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11 Movies That Made Less Than $400 at the U.S. Box Office

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When talk turns to Hollywood’s biggest box office turkeys, the final tallies for such cinematic stinkers typically fall somewhere in the seven- to eight-digit figure range. Case in point: one of 2016's biggest bombs, Steven Spielberg's The BFG, earned $178 million worldwide (but cost $140 million to produce).

While it’s the most spectacular studio failures that seem to bear the brunt of the financial scorn, there also exists a legion of films that have made so little impact at the box office that they’ve hardly been deemed worthy of mention at all. Unless it's Dito Montiel's Man Down, starring Shia LaBeouf, Kate Mara, and Gary Oldman, which is making headlines around the world because it somehow managed to accomplish the seemingly impossible task of selling just one ticket at the UK box office. There are plenty of films that haven't fared much better here in the U.S. Here are 11 of them.

1. ZYZZYX ROAD (2006) // GROSS: $30

If this film’s looks-like-a-typo title (it’s pronounced ZYE-zix, by the way) wasn’t enough of a turnoff, its tagline—“Dead Ahead”—should have served as a harbinger of the box office doom that would eventually befall it. To be fair, the thriller—which stars Tom Sizemore and Katherine Heigl—only played in one theater (the Highland Park Village Theater in Dallas). But it played in that theater for an entire week! By the time its run had ended, six people had seen it for a grand total of $30 in ticket sales, making it the lowest-grossing movie of all time (yes, even still today). This dubious honor became a key part of the marketing plan when the title was acquired by GoDigital for distribution in 2012, with the company’s marketing director telling The Hollywood Reporter, “I am confident it will make us more than $30.”

2. STORAGE 24 (2013) // GROSS: $72

While box office analysts pointed to The Lone Ranger as 2013’s biggest bomb, Johannes Roberts—writer-director of the British sci-fi flick Storage 24—would have been happy with just a fraction of that big-budget clunker’s ticket sales. Heck, he’d have been happy to just crack the $100 mark. But triple digits weren’t in the cards for this flick, which—like Zyzzyx Road—played in one theater for one week. “You take the film for what it is; we had no money,” co-writer/star Noel Clarke told Indiewire. “And we were ambitious.”

3. DOG EAT DOG (2009) // GROSS: $80

After winning a slew of awards and nominations at film festivals and other key industry events around the world—including a World Cinema Grand Jury Prize nomination at Sundance—you would think that Carlos Moreno’s Colombian crime world drama Dog Eat Dog would have the legs to sustain a single-cinema theatrical release. And you would be wrong.

4. THE OBJECTIVE (2009) // GROSS: $95

Since co-directing The Blair Witch Project—the indie movie whose success all other indie movies attempt to recreate—in 1999, Daniel Myrick has kept a relatively low profile, directing just a couple of other films, most of which have gone straight to DVD. But in March of 2009, IFC Films gave this sci-fi flick a limited theatrical release. Very limited. It spent a week in just one theater in New York, where it earned a grand total of $95. But there’s a little bit of conflicting info here: While sources like Box Office Mojo list this as its only box office take, IMDb’s stats show that it earned slightly north of $2 million when it was released in L.A. one month later.

5. THE GHASTLY LOVE OF JOHNNY X (2012) // GROSS: $117

“Ghastly” kind of says it all. This 1950s-inspired sci-fi musical—which stars Creed Bratton (a.k.a. Creed from The Office)—may have nabbed five awards on the American film festival circuit, but it only managed to scare up $117 during the week it spent in a single theater in Kansas City, Kansas in October 2012. Maybe that’s because it had screened at the Kansas International Film Festival less than three weeks earlier? In the spring of 2013, Johnny tried again, placing the movie in six theaters over the course of four weeks. While it managed to break the $1000 mark in revenues when it showed in two theaters in L.A. ($1356 to be exact), its total run earned back just $2436 of its estimated $2 million budget.

6. PRETTY VILLAGE, PRETTY FLAME (1998) // GROSS: $211

The 1996 Yugoslavian film Pretty Village, Pretty Flame proves that hit films don’t necessarily translate from continent to continent. While it received plenty of favorable reviews from American film critics, Pretty Village, Pretty Flame only managed to attract $211 worth of business when it received a one-theater/one-week release on January 16, 1998. A far cry from the nearly 800,000 moviegoers who caught it in Serbia (which was close to 10 percent of the country’s total population at the time).

