and say. No matter what you pick, though, the writers still bottleneck you into their preset scenarios.

That lack of agency applies to all of Quantic Dream’s high-profile titles. Beyond: Two Souls and Detroit: Become Human are the most egregious examples, as they suffer from all the problems previously listed. The best effort in this style is Heavy Rain. This murder mystery also stumbles in its attempts to marry gameplay and cutscenes, but at least has genuine branching paths. However, that mild success doesn’t remotely justify the developers’ stubborn adherence to this format. Just make a movie and stop pretending it’s a game.^[10]

It may seem like there’s a ton of money to be made in the film industry, but that’s actually not the case. Not always, at least. In many instances, actors stick their necks out to do a movie they are very passionate about or are very inspired to produce, and they come away broke! Forget the multi-million dollar salaries, the huge box office totals, and the massive marketing budgets. Some movies just suck money out of the room. Even for the stars who sign on to do them, hoping it’ll propel their A-list profiles to even higher heights!

In this list, we’ll take a closer look at ten Hollywood movie stars who actually lost money producing hit movies seen by millions of people. From marketing costs stretching the budget thin to paltry low salaries after agreeing to get on set, these ten stories prove that the movie biz isn’t all sunshine and rainbows!

Related: Top 10 Tremendous Wastes Of Money

10 Dwayne Johnson

Dwayne “The Rock” Johnson was incredibly hopeful that moviegoers would love to see Black Adam (2022). The brains behind the DC Comics Extended Universe were hopeful that audiences would connect with the character, too. After all, the franchise was sputtering at the time, and they desperately needed to turn over a new leaf. So they signed Johnson on in large part because all of his movies have always been massive hits. Well, until this one! The superhero story about an Egyptian slave from 2600 BC who was granted great power by the ancient Gods simply failed to connect with audiences in the biggest and worst way.

For one, the film’s production was marred by the COVID-19 pandemic. Then, when it came time to release it, Johnson himself put his money where his mouth was and stepped up as both a producer and a promotional mouthpiece. Sadly, it didn’t work. Despite all of Johnson’s other films raking in dough, this one lost tons and tons of money for both him and Warner Brothers. According to reports, the film’s funders lost as much as $100 million after fans failed to show interest in the story and its off-shoot title character. Oops!^[1]

9 George Clooney

George Clooney believed so much in his 2008 sports comedy film Leatherheads (2008) that he invested a lot of his own money to make it work. But while the production got off without a hitch, and the film did live long enough to see theaters and be sold to moviegoers, the public mostly panned the flick. Sure, George may have written the film, starred in it, directed it, and even produced it by taking in the bigger picture with marketing and funding. However, he forgot the most important part: to make a movie the public wanted to see.

Ultimately, the film came to life on a budget of $58 million, which was put up by George’s own production company, Smokehouse Productions. Unfortunately for the ER alum and his Smokehouse brethren, they didn’t come anywhere close to making back their money. According to film industry watchdog reports, the film only brought in just a shade over $41 million in box office receipts. So it left George about $17 million in the hole. Ouch!^[2]

8 Kevin Costner

Kevin Costner isn’t afraid of investing his own money into his films. There’s just one problem with that strategy, though: When he misses, he misses REALLY big. Take The Postman (1997) as the perfect example of this. Costner himself helped fund the flick, but unfortunately, audiences didn’t go see it nearly enough to earn the star his money back. The film’s budget topped $80 million, according to reports, but it only turned around and brought in $17.6 million in ticket receipts. Worse yet, it didn’t even get an international release, preventing Costner from scoring big on foreign money after its disappointing American run.

But is Costner upset with losing so much money on the movie? Nope! Speaking to HuffPost about it after the film bombed, Kevin called The Postman a “really good movie.” Defending his decision to fund and produce it, he added: “If you revisit the movie, that’s a good thing to do. You can go back and revisit some movies that made well over $100 million and you might not care anything about them. And you can go back and maybe review a movie like that—you know, it was a pretty big, epic movie.” Hey, as long as he’s proud of it and okay with it losing so much money, who are we to criticize?^[3]

7 Brad Pitt

Brad Pitt felt so strongly about his 2007 movie The Assassination of Jesse James by the Coward Robert Ford that he put up his own money to get it off the ground and out in theaters. The issue came when he found out how fans didn’t feel nearly as passionately about the movie. Pitt and his production team spent more than $30 million on the film—much of which came out of the A-list star’s own deep pockets. But the movie only returned about half of that total in gate receipts, making it a complete failure on every financial level.

Don’t count on Pitt regretting the process, though. “The way producers get us actors on is if it’s something we love and have to do, we do it for a price and get the movie made,” Pitt explained to Variety five years after the movie came out, in 2012. “It actually cost me money in the end. I paid to work on that one, and I think the film still lost money, but it was one of my favorites and one of the most rewarding to me.” Of course, there isn’t a price to be put on emotional satisfaction. Still, the thought of losing tens of millions of dollars is a tough pill to swallow!^[4]

6 John Travolta

John Travolta took a big risk when he decided to take Scientology founder L. Ron Hubbard’s book Battlefield Earth: A Saga of the Year 3000 to the big screen. He had trouble nearly from the very beginning, too. Most notably, Travolta couldn’t find funding for the 2000 movie! So he had to fund it himself if he wanted to see it get made—and that’s exactly what he did.

