Critics and audiences are agog with excitement for Lady Gaga’s star-making turn in Bradley Cooper’s remake of A Star is Born, but not all singers who attempt the leap to the big screen are successful, and not all films meant to shepherd that transition are any good. Many would-be cinematic star-makers are egregiously, embarrassingly terrible, and even the ones that aren’t frequently fail to provide the stepping stone needed for their stars to achieve crossover success. With that in mind, we present 10 movies that attempted to make movie stars out of pop stars and failed miserably.


1. Good Times (1967) 0% – Sonny Bono

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The 1967 Sonny & Cher vehicle Good Times failed to make Sonny Bono a movie star, or launch Sonny & Cher as a cinematic duo. The film’s meta premise finds Bono, forever the nebbishy idea man upstaged by his wife and comic foil, pitching movie ideas for himself and Cher to a movie studio chief played by George Saunders, who also plays the antagonists in various films-within-a-film.

The results were less funky and hip than labored and strained. Even in the adventurous Hollywood of the late 1960s and 1970s, Bono was no one’s idea of a leading man. He would appear sporadically in supporting roles in movies like Airplane 2: The Sequel and Hairspray, but his film career paled in comparison to that of Cher’s, as well as Good Times’ director, a first-timer named William Friedkin would would go on to direct The Exorcist and The French Connection, neither of which, pointedly, starred Sonny Bono.


2. Head (1968) 75% – The Monkees

N/A

The Monkees’ Jack Nicholson-written, Bob Rafelson-directed 1968 vehicle Head is less a conventional attempt to launch a popular pop act as movie stars than an audacious and ultimately successful exercise in professional suicide/pop de-mythologizing.

Instead of delivering the expected Hard Day’s Night knock off, the overqualified filmmakers and rebellious band gave audiences a druggy, perversely non-commercial, borderline avant-garde acid trip of a stoner movie deeply contemptuous of stardom and celebrity and the pre-fabricated pop world that created the Monkees.

Where the other movies on this list set out to make movie stars out of musical icons and failed, Head deliberately set out to kill the band’s future not just as bankable movie stars but as a pop outfit as well. In that respect, Mickey Dolenz, Michael Nesmith, Peter Tork, and Davey Jones succeeded all too well, though they would reunite for lucrative reunion tours. Head might have killed the boys’ future as movie stars, but Nesmith did go on to dabble in film and television behind the scenes, most notably by producing the cult classic Repo Man.


3. Sgt. Pepper's Lonely Hearts Club Band (1978) 11% – The Bee Gees

Universal courtesy Everett Collection

(Photo by Universal courtesy Everett Collection)

Who needs John, Paul, George, and Ringo when you’ve got Barry, Robin, Maurice, and Peter Frampton? That was the delusional thinking behind the 1978 flop Sgt. Pepper’s Lonely Hearts Club Band. The gaudy musical extravaganza re-imagined arguably the greatest rock album of all time as a trippy, psychedelic cinematic variety show, complete with guest performers up the wazoo (George Burns! Steve Martin! Billy Preston!), “comical” antics, and Beatles covers of wildly varying quality and conviction.

Giddy off the success of Saturday Night Fever, super-producer Robert Stigwood imagined that he could make a Beatles musical celebrating the music and whimsy of the Fab Four without actually involving any of them. Frampton looks confused and lost as star Billy Shears. All he and the Bee Gees are asked to do is smile big, goony, rock star smiles and engage in broad physical comedy, and even that proves beyond them. Their iconic contributions to the Saturday Night Fever soundtrack gave them an enduring cinematic legacy, but it sure wasn’t as movie stars.