7. PLAYBACK (2012) // GROSS: $264

It’s one thing when a movie starring relative nobodies and playing in one theater crashes and burns at the box office. It’s another thing when the lowest-grossing movie in a single year has a recognizable name in it. Okay, so it’s Christian Slater. But even before Mr. Robot, people knew who he was, right? Apparently not enough to merit this rip-off of The Ring—which cost $7.5 million to make—even a nicely rounded $300 in its one-theater run. Oh, and we should mention that the first $252 was made in its opening weekend, meaning that it earned just $12 in the week that followed. The good news for Netflix streaming customers is that they can watch it for themselves and decide.

8. INTERVENTION (2007) // GROSS: $279

One theater. Three days. $279 in 2007. That’s pretty much the full theatrical story of Mary McGuckian’s tale of addiction, which won the director a Best Feature Film Award at the 2007 San Diego Film Festival—and a Best Actress honor for Jennifer Tilly, who is just one member of an enormous cast that includes Andie MacDowell, Colm Feore, Rupert Graves, and former Baywatch babe Donna D’Errico.

9. TROJAN WAR (1997) // GROSS: $309

Two years after she became a series regular on Party of Five, Jennifer Love-Hewitt starred in this rom-com turkey that could roughly be considered a teenage version of Martin Scorsese’s After Hours: A kid (Boy Meets World’s Will Friedle) gets beat up, mugged, and arrested on his quest to find a condom so that he can score with his dream girl (played by Marley Shelton). Nope, not even the vast American population of hormonal teens could save this $15 million Warner Bros. production from being pulled from its one theater less than a week after its arrival.

10. THE MARSH (2007) // GROSS: $336

Less than one month after he accepted a Best Actor Oscar for his portrayal of Idi Amin in The Last King of Scotland, Forest Whitaker was making news of a different sort when the supernatural thriller he starred in alongside Gabrielle Anwar was released in one theater for three days and recouped less than .005 percent of its $7 million budget. As the film’s tagline stated: "You can bury the past, but sometimes the past won't stay buried ..."

11. APARTMENT 143 (2012) // GROSS: $383

The financial failure of this Mexican horror flick certainly isn’t a result of shoddy marketing materials; its U.S. distributor, Magnolia Pictures, even earned a Golden Trailer Award nomination for Best Horror Poster. The film currently holds a zero percent rating on Rotten Tomatoes (though 22 percent of the audience liked it).

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11 Single Facts About Bridget Jones’s Diary
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While it's not officially a holiday movie, so much of the action in Bridget Jones's Diary happens around the most wonderful time of the year that the rom-com has become essential wintertime viewing for many movie fans. Based on Helen Fielding’s novel of the same name, it tells the story of a very single, and hopelessly romantic, working professional named Bridget (Renée Zellweger) who is determined to improve her love life. Enter two strapping gentlemen (Colin Firth and Hugh Grant) to vie for her heart. Get to know more about the timeless dramedy that’s been delighting audiences since 2001. Just as it is.

1. THE SOURCE NOVEL CAME ABOUT FROM AN ANONYMOUS COLUMN ABOUT SINGLE LIFE.

In the foreword of Bridget Jones’s Diary, author Helen Fielding wrote about how she came to conjure up the story: “The Independent asked me to write a column, as myself, about single life in London. Much as I needed the money, the idea of writing about myself in that way seemed hopelessly embarrassing and revealing. I offered to write an anonymous column instead, using an exaggerated, comic, fictional character. I assumed no one would read it, and it would be dropped after six weeks for being too silly.”

2. SEVERAL CHARACTERS ARE BASED ON PEOPLE IN HELEN FIELDING’S LIFE.


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These include Jude (Tracey MacLeod) and Shazzer (Sharon Maguire, also the film’s director). In a column for the Evening Standard, MacLeod described how she didn’t even realize she inspired part of her best friend’s story until Fielding’s book launch party. “At the launch party for the first Bridget book, I was cornered by a smug married friend, ‘So ... what's it like being Jude?’ she asked,” MacLeod writes. “I was outraged. Of course I wasn't Jude, with her self-help books and horrible boyfriend. My boyfriend wasn't anything like Vile Richard ... But as more people began to believe that Jude and Shazzer were thinly-veiled portraits of myself and Sharon, I secretly got to like the idea.”