The A-lister put in millions of his own dollars to fund the film and even agreed to forfeit the majority of his normal paycheck to make it. In turn, he hoped to see a major return on his investment with a popular showing at the box office. But he didn’t! Not even close. The film’s budget ended up soaring higher than $73 million in the end. And as for how much it brought in? Well, it didn’t even clear $30 million in returns. Ouch!

Still, even though he took a $43 million haircut, Travolta has no regrets about it. Speaking to the Daily Beast about losing so much money on Hubbard’s book-turned-film, Travolta argued: “Why would I ever regret that? I had the power to do whatever I wanted, and I chose to do a book that I thought was worthy of making into a movie. It’s a beautiful film. It’s a good movie.”^[5]

5 Sharon Stone

Sharon Stone had one of the most iconic film roles of all time with her work in Basic Instinct (1992). But it might surprise you to learn that she didn’t make any money on the film! Her co-star, Michael Douglas, may have commanded millions of dollars with his role in the flick, and he came away as a clear financial winner. But Sharon didn’t make that kind of money for her role, which catapulted her into true superstardom. Then, to make matters worse, she had to do the awards show run because the film was so successful—and so she lost money spending big on dresses, makeup, and stylists!

Between promoting the movie as it hit theaters and then doing the Oscars dance after it started to gain traction, Stone ended up bottoming out in the red. After looking back on her Basic Instinct experience in a chat years later with the CBC, Stone reminisced. “I didn’t get paid [well] to do Basic Instinct. I made a little bit of money. Michael made $14 million and has points. I made not enough money to buy my dress to go to the Oscars the next year. I was in this weird limbo where I was suddenly famous, but didn’t have any money.”^[6]

4 Jack Black

Jack Black thought so highly of Tenacious D that he used up all his willpower and goodwill with producers and Hollywood movers and shakers to bring it to the big screen in 2006. The result was the funny and bizarre movie Tenacious D in the Pick of Destiny. While he may have loved that the film was even greenlit and produced at all, his adoration for his band didn’t translate into a financial windfall. In fact, it went completely in the other direction! Things got so bad that Black even had to forgo his usual $12 million per movie salary that he had been accustomed to drawing in other productions.

In the end, the movie was made on a $20 million budget. That’s not huge compared to the costs of some films nowadays. However, the issue was that Jack’s passion project only made back $13.9 million in theaters. So that’s quite a significant loss compared to what he and Tenacious D co-creator Kyle Gass had been hoping to get. Oh, yeah, and that’s the other thing: being partners on the musical side of things, Gass and Black had agreed to split their movie money evenly in the end. So each one ended up netting about $500,000 on a movie that cost $20 million of their own money and privately raised investor funds to make. Yikes!^[7]

3 Will Smith

Will Smith and his production company Overbrook Entertainment took a big chance in 2013 when they took the sci-fi flick After Earth to theaters. The film wasn’t cheap at all to make. In fact, they spent $150 million to produce the film—and then another $100 million to market it. Those numbers are massive in any context! And they are even more massive when you consider how much the film didn’t make! In the end, After Earth only brought back $234 million during its theatrical release. A big number out of context, obviously, but when you spend north of $250 million to get it out there, falling $17 million short doesn’t feel good. Smith himself later called it “the most painful failure in my career.”

“What I learned from that failure is how you win,” Smith told Esquire after the movie bombed so badly, and he took some time to reflect on its losses. “I got reinvigorated after the failure of ‘After Earth.’ I stopped working for a year and a half. I had to dive into why it was so important for me to have number-one movies. And I never would have looked at myself in that way.”

And he continued: “That Monday started the new phase of my life, a new concept: Only love is going to fill that hole. You can’t win enough, you can’t have enough money, you can’t succeed enough. There is not enough. The only thing that will ever satiate that existential thirst is love. And I just remember that day I made the shift from wanting to be a winner to wanting to have the most powerful, deep, and beautiful relationships I could possibly have.”^[8]

2 Patricia Arquette

Patricia Arquette was paid so little to be in Boyhood that the movie nearly wasn’t worth it to do. Financially, she came away with just a few thousand dollars for her trouble. Which, when you factor in time spent on set, time preparing and learning lines and blocking, and the costs of having assistants and helpers keep up her home and pets when she was gone to film, it just wasn’t worth it! Well, that is until she won the Oscar for Best Supporting Acctress for her role in it.

“It’s important to me as an actor to be able to make a living, but I’m going to tell you something,” Arquette revealed after the movie hit theaters and turned into a massive critical and award-show success. “I paid more money to my babysitter and my dog walker than I made on ‘Boyhood,’ and to be in Boyhood.” That seems kind of backward to us, considering popular movies make bank. But again, she won an Oscar for her role, so we have a feeling that she’s not too upset by the outcome.^[9]

1 Rebel Wilson

Rebel Wilson revealed in her memoir that the early career-defining role she had in Bridesmaids netted her just $3,500 in salary. That’s a remarkably small salary for a movie that turned out to be so popular and well-known. Not only that, but Rebel actually had to wait more than a year before the check cleared and was sent to her! We hope she wasn’t counting on paying rent or anything with the proceeds. She did use the money to join the Screen Actors Guild, at least, so that’s a nice move to make. But she ended up in the red on it overall because she had to dish out dollars for dresses and beauty bills when it came time to premiere and promote the film!

