Hops and Box Office Flops: ‘TANGO AND CASH – Armed and Definitely Dangerous’ Hops and Box Office Flops: ‘DREAMCATCHER – A Bad Case of Alien Hemorrhoids’ Hops and Box Office Flops: ‘IDIOCRACY – We’ve Got What Listeners Crave’ Hops and Box Office Flops: ‘THE BIG LEBOWSKI – The Pod Abides’ Hops and Box Office Flops: ‘FACE/OFF – Whee! What a Predicament!’ Hops and Box Office Flops: ‘THE ADVENTURES OF PLUTO NASH – Lost in Space’

Tango & Cash is a the cinematic manifestation of all the 80s muscle-bound mayhem rolled into one messy package. It’s a part serious, part satirical, part nonsensical tale of dueling cops forced into an uneasy partnership. And as much as it clearly doesn’t work, it somehow is a hell of a lot of fun. Pairing two of the decade’s iconic stars, Sylvester Stallone and Kurt Russell, as the titular duo, Tango & Cash was meant to be a…

The Big Lebowski—as shocking as it may seem today—was not a smash hit upon its release in March of 1998. Far from it, in fact. On a budget of $15 million, it grossed barely over $17 million domestically. Its worldwide cume was a shade over $46. Written and directed by the Coen Brothers, The Big Lebowski‘s box office struggles are sort of surprising. After all, it was their follow up to Best Picture nominee Fargo (which was actually…

Fantastic Four: Rise of the Silver Surfer was released on the cusp of what would become the superhero movie boom. A sequel to 2005’s Fantastic Four—which was even more critically panned than this one—Silver Surfer premiered just a year prior to 2008’s The Dark Knight and Iron Man, the birth of the Marvel Cinematic Universe. Even without the rising benchmarks or a more crowded field, Silver Surfer does little to distinguish itself; and it is only marginally better than the 2005 film. The action is…

UHF is every bit a reflection of its co-writer “Weird Al” Yankovic. It’s an eccentric and peculiar film, driven by the scattershot musings of Yankovic’s mind. Like his music, none of it is meant to be taken seriously. It is an amalgamation of goofy satire—some great, some not so—that’s best served for repeat viewings. But again, like his music, its appeal is limited to a certain audience. Which begs the question: Why release a film like this…