4. The Jazz Singer (1980) 19% – Neil Diamond

Associated Film Distribution courtesy Everett Collection

(Photo by Associated Film Distribution courtesy Everett Collection)

Al Jolson opened the sound era with 1927’s The Jazz Singer, the revolutionary musical melodrama about a Jewish singer torn between his religious roots and a passion for secular music. Neil Diamond began and ended his career as a leading man with a widely mocked 1980 remake that cast the pop icon as a man torn between his obligations to his deeply religious father (Laurence Olivier) and his need to rock out. The cornball religious melodrama’s soundtrack was a big hit, but the movie was a resounding critical failure and a box-office disappointment. It did not help that Diamond performed at least one song in blackface in a misguided nod to Jolson’s original. Diamond may be nicknamed the Jewish Elvis, but Al Jolson he is not.

Diamond at least had the curious consolation of getting better — or, rather, less scathing — reviews than co-star Olivier, the longtime popular favorite for the title of “World’s Greatest Actor” who also spectacularly hammed it up on occasion. In The Jazz Singer, he is so preposterously, comically over-the-top that his line delivery of “I haff no son!” instantly entered the pantheon of quintessential camp moments so bad they’re transcendent and iconic.


5. Cool as Ice (1991) 3% – Vanilla Ice

N/A

When it comes to big-screen magnetism, not every good-looking white man who strikes it rich performing culturally appropriated music is Elvis Presley. Some are Vanilla Ice, who decided to cash in on his short-lived pop superstardom by starring in Cool as Ice, an unintentionally hilarious vanity project that casts the rapper as a sneering bad boy who swaggers into a small town with his posse and wins the heart of a good girl played by Kirstin Miner. An unknown Gwyneth Paltrow was reportedly offered the female lead, but her director father Bruce reportedly did what all good dads must and very strongly encouraged her daughter not to make a movie with Vanilla Ice.

Cool as Ice was shot by Janusz Kaminski, who would win an Academy Award a few years later for his work on Schindler’s List, so the movie looks as good as possible. Not even Steven Spielberg’s cinematographer of choice, however, could make this preening peacock of a performer into a movie star instead of a walking punchline.


6. Spice World (1997) 34% – The Spice Girls

Columbia courtesy Everett Collection

(Photo by Columbia courtesy Everett Collection)

The Spice Girls were such a massive phenomenon that a film vehicle seemed inevitable. The prefabricated pop band’s handlers had two strong visions for the film: The first was winking and meta-textual, a tongue-in-cheek deconstruction of the machinery of pop stardom that treated the band as an ironic goof. The filmmakers’ second primary conceit involved pandering shamelessly to young fans by earnestly depicting the Spice Girls as an awesome, organic group of friends living and loving and chasing their dreams together.

These two violently clashing conceptions of who the Spice Girls fundamentally are should cancel each other out. Spice World is unsurprisingly a film divided against itself, a lumbering, leaden farce that’s nevertheless incongruously earnest at seemingly random intervals. Like many of the movies here, this Day-Glo time capsule of a much sillier era has become a cult favorite, but none of the film’s stars have established film careers beyond cameos and bit roles.


7. Glitter (2001) 6% – Mariah Carey

20th Century Fox Film Corp.

(Photo by 20th Century Fox Film Corp.)

Until the release of 2001’s Glitter, everything seemed to go right for Mariah Carey. She was a pop princess with a perfectly manicured image and a long string of hits. Then came Glitter and its accompanying soundtrack, and her perfect world dramatically and very publicly began to crumble.

Like many pop stars making the leap to film, Carey chose a story and a script that reflected her experiences, specifically, in her case, as a biracial woman coming to terms with her past, her identity, and her future in the excitement of the 1980s New York music scene. Glitter found Carey playing a character based on herself, whose own life experiences mirrored those of the pop star playing her. So why was she so spectacularly unconvincing?

Incidentally, while Carey was eviscerated for her semi-autobiographical leading role here, she was rightly hailed for her supporting turn in Precious as a tough, gutsy social worker, a role that was originally to be played by Helen Mirren. Precious suggested Carey had a future as a character actress, but other than playing the title character’s mother in Precious director Lee Daniels’ 2013 film The Butler, her acting career has been limited to the usual cameos and voice work.