“I basically made no money,” Rebel wrote about the financial reality behind Bridesmaids in her memoir. “I lost money because I had to pay to go to the premiere, like to buy my dress and everything. That was a really skint year where I was living on $60 a week in L.A. once I’d paid my rent and my car hire. I wasn’t partying or living this [movie star] life. It was basically having that focus, trying to write for myself, like going to auditions.”^[10]

Just because a band or artist doesn’t actually exist in real life doesn’t mean they can’t make great music. Films are full of fictional musicians whose songs are sometimes so catchy that they reach the actual charts. Really, this isn’t all that surprising, considering these songs are often penned by successful musicians.

To qualify for this list, not only do the songs have to be written specifically for a movie, but they can’t be performed in the film by someone who has a high-profile career as a musician in real life. So you won’t find “Shallow” from A Star is Born (2018) or “The Climb” from Hannah Montana: The Movie (2009) on this list.

Related: Top Ten Musical Moments from Musical TV Shows

10 “Through the Trees” by Low Shoulder

In Jennifer’s Body (2009), the troubles of the titular character (played by Megan Fox) start when the indie rock band Low Shoulder takes her into the woods and sacrifices her to Satan. The ritual turns Jennifer into a demonic man-eater, but it gives Low Shoulder the success they were chasing, launching their song “Through the Trees” into the limelight.

Amy Driscoll-Dunning—head of Fox Searchlight at the time—suggested Test Your Reflex (now known as Wildling) as a band that could write a song that sounded like Snow Patrol’s “Chasing Cars.” The band’s frontman, Ryan Levine, was given the song’s title and first few lyrics, which were written by the film’s writer, Diablo Cody. Levine added the rest of the lyrics and the riff, with keyboardist Andrew Ampaya adding the piano track and strings.

In the film, Adam Brody plays Low Shoulder’s evil frontman, Nikolai, and he lip-synced to Levine’s vocals. Levine also appears in the film, though, as Low Shoulder’s guitarist, and his bandmate Sal Cortez plays the drummer. The bassist and keyboardist are played by actors Juan Riedinger and Colin Askew.^[1]

9 “Pretend to Be Nice” by Josie and the Pussycats

Although “Sugar, Sugar” (1969) by The Archies is the most famous song released by a fictional band comprised of characters from Archie Comics, that tune wasn’t written for a movie. Many years later, in 2001, Josie and the Pussycats burst onto cinema screens with an entire album of songs.

The band is formed of Riverdale residents Josie McCoy (Rachael Leigh Cook), Melody Valentine (Tara Reid), and Valerie Brown (Rosario Dawson). The three actresses provided backing vocals, but Kay Hanley from Letters to Cleo provided the main vocals for Josie. The tracks were written and produced by a variety of musicians, including Adam Schlesinger from Fountains of Wayne, Jane Wiedlin from The Go-Go’s, and Adam Duritz from Counting Crows.

The band’s first single, “Pretend to Be Nice,” was written by Schlesinger. The song hits No. 1 on the Billboard Hot 100 in the movie, and while that success wasn’t matched in real life, the soundtrack of the movie was pretty popular. Not only did it reach No. 16 on the Billboard 200, but it was also certified gold.^[2]

8 “Nobody Like U” by 4*Town

Pixar’s Turning Red (2022) is set in 2002 and follows 13-year-old Mei as she starts turning into a red panda. But Mei doesn’t let that get in the way of going to a 4*Town concert. The boy band has three songs in the animated film: “1 True Love,” “U Know What’s Up,” and their biggest hit, “Nobody Like U.”

The songs—which mimic the sound of *NSYNC and Backstreet Boys—were written by Billie Eilish and her older brother Finneas O’Connell (who often writes and produces for his sister). The members of the band—Robaire, Jesse, Aaron Z., Aaron T., and Tae Young—are voiced by Jordan Fisher, O’Connell, Josh Levi, Toher Ngo, and Grayson Villanueva.

“Nobody Like U” had a life beyond the movie, peaking at No. 49 on the Hot 100 and even being performed live by some of the voice actors. At the 20th Unforgettable Gala, Levi, Ngo, and Villanueva were joined on stage by Will Jay and Raymond Ortiz—who filled in for the two missing members—to perform “1 True Love” and “Nobody Like U.”^[3]

7 “Garbage Truck” by Sex Bob-Omb

Music is a huge part of Scott Pilgrim vs. the World (2010) due to the titular main character’s (Michael Cera) band, Sex Bob-Omb, competing in a competition to win a record deal. Director Edgar Wright said that he “had this idea that each of the fictional bands within the film should have a different artist doing them. So it was sort of like casting.”