3. TONI COLLETTE DECLINED THE LEAD, AND KATE WINSLET WAS CONSIDERED FOR IT.

Before Zellweger stole the show, Aussie Toni Collette and Brit Kate Winslet were up for the part. According to AMC, “Toni Collette declined the role because she was on Broadway starring in The Wild Party at the time, and Kate Winslet was considered but the producers decided she was too young.”

4. HUGH GRANT ONLY SIGNED ON WHEN RICHARD CURTIS WAS ANNOUNCED AS THE WRITER. 


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“The only reason [I was a hard sell] was because I didn't feel they had the script quite right for a long time,” Firth told Cinema.com. “And I kept saying, ‘It's not working. Just get Richard Curtis to come in and help rewrite it.’ Eventually they did, and as soon as Richard came on board, I signed on the dotted line. So that's all it was.”

5. RENÉE ZELLWEGER GAINED 17 POUNDS FOR THE PART.

Zellweger’s weight gain for the role had the media abuzz for a while. According to The Guardian, “In order to play the eponymous heroine in the film adaptation of Fielding's bestseller, the actress gained 17 pounds, consulting a dietitian and endocrinologist who devised a regime of three full meals a day, multiple snacks, and no exercise.”

6. ZELLWEGER WORKED AT PICADOR FOR THREE WEEKS.

Zellweger went full Method for her iconic role, and became a temporary employee of the Picador publishing house. “We came up with a plan: she would be Bridget Cavendish, Bridget for obvious reasons and Cavendish as she was to be passed off as the sister of Jonathan Cavendish, a friend of one of our company chairmen,” Picador publicist Camilla Elworthy told The Guardian. “That last bit at least is true, and no one was to know that Jonathan Cavendish was one of the film's producers.”

7. ZELLWEGER KEPT A PHOTO OF JIM CARREY ON HER DESK.


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While working at Picador, Zellweger kept a picture of Jim Carrey on her desk—which made her alter ego Bridget Cavendish seem like some sort of obsessed fan. “Under the name Bridget Cavendish, she answered phones, served coffee, and made photocopies—without being recognized by any of her co-workers, who offered career advice and wondered privately why she kept a photo of Jim Carrey (her then-boyfriend) on her desk,” noted Hollywood.com.

8. ZELLWEGER INVITED HER BOSS AT PICADOR TO BE AN EXTRA ON SET.

In Camilla Elworthy’s write-up for The Guardian, she noted how she became a part of the production. “Renée sent me a thank you letter and gift after she'd gone and I have seen her a few times since then," Elworthy wrote. "She invited me on to the film set one day. She informed me that I had to stick around and be an extra and made sure that I was put somewhere that I would be seen ... As a result, half my head can be seen for half a nano-second in the launch party scene.”

9. THE EPIC FIGHT SCENE BETWEEN GRANT AND COLIN FIRTH WASN’T CHOREOGRAPHED.

You can thank the two actors for the hilarity of the iconic scene. In a Vulture article about the greatest fight scenes in movie history, writer Denise Martin recalled the improvised spar, writing, “No stunt coordinators. No elaborate choreography. Just a perfectly realized wimp brawl between two upper-middle-class Englishmen coming to awkward fisticuffs in front of a Greek restaurant.”

10. FIELDING ASKED FRIEND SALMAN RUSHDIE TO CAMEO IN THE FILM.

Recalling how he came to be part of the film, famed novelist Salman Rushdie told Texas Monthly, “Helen Fielding, the author of the book, is an old pal of mine, and she asked if I’d come along and make a fool of myself, and I said, ‘Why not?’”

11. GRANT DIDN’T HEAR ZELLWEGER SPEAK IN HER AMERICAN ACCENT UNTIL THE FILM’S WRAP PARTY.

Zellweger was so engrossed with Bridget Jones that one of her leading love interests didn’t meet the real actress until the end of the shoot. “Not once did she stop speaking with that accent, until the wrap party,” Grant told Cinema.com, “when suddenly this weird ... Texan appeared. I wanted to call security, I didn't know who the f*ck she was!”

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15 Surprising Facts About Scarface
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Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


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De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
Universal Home Video

In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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