8. Crossroads (2002) 14% – Britney Spears

Columbia courtesy Everett Collection

(Photo by Columbia courtesy Everett Collection)

Britney Spears was socialized to be a pop star from a very early age. She was famously a member of The All-New Mickey Mouse Club alongside fellow future superstars like JC Chasez, Ryan Gosling, and Spears’ ex-boyfriend Justin Timberlake. With her famously ill-received 2002 vehicle Crossroads, she discovered the hard way that carrying a motion picture is much more challenging than emoting in music videos or hamming it up in comedy skits aimed at children.

In Crossroads, Spears plays a Georgia girl who sets out on a road trip with her oldest friends to Los Angeles so they can pursue their dreams and resolve various subplots. It’s a coming-of-age movie, a groaningly familiar road trip comedy, a tribute to BFFs, a tonally incoherent melodrama with incongruously dark elements like rape, abortion, and physical abuse, and, most ridiculously, an origin story for the tender ballad, “I’m Not a Girl, Not Yet a Woman.” The film devotes a lot of screen time to Spears’ character writing and singing the song, which in real life was written not by Spears but by a team that includes hitmaker Max Martin and pop star Dido. Alas, Spears proved that she was also neither an actress nor a movie star.


9. From Justin to Kelly (2003) 9% – Kelly Clarkson and Justin Guarini

20th Century Fox Film Corp.

(Photo by 20th Century Fox Film Corp.)

When Kelly Clarkson and Justin Guarini triumphed as winner and runner-up, respectively, on the blockbuster, zeitgeist-capturing first season of American Idol, they weren’t just rewarded with the requisite recording contract, tour, and instant fame. No, they also got to star in their very own joint film vehicle, a cheap, tacky, vulgar Spring Break exploitation movie written and filmed quickly and ineptly to capitalize on the show’s astonishing popularity.

Unfortunately, no one seemed to ask whether it made sense to cast Kelly Clarkson as the romantic lead in a movie on the basis of being able to belt out a tune and impress reality-competition voters. Similarly, no one seemed to have appreciated the exquisite absurdity of casting the other romantic lead not on the basis of his chemistry with Clarkson, his ability to act, or his ability to carry a film, but rather solely on the basis of his impressive runner-up finish on American Idol.

Clarkson and Guarini are likable enough, but they’re so hilariously overmatched and overwhelmed that they’re blown offscreen by the nobodies playing their sidekicks. A cynical exercise in cross-promotion like this should at least result in a hit soundtrack, but From Justin to Kelly was such a bomb that even the accompanying album was shelved.


10. Burlesque (2010) 37% – Christina Aguilera

Screen Gems courtesy Everett Collection

(Photo by Screen Gems courtesy Everett Collection)

Cher’s powers are vast and seemingly infinite. Just about the only thing she’s not capable of is elevating musician co-stars to movie stardom. We’ve already covered how she failed to turn mustachioed Svengali Sonny Bono into a proper leading man in 1967. In 2010, she was similarly unable to elevate co-star and fellow diva Christina Aguilera to the rarified world of the movie star-pop icon hyphenate when they appeared together in the deliriously over-the-top musical melodrama Burlesque.

Aguilera lent her bombshell presence to the archetypal role of a small town girl with big city dreams who comes to Los Angeles in search of a break and falls in with the colorful crowd at a club run by Cher in a performance befitting her iconic standing.

Thanks largely to the latter’s appropriately operatic turn as a sexy, wise mama hen benevolently looking after her scantily clad progeny, this gift to drag performers and bad movie aficionados quickly rose to cult status. Of course, that hasn’t done anything for Aguilera’s film career. Other than cameos and voiceovers, her biggest film turn is as Evita Peron in Broadway 4D, a troubled 3-D/4-D musical “experience” directed by Bryan Singer and Garry Goddard that endured years upon years of delays and postponements even before Anthony Edwards came forward with allegations that Goddard molested him as a child. Now the project’s always-murky future looks even cloudier, just like Aguilera’s film career.