Beck wrote the songs for Sex Bob-Omb, and the actors playing band members had to learn how to sing and play their instruments—aside from Cera, who already knew how to play the bass guitar. Although the opening title track, “We Are Sex Bob-Omb,” won the 2010 Houston Film Critics Society Award for Best Original Song, “Garbage Truck” is the fan favorite (if Spotify numbers are anything to go by).

Other artists who wrote music for the film include Metric, who wrote “Black Sheep” for The Clash at Demonhead, and Dan the Automator, who wrote “Slick” for Matthew Patel (Satya Bhabha).^[4]

6 “Drive It Like You Stole It” by Sing Street

Sing Street (2016) is set in 1985 in Dublin and follows teenage boy Conor (Ferdia Walsh-Peelo) as he starts a band with his classmates. Among Sing Street’s soundtrack of Duran Duran, Hall & Oates, and The Cure are a few songs by the titular fictional band themselves. Although U2—which was formed in Dublin—was originally going to help with crafting Sing Street’s sound, writer and director John Carney said that “our schedules didn’t match up. I think they were on tour, and we were shooting back at home, and it didn’t work out on a timeline.”

Instead, Gary Clark, the frontman of Scottish band Danny Wilson, took on the role, with help from Carney, plus Ken and Carl Papenfus from Relish. The musical peak of the film is the fantasy scene where Sing Street performs “Drive It Like You Stole It” in the style of Back to the Future’s Enchantment Under the Sea dance. Both the San Diego Film Critics Society and the St. Louis Gateway Film Critics Association gave the film awards for its music.^[5]

5 “Fever Dog” by Stillwater

The soundtrack of Almost Famous (2000) features an impressive roster of artists—including Lynyrd Skynyrd, Led Zeppelin, and The Who, plus the fictional band Stillwater. It even won a Grammy for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media.

Based on the life of writer and director Cameron Crowe, the plot sees a teenage boy with journalistic aspirations follow a rising rock band, Stillwater, on tour in the ’70s. Stillwater’s sound was crafted by a number of musicians, including Nancy Wilson from Heart and Peter Frampton. As well as penning Stillwater’s hit “Fever Dog” with Crowe, Wilson also played rhythm guitar for the group. The guitar skills of Stillwater’s Russell Hammond (Billy Crudup) are actually down to Pearl Jam’s Mike McCready.

Although Stillwater’s success didn’t immediately crossover into the real world, in 2021, the Stillwater Demos EP scored the No. 95 spot on Billboard’s Top Album Sales chart.^[6]

4 “On the Dark Side” by Eddie and the Cruisers

When adapting P.F. Kluge’s 1980 novel Eddie and the Cruisers into a movie, director Martin Davidson knew that he needed to find the right band to write the music. He hired Kenny Vance from Jay and the Americans to help track down a suitable Jersey bar band. Vance came up with the goods, presenting John Cafferty and the Beaver Brown Band, who were reminiscent of Bruce Springsteen and the E Street Band.

Although most of the onscreen band is comprised of actors, the saxophonist of John Cafferty and the Beaver Brown Band, Michael “Tunes” Antunes, was cast in the movie. The main song from the 1983 film, “On the Dark Side,” proved to be a massive hit, reaching No. 7 on the Hot 100, while “Tender Years” made it to No. 31.^[7]

3 “Walk Hard” by Dewey Cox

Walk Hard: The Dewey Cox Story (2007) is a parody of the music biopic genre, but even though it’s a comedy, John C. Reilly (who plays Dewey Cox) said, “We never wanted to lose the listenability of the songs.” The main character and his ever-evolving musical style draw from a huge variety of artists, including Johnny Cash, Ray Charles, and Bob Dylan. 40 songs were recorded, with around 33 of them making it into the final movie.

Dan Bern and Mike Viola wrote many of the songs, but for the titular song, “Walk Hard,” submissions were open, with Marshall Crenshaw’s song being chosen. Reilly not only sang and played guitar on the tracks, but he also received writing credits for a handful of them, including “Walk Hard.” He even performed the songs live on the Cox Across America tour.^[8]

2 “That Thing You Do!” by The Wonders

Back in the mid-1990s, Tom Hanks was looking for a song for his movie That Thing You Do! (1996), which follows a band called The Wonders and their rise to fame in the mid-1960s.

Adam Schlesinger—who a few years later found fame with Fountains of Wayne’s “Stacy’s Mom” (2003)—heard that Hanks and his team were asking for demos that sounded “like an American band that was blown away by The Beatles right after they arrived and was trying to imitate them.” Schlesinger loved ’60s pop and rock, so he wrote a song in a couple of days, recorded it with two friends, and sent it in, describing it as “a shot in the dark.”

Hanks loved the track and hired Schlesinger to co-produce the song, as well as his friend Mike Viola, who sang on the demo, to provide vocals for the finished tune. Although the song didn’t make quite as much noise as it does in the movie, it did reach No. 41 on the Billboard Hot 100.^[9]

1 “Tonight I’m Gonna Rock You Tonight” by Spinal Tap

Perhaps the most famous fictional band is Spinal Tap, who started out on TV, but in 1984, the band starred in This Is Spinal Tap, a mockumentary directed by Rob Reiner. The film follows the band as they embark on a hilariously disastrous tour, with the majority of the dialogue being improvised. The main band members are Michael McKean as David St. Hubbins, Christopher Guest as Nigel Tufnel, and Harry Shearer as Derek Smalls—all of whom wrote and performed the songs themselves.

