Top 10 Most Expensive Netflix Flops

Though Adam Sandler tends to deliver lucrative trash, three major studios didn't see a promising prospect in the high-concept Western spoof “The Ridiculous 6.” Netflix nonetheless sank $60 million into what would be their first straight-to-streaming blockbuster. Even with it being an easier investment for viewers, the hype was quickly overtaken by backlash against the film’s offensive humor, overproduction and two-hour runtime. With a Rotten Tomatoes score of nil, it's a shameless vehicle even by Sandler’s standards. It definitely wasn't a wise vehicle for Netflix’s business model of risky investments to entice new subscribers. The company’s four-picture deal with Happy Madison Productions would eventually be extended, but “The Ridiculous 6” was their first ridiculous dud.

2008’s “Cloverfield” delivered a cult classic creature feature for around $30 million, while the bottle thriller “10 Cloverfield Lane” captivated on half that budget. Paramount seemed to uphold such cost-effectiveness by sending the anthology into space with $45 million, before Netflix purchased distribution rights for just over that amount. However, critics felt that “The Cloverfield Paradox” let down its predecessors with its convoluted story and surprisingly spotty special effects. They at least praised the strategy of highly ambiguous promos and a surprise release following the Super Bowl. That is, until the numbers showed a disappointing debut prior to the negative word-of-mouth. J. J. Abrams’s signature stunt marketing finally backfired, with Netflix being left to eat his franchise’s folly.

One of the greatest anime of all time deserved nothing less than a blockbuster live-action adaptation. Though the budget for Netflix’s “Cowboy Bebop” has been disputed, one can see the nine-figure estimates in the exploits of space bounty hunters. In fact, the promos were slammed by fans for the artlessly overblown aesthetic. The final product was further criticized as too faithful to the source material in some places, and too divergent in others. Even some critics were rooting for showrunner Christopher Yost’s plans to refine his personal vision for Season 2. Alas, with mixed reviews and plummeting viewership, Netflix shot down the high-profile venture three weeks after its premiere. Love it or hate it, their “Cowboy Bebop” was an astronomical misfire.

General audiences prefer their muppets in lighthearted fare. But for those Jim Henson Company fans who turned “The Dark Crystal” into a cult franchise, the prequel series promised to be their “Game of Thrones.” “Age of Resistance” spent almost $100 million to turn puppetry into a politically-charged fantasy epic with an all-star voice cast. Critics hailed the groundbreaking technical values and complex storytelling, but that was too eclectic to define a target demographic. Positive word-of-mouth died down as Netflix spent a year assessing the worth of a second season’s long, expensive production. So in September of 2020, fans were heartbroken, though not surprised, by the cancellation of “The Dark Crystal: Age of Resistance.”

Netflix bet big on Dee Rees after she delivered an acclaimed hit with 2017’s “Mudbound.” Unfortunately, “The Last Thing He Wanted” was apparently the last thing audiences wanted. Based on the novel by Joan Didion, the star-studded political thriller tries to unpack the Iran-Contra affair alongside a journalist’s paternal issues. This character arc was a notable liberty from the source material. Critics say that it ultimately rendered the film sloppy and convoluted, despite a stunning budget of $100 million. That was insufficient to mount promotions that could get ahead of the bad word-of-mouth. Rees’s costly wannabe prestige project was left to die on the vine without a distinct or satisfied audience.

With $115 million behind an all-star crew, “Triple Frontier” is a triple threat of military action, heist thriller and jungle adventure. It had spent nearly a decade in development hell before Netflix granted it a limited theatrical release a week ahead of streaming. Reviews were solid, as would audience engagement have been under most circumstances. But 52 million streams in the second month, and a lot fewer from there, did not reflect the subscriber growth to justify the budget. “Triple Frontier” would be directly linked to Netflix’s decision to reduce spending on prestige blockbuster productions going into the 2020s. Risky blowouts aren't always as lucrative as they look in the movies.

One can imagine the price tag on a Baz Lurhman musical developed for a long-form format. A coming-of-age set against the birth of hip-hop, “The Get Down” was actually developed by Shawn Ryan before he departed amid production delays. The first season, split into two parts, ultimately spent $120 million to recreate the poverty of the Bronx. Critics still had a hard time excusing the first half’s expensive and extreme aesthetic. Though the reception warmed for Side Two, the initial hype of the project plummeted. “The Get Down” shockingly became the first blockbuster Netflix series to be canceled after just one season. As usual, the most overproduced rap failed to jam with audiences in the long run.

Zack Snyder founded a space opera franchise on a $166 million two-picture deal. He wound up hijacking promotions of “Rebel Moon” to promote their upcoming director’s cuts. Despite this, “Part One: A Child of Fire” enjoyed strong viewership on Netflix. But the film was heavily panned as derivative, self-indulgent, and dramatically flat. “Part Two: The Scargiver” did not get a theatrical release, and ultimately fared worse with critics and audiences. Clearly, few were eager to get two more hours of these movies. Their overhyped alternate cuts were released in 2024 to slightly better reviews, but not much audience attention. Maybe Snyder was right to get ahead of the initial backlash. Still, the reception and failed release experiment leave the franchise with an uncertain future.

Netflix should have known that inflated budgets were partly to blame for audiences’ superhero fatigue. They bid $200 million on the already oversaturated “subversive superhero” market with an adaptation of the Image Comics’ “Jupiter’s Legacy.” Critics praised the technical aspects, but not so much the bloated, self-serious plot. After the show’s hugely successful debut, prospective long-term viewership failed to justify the herculean production costs. Never mind the departure of showrunner Steven S. DeKnight and several Netflix executives. Even with strong ratings, it wasn't much of a surprise when “Jupiter's Legacy” was canceled after one eight-episode season. The show leaves behind its own legacy as a warning about betting that big on an exhausted brand.

Did someone think that Anthony and Joe Russo were the names that made their Marvel movies an unprecedented commercial success? Nearly eight years after they bought the rights to Simon Stålenhag’s sci-fi novel, “The Electric State” was completed for $320 million. That is one of the biggest film budgets of all time. An objectively impressive 25.2 million views in its first week wasn't impressive enough. And it went downhill as critics lambasted the film as all style and no substance, or sense. Word-of-mouth quickly diminished “The Electric State’s” commercial prospects, if it ever stood a chance. One must question the state of both streaming and cinema after Netflix blew a monumental budget, just to show they could.


What are some other would-be streaming blockbusters that wound up hidden gems or just buried? Rediscover them in the comments.