Nathan Rabin is a freelance writer, columnist, the first head writer of The A.V. Club and the author of four books, most recently Weird Al: The Book (with “Weird Al” Yankovic) and You Don’t Know Me But You Don’t Like Me.

Follow Nathan on Twitter: @NathanRabin

This Valentine’s Day, meet the movie romances doomed to be forever single — single-digit on the Tomatometer, precisely! From annoying YouTube people to Paris Hilton, from stalkers to acting bad enough to steam a 1912 Renault: Here’s 24 movies with central romances that got less than 10% on Rotten Tomatoes.

Although Father’s Day has passed, Hollywood brings out two very different stories about dads and their wacky adventures this weekend with Adam Sandler‘s comedy Click and Tyrese Gibson‘s actioner Waist Deep, both opening in theaters on Friday. Comedy has been ruling the box office throughout the month of June and that trend should continue until the Man of Steel arrives next week.

Looking for his seventh trip across the $100M mark, Adam Sandler returns to the big screen with his latest comedy Click. Released by his favorite studio Sony, the PG-13 pic tells the story of a man who comes across a magical remote control that gives him the power to manipulate his whole world, from his family at home to his boss at work. Frank Coraci follows up The Wedding Singer and The Waterboy by directing the funnyman for a third time while Christopher Walken, David Hasselhoff, Kate Beckinsale, and Henry Winkler co-star. Sandler, who turns forty this year, is moving on from his slacker roles playing a husband and father. This makes sense as his fan base is aging too.

The comedian typically picks films with unique concepts and Click is no different. The story is not run-of-the-mill, but an interesting what-if scenario that will make audiences curious. Trailers and commercials have been funny so another blockbuster that satisfies moviegoers is in the works. Over the last eight years, Sandler has seen his bigger hits like Waterboy, Big Daddy, Anger Management, Mr. Deeds, and 50 First Dates all open in the $37-42M range with opening weekend averages of more than $11,000 each time. His most recent film The Longest Yard scored a bit better last summer opening to $47.6M over the Friday-to-Sunday portion of the long Memorial Day holiday weekend. The guy comes out with about one movie per year so audiences don’t get too much of him.

Young men make up the actor’s bread and butter, however you don’t open north of $40M by just appealing to this group. Female appeal is also solid with his films and Click should click with chicks too. Still, Nacho Libre and The Fast and the Furious sequel will be in their second weekends and even though both are expected to drop hard, the duo will still provide some competition for Sandler. However, since Waist Deep is looking to be a relatively small pic in the marketplace, this weekend shapes up to be one where Click is the only major new wide release. That should make frequent moviegoers like teens and twentysomethings look at it as the only new game in town.

Sony has invested heavily in the marketing push and summer is a time when people want to laugh so the returns should be healthy. Opinions of critics should not matter much. One of the most reliable box office draws around, Adam Sandler will see the widest opening of his career with a launch in 3,748 theaters this weekend. That could push Click to around $43M over the Friday-to-Sunday span.

Tyrese Gibson plays an ex-con on a fast and furious hunt to get back his kidnapped son in the new action drama Waist Deep from Focus Features’ Rogue Pictures division. Directed by Vondie Curtis Hall (Glitter, Gridlock’d), the R-rated film also stars Meagan Good, Larenz Tate and hip hop star The Game. Gibson jumped from the modeling world into movies and has become a player although his roles have always been opposite other established box office draws. This time, he anchors solo as none of his co-stars have a track record of opening films on their own.