Spinal Tap has a large discography for a parody band, with some of their most popular songs being “Tonight I’m Gonna Rock You Tonight,” “Stonehenge,” and “Big Bottom.” They’ve also played many live shows, going on tour and even performing at prestigious venues such as Wembley Stadium and the Royal Albert Hall. As for chart success, two of their songs have made it onto the Hot 100: “Break Like the Wind” hit No. 61, and “Back From the Dead” hit No. 52.^[10]

Certain big movies feel inseparable from their directors, seeming to extend directly from the unique stylistic, thematic, and dramatic places that make those directors who they are on screen. But film productions are more fluid than many of us realize, with frequently more than one filmmaker coming and going before the picture actually gets made. And, surprisingly often, Steven Spielberg is at one or the other end of this process!

These are just a few of the many, many massive movies that have come close to being made by a totally different talent before fate, death, financiers, or good old-fashioned bad timing intervened.

Related: Top 10 Famous Directors Who Were Fired

10 Solaris (2002)

Steven Soderbergh’s only science-fiction movie to date is, perplexingly, a remake of Andrei Tarkovsky’s masterpiece Solaris (1972). Despite initial reluctance from audiences to approach the movie with an open mind, Solaris won out against its critics (for the most part) by leaning into Soderbergh’s gritty yet visually awe-inspiring directorial style and has stood the test of time.

However, James Cameron was originally going to helm the 2002 project. The Terminator director spent several years securing the rights to Solaris with an eye to conducting the remake himself. 20th Century Fox wanted Soderbergh to make a science-fiction picture, and, knowing that Cameron had the rights, Soderbergh took his shot with the veteran director.

Surprisingly, Cameron said yes, allowing Soderbergh to helm the project and side-stepping into the producer’s chair. And while some producers can be tremendously overbearing—especially if they wanted to make the movie themselves—Cameron trusted the younger director’s vision and took a hands-off approach, even allowing Soderbergh to depart from the original narrative.^[1]

9 Schindler’s List (1993)

The iconic Holocaust movie Schindler’s List feels like it could only have been directed by Steven Spielberg, given how deeply enmeshed it is with his filmic sensibilities and Eastern European Jewish heritage. Yet Irish-Catholic New Yorker Martin Scorsese was once attached to direct the picture.

This was during a turbulent period when Spielberg felt he simply couldn’t crack the script for Schindler’s List, touring it around a number of different writers and doubting his own abilities to tackle such a big subject. He gave it to Scorsese, feeling that the Taxi Driver director wouldn’t shy away from the violence, but eventually, Spielberg reneged on it, feeling that he’d “given away a chance to do something for [his] children and family about the Holocaust.”

Not only that, but Daniel Day-Lewis was originally in consideration to play Oskar Schindler when Scorsese was still in the director’s chair. However, when Spielberg took over, Day-Lewis moved on with Scorsese to film The Age of Innocence, and the role of Schindler went to Liam Neeson.^[2]

8 Cape Fear (1991)

The story of how Steven Spielberg came to direct Schindler’s List is inseparably tied to how Martin Scorsese came to direct Cape Fear. Spielberg was the first director on board with the crime thriller, but after being involved throughout development, he opted to trade Scorsese this picture for Schindler’s List.

The two directors arranged a trade in which Spielberg put Scorsese onto Cape Fear and reclaimed Schindler’s List for himself. And it’s lucky that they did because Cape Fear—with Robert De Niro in the lead role as a violent ex-convict who seeks vengeance against the public defender who he blames for his jail sentence—is Scorsese through and through.

But that’s not where the Jurassic Park director’s involvement with the property ends. Both Spielberg and Scorsese are currently lined up as executive producers of a TV adaptation of Cape Fear, which draws from John D. MacDonald’s original novel The Executioners while adopting a 21st-century setting to examine the U.S.A.’s present obsession with true crime.^[3]

7 Dune (1984)

Despite Denis Villeneuve’s recent success with it, Frank Herbert’s sprawling epic science-fiction series Dune has been notoriously difficult to adapt. Several attempts to make it were abandoned in the 20th century, before David Lynch’s maligned version, which put financiers off the property for several decades.

Given how much material Lynch needed to cram into a 137-minute runtime, it is little surprise that his film failed. But perhaps it would have succeeded in the hands of a director a little more suited to the subject matter—say, Alien and Blade Runner director Ridley Scott.

Scott was, in fact, attached to the film before Lynch. Hired by producer Dino De Laurentiis (who remained as producer after Scott left the project and shepherded in the subsequent disasterpiece), Scott worked on the script and had big ideas for the franchise. However, one trip to the set in Mexico that De Laurentiis had chosen to cut costs, and everything changed. Scott felt he couldn’t work in the sub-standard conditions the studio offered and went off to make the Tom Cruise fantasy flop Legend instead.^[4]

6 Alien: Resurrection (1997)

Many of the hardcore fanbase consider every Alien movie made after James Cameron’s 1986 sequel Aliens to be heresy against Ridley Scott’s original vision. Yet there is plenty to love in this mishmash of xenomorph content. Take Jean-Pierre Jeunet’s Alien: Resurrection, which combines action, humor, and a late-1990s aesthetic in an original, far-future story the like of which the franchise had never seen.

But the project almost went to a very different flavor of ’90s director—Danny Boyle. With Trainspotting and Shallow Grave already in the can, Boyle was a leading light of the decade, and Fox was keen to snap him up.

As a huge fan of the series, as well as Joss Whedon’s script—which was set to reintroduce the psychological and sexual overtones that Cameron and Alien 3 director David Fincher had largely ignored—Boyle was set to make his blockbuster debut. However, when it came down to it, the indie director felt intimidated by the scale of the picture and the level of special effects required. He was unwilling to meet studio demands to craft the film into an action flick in the vein of Aliens.^[5]

5 Spider-Man (2002)

Alongside Bryan Singer (X-Men), Sam Raimi was one of the first directors to show what superheroes could do on the big screen, paving the way for the MCU with his Spider-Man movies. Against all odds, the director’s quirky, dynamic, often slapstick style, which he had honed in low-budget horror pictures, was successfully brought to bear on the web-slinger’s world, creating a cinematic icon in the process.

How different things could have been if Chris Columbus, who is known for his warm, sensible, family-friendly movies, had stuck with the project. Spider-Man was Columbus’s childhood hero and one of the reasons he became a creative, so it was a perfect fit, especially as Sony wanted to court a family vibe to make as big a box office as possible on their 139-million-dollar movie.

But Columbus was hoping to snag Harry Potter and the Sorcerer’s Stone at the same time. He was so invested in Potter that he wrote up his own director’s version of the script in preparation for his meeting with the executives. He delivered a passionate 45-minute speech on why he ought to direct. Thus, when offered both Spider-Man and Potter—just a day apart—he went with his gut, not his heart.^[6]

4 Good Will Hunting (1997)

Good Will Hunting managed the unthinkable by transporting writer-stars Matt Damon and Ben Affleck from relative obscurity onto the Hollywood A-list, netting them the Academy Award for Best Original Screenplay in the process. It didn’t hurt that they had veteran comic Robin Williams on board from early in the process. Producer-mogul Harvey Weinstein bought the movie for over $1 million before helping them find their director.

Mel Gibson was the first big name attached to the film, having demonstrated his ability to deliver a major production in the William Wallace historical epic Braveheart. Having never actually seen Braveheart, Damon and Affleck pretended they had while courting the actor-director, and he was convinced by them and their script to come on board.

Unfortunately, Gibson was terribly slow moving, developing the film over many months, and Damon approached him to ask if they could move forward with someone else. Gibson agreed, and indie auteur Gus Van Sant—who was enamored with the script—signed on, reining in the more avant-garde elements of his filmmaking to create a true Hollywood classic.^[7]

3 Jaws (1974)

Jaws, the original blockbuster, saw Steven Spielberg take a story about a killer shark and make cinematic history despite all manner of pre-production and on-set mishaps along the way. While it made the director’s name and paved the way for a stupendous career, he almost didn’t get the position.

Spielberg was just a junior director with few films to his name and fewer successes. Still, the producers knew about him and liked him so much that they let him look at the script while they already had another director signed on to make the movie—Dick Richards.

Thankfully, for pretty much everyone involved, Richards dropped the ball at the beginning of production. During an important meeting between the producers, the writer, and Richards, the Tootsie director kept calling the shark a whale, and Peter Benchley—writer of the original novel—took umbrage. As a result, the producers got rid of Richards and gave Spielberg the opportunity of his life. He was their preferred choice from early on, but it’s not like they were looking for just any reason to do this…^[8]

2 Dallas Buyers Club (2013)

Dallas Buyers Club transformed Matthew McConaughey and Jared Leto in the eyes of the film-viewing world with a groundbreaking drama about stigma and healthcare during the AIDS epidemic in the American South. While both actors had been in their fair share of great movies prior, this was the film that made their careers, in no small part, thanks to the rigorous direction of Jean-Marc Vallée.

But Dallas Buyers had been in the works for many years before it finally came to fruition. During this time, Marc Forster was the one hoping to be behind the camera when it finally started rolling.

Forster seized the project in the early 2000s after the success of his drama Monster’s Ball earned him widespread acclaim. Despite having Brad Pitt on board to star as real-life cowboy Ron Woodroof and the production requiring only a modest budget and no special effects, he could never get the film off the ground. And with plenty of other potential films vying for their talents, Forster and Pitt moved on. Luckily, Vallée eventually picked up the project and scored three Academy Awards in the process.^[9]

1 A.I.: Artificial Intelligence (2001)

Stanley Kubrick was a notoriously laborious filmmaker, spending much time sitting on material and far less actually shooting it. While this has left us with fewer Kubrick films we might like, it did wonders for the quality of his work.

The biggest victim of his procrastination is A.I., a film that he had been working over in his mind and on the page since the ’70s. However, he never got to see it made. Steven Spielberg had been Kubrick’s confidant on this project since the ’80s, and it was he who the Shining director entrusted to bring the film to fruition in his stead.

While fans and critics lambasted Spielberg for taking the film 2000 years into the future at the end, cutting away from the darker ending that many assumed Kubrick had wanted, their ire was misplaced. Kubrick always intended to transport the narrative to a post-human future and give the film’s android child, David, a final day with his mother—concluding on a bittersweet, heart-warming note that perhaps betrayed a softening in the director’s old age. In every frame and decision, Spielberg sought to honor his vision.^[10]

Hollywood is a competitively unoriginal business. Studios constantly recycle the same stories, repackage them as new products, and ponder how to sell them better than their rivals. That pattern inevitably leads to battles at the box office. However, it’s also given way to a strange coincidence.

Sometimes, two studios may release twin movies within the same time frame. These films might boast similar narratives, or they could share a setting. Either way, they target the same market. This unlikely event raises the stakes as the flicks compete for viewers. It turns weekend matinees into close-quarters combat. That outcome may not be the filmmakers’ intent, but that’s how it works out. Seeing which project comes out on top is worth the price of admission.

Related: 10 Movies That Were Meant To Have Sequels But Never Got Them

10 Tombstone & Wyatt Earp

Few Old West figures are more famous than Wyatt Earp. Tombstone (1993) stars Kurt Russell as the gunslinger as he and his brothers serve as lawmen in the Arizona town. They soon run afoul of a cutthroat band, sparking a war that ravages the Earp family and propels the whole region into lawlessness. The tale has been told countless times. In fact, one of those attempts came six months later.
The aptly titled Wyatt Earp (1994) is more of a loving biopic. For one thing, it stars Kevin Costner, who is known for slow, reverent westerns. For another, it goes into greater depth regarding Wyatt’s life. The story covers the hero’s boyhood adventures, his early days working odd jobs, and his turbulent love life. Only after those events does he finally reach Tombstone and kick off the infamous feud with the Cowboys. As you’d expect, this treatment led to a much longer runtime and a less concise pace. That’s partly why it hasn’t resonated with audiences like its rival.^[1]

9 Braveheart & Rob Roy

Just as famous as western gunslingers were the Scottish Highlanders. Their struggles against the occupying British forces turned them into folk heroes. A beloved depiction of that conflict was Braveheart (1995). Mel Gibson directs and stars in this biopic about William Wallace. After losing his love and witnessing the tyranny of the foreign oppressors, the highland warrior unites the various clans in a bloody fight for freedom. The film caught some flak for historical inaccuracy, but its rousing emotionality earned it a special place in filmgoers’ hearts. That success, unfortunately, overshadowed another exceptional film.

In contrast, Rob Roy (1995) was a much smaller Highlander tale. Liam Neeson plays the roguish Robert Roy MacGregor. Although he initially tries to do business with the British, his family and friends soon come under threat from a psychotic aristocrat. Not only do these attacks devastate MacGregor and his stalwart sense of honor, but the ensuing violence makes him an outlaw in his own land. His journey felt more personal than Wallace’s, but it had a fraction of the fame.^[2]

8 Olympus Has Fallen & White House Down

The Die Hard format has spawned numerous imitations. Olympus Has Fallen (2013) takes that formula to the White House. The popcorn flick features Gerard Butler as a former Secret Service agent. When terrorists storm the capitol and take the president hostage, he must outwit the crooks. The long night sees him eliminate the villains in an increasingly brutal fashion. The resulting film was an entertaining successor to the hard-hitting action flicks of old. The same couldn’t be said of its own successor.

A few months later saw the release of White House Down (2013). This time, Channing Tatum takes the lead as a Secret Service applicant opposite Jamie Foxx as the president. The tale is more of an explosive buddy flick, but it still portrays the White House falling to terrorists. It was also reasonable fun. Sadly, this PG-13 attempt didn’t have the same punch as its R-rated competitor. That’s why Olympus Has Fallen turned into a franchise while White House Down faded into relative obscurity.^[3]

7 The Jungle Book & Mowgli: Legend of the Jungle

It’s amazing how the same story can inspire radically different takes. Rudyard Kipling’s The Jungle Book is a testament to that. After initially adapting it in 1966 as a lighthearted cartoon, Disney remade this treasured tale in 2016 as a live-action feature. At its core, it’s about a young boy raised by animals in the wilds of India. That said, the film takes most of its cues from the animation, leading to a whimsical adventure with familiar songs. People ate up that serving of nostalgia despite deviating from the original book.

By contrast, actor/director Andy Serkis gets closer to the source with Mowgli: Legend of the Jungle. Though in production at the same time as Disney’s version, this smaller take didn’t come out until 2018. It also portrays an orphaned child maturing in the jungle, but the tone, themes, and plotting are more in line with Kipling’s vision. Of course, those efforts also made it less digestible to a wider audience, leading to a niche response.^[4]

6 Mirror, Mirror & Snow White and the Huntsman

Also an enduring tale, Grimms’ “Snow White” has inspired even more renditions than The Jungle Book. 2012 saw two of them, the first being Mirror, Mirror (2012). It has the familiar framework: Lily Collins as the princess is hunted by Julia Roberts as the evil queen for being the “fairest of them all.” The twist is that it’s an upbeat comedy with flamboyant costumes and dance numbers. The following film couldn’t be more different in that respect.

Snow White and the Huntsman (2012) reinterprets the tale as a dark fantasy spectacle. The film stars Kristen Stewart as a traumatized heroine. Recruiting loyal allies from across the realm, she leads an army against Charlize Theron’s mystical queen. This approach emphasizes perilous action, seeming like a poor man’s Lord of the Rings at points. Neither of these attempts was a classic, but the latter was at least profitable enough to get a sequel.^[5]

5 Batman v Superman: Dawn of Justice & Captain America: Civil War

2016 was a year of superhero crossover clashes. The first major brawl occurred at DC with Batman v Superman: Dawn of Justice. Fed up with the Man of Steel’s collateral damage, the Dark Knight wages a one-man war on the alien. Meanwhile, Superman can’t abide Batman’s brutal tactics and strives to shut him down. Their differences escalate to a grudge match spurred on by the villainous Lex Luthor. The scenario was a thinly veiled publicity stunt, one which Marvel pulled shortly after.

Captain America: Civil War fractures the Avengers. After the superheroes’ repeated destruction, the U.S. government proposes they sign over their services and only act under orders. Iron Man supports this oversight, while Captain America rejects it. Not only does this issue divide these two icons, but it splits the Avengers down the middle. Both these flicks suffer from messy plotting and poor characterization, but Civil War at least has more competent structuring and a less pretentious presentation.^[6]

4 Evil Dead & Cabin in the Woods

A classic horror setup involves a group of unsuspecting people in a remote cabin. Cabin in the Woods obviously adheres to that foundation. In this 2012 movie, a handful of college kids visit a woodland house for a creepy vacation. Upon staying there, they find themselves the targets of animalistic zombies. It turns out these creatures come from a shadowy organization that engineers the scenario as part of a sick experiment. In that, Cabin in the Woods subverts its own formula. Its competitor, on the other hand, plays it straight.

The Evil Dead helped popularize this premise, so the 2013 remake sticks to it. This flick once again strands a band of buddies in a cabin. One of them finds a hellish book amidst the refuse. Reading its passages brings forth an invasion of demons, who proceed to slaughter the party with sadistic glee. The story doesn’t hold as many surprises as its peer, but the more accomplished filmmaking and terrific presentation perfectly capture the series’ trademark dark humor. It’s possibly for that reason that Evil Dead has enjoyed more enduring love from genre fans.^[7]

3 The Great Race & Those Magnificent Men in Their Flying Machines

One of the odder trends in Hollywood focused on globe-trotting races. The film largely responsible was The Great Race (1965). This comedy centers on the dashing Great Leslie and dastardly Professor Fate. To determine who is the best, these rival stuntmen propose a race from New York to Paris. This worldly contest draws drivers from all walks of life, leading to an epic journey of screwball antics. It wasn’t the only one, though.

Just a few days before came Those Magnificent Men in Their Flying Machines (1965). This farcical flick features another worldwide race, this time from London to Paris. Of course, that minor change doesn’t stop the event from attracting drivers of various nationalities. What differentiates the tale is the greater time spent on setup. The actual race doesn’t start until halfway through, making it feel like less of an exciting adventure compared to its competitor. Perhaps that’s why it’s less well-known. Then again, it got a sequel, while The Great Race didn’t. It’s funny how things work out.^[8]

2 Antz & A Bug’s Life

In the early days of computer-animated movies, it seemed like anything was possible. Why, then, were two of the biggest examples of the time about bugs? A Bug’s Life (1998) takes place in an ant colony. The timid insects suffer under a roving grasshopper gang, so misfit inventor Flik sets out to find warriors willing to fight the invaders. That proves tricky when the “warriors” turn out to be circus performers. The plot is predictable from there, which isn’t what you’d expect from Pixar’s second feature.

Oddly enough, DreamWorks narrowly beat its rival to the punch with Antz (1998). This story also deals with the little guys subverting the social hierarchy. Granted, the oppressor here is one of their own, but it still falls to an unassuming worker ant conjuring creative solutions to save his colony. Despite that general similarity, Antz uses novel twists for a more mature tone. Which miniature movie was better depended mainly on your preference, as both became mild success stories.^[9]

1 Robin Hood & Robin Hood: Prince of Thieves

The Robin Hood legend is an endearing folktale about the common man rising up against his oppressors. Thus, countless adaptations have adapted this familiar story, but two 1991 attempts couldn’t be more different. The first was simply titled Robin Hood, starring Patrick Bergin. This low-budget project is fittingly understated. It frames the iconic narrative within the Saxon-Norman conflict. As a result, it’s more of a historical drama than a high-flying adventure. Audiences wanting the latter had to wait a month.

Soon after came Robin Hood: Prince of Thieves. Despite the odd choice to put Kevin Costner in the title role, this film is a more traditional take. It also has a gritty aesthetic and historical backdrop, but it mixes in the swashbuckling fun that fans know and love, creating an intriguing marriage of old and new. Both takes are adept at what they set out to do, but Prince of Thieves is more widely accessible. That’s probably why it scored a theatrical release while its competition opted for TV.^[10]