Waist Deep will play primarily to an urban audience with African Americans making up the largest component. Whites are not likely to show much interest. This same audience powered ATL to a stellar $11.6M bow from 1,602 theaters this past spring. However, Waist does not seem to have the same level of hype plus it will debut in fewer theaters. Most of the film’s competition will come from The Fast and the Furious: Tokyo Drift which is likely to fall sharply this weekend. The marketing push has been targeted and is trying to appeal to fans of The Game who in recent years has developed a large fan base. Opening in 1,004 theaters, Waist Deep might shoot up about $6M this weekend.

Opening in limited release this weekend, Roadside Attractions offers the controversial film The Road to Guantanamo which tells the story of a group of Pakistani men from England who are detained while traveling to Afghanistan and imprisoned and tortured by the U.S. military. Told through a mix of interviews with survivors and re-enactments of the events, the R-rated pic won the best director prize at this year’s Berlin Film Festival and hits 15 theaters in North America before expanding.

After two laps as box office champ, the Disney/Pixar animated hit Cars looks to decelerate some more this weekend for a second place finish. The film’s 43% second weekend decline was the biggest for any Pixar toon since 1999’s Toy Story 2 which was coming off of a Thanksgiving holiday launch. Cars should see its drop stabilize since this weekend’s offerings should not pull away too many young children. A decline of 40% to about $20M could result giving the Lightning McQueen pic $152M in 17 days.

Jack Black flexed some amazing muscles last weekend with the debut of Nacho Libre. Adam Sandler will provide some stiff competition for young males so a sizable drop of 50% could occur giving Paramount a weekend take of around $14M. That would still give the wrestling comedy a solid $54M in ten days.

The Fast and the Furious: Tokyo Drift also debuted impressively last weekend tapping into a similar audience, but a steep sophomore crash is imminent. The last film in the franchise, 2003’s 2 Fast 2 Furious, tumbled 63% in its second race. This latest Universal sequel has also burned through its upfront crowd plus will face competition for young guys from Click and for the urban audience from Waist Deep. A hefty 60% fall would leave Tokyo Drift with $9M for the weekend and $42M in ten days.

Keanu and Sandra snuggled up to a decent, but not spectacular, opening for their romance The Lake House. Adult women will not be too distracted by the new options so a moderate 40% drop could result. That would give the Warner Bros. release $8M for the frame and a ten-day tally of $29M.

LAST YEAR: Topping the charts for a second straight weekend, Batman Begins grossed $27.6M dropping 43% from its opening giving Warner Bros. an encouraging hold. Nicole Kidman and Will Ferrell powered their new comedy Bewitched into the number two slot opening with $20.1M. The Sony release found its way to $62.3M. Fox’s Mr. & Mrs. Smith placed third with $16.8M in its third fight. Two new releases rounded out the top ten. Disney’s Lindsay Lohan film Herbie: Fully Loaded opened to $12.7M and $17.7M over five days, while Universal’s zombie flick Land of the Dead bowed to $10.2M. Final grosses reached $66M and $20.5M, respectively. In limited release, the inner city dancing documentary Rize opened to $1.6M from 352 theaters for a $4,474 average putting it in 12th place. Lions Gate collected $3.3M by the end of its short run.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

Looks like some cast & crew are coming together for Platinum Dunes / Rogue’s remake of "The Hitcher," which is a brilliantly nasty cult classic from 1985 that stars C. Thomas Howell as a stupid driver and Rutger Hauer as the hitchhiker from hell.

Production Weekly informs us that Sophia Bush has been signed for the remake, which makes her the first cast member to climb aboard. You’ll no doubt remember Ms. Bush from her work in "Van Wilder," "Supercross," "Stay Alive," and TV’s "One Tree Hill."

The new "Hitcher" will be directed by music video expert Dave Meyers, from a screenplay by Jake Wade Wall ("When a Stranger Calls") and Eric Bernt ("Romeo Must Die"). (The original was directed by Robert Harmon ("Highwaymen") and written by Eric Red ("Near Dark").)

This week’s wide releases raise a number of questions. Is “Zathura” a game worth playing? Is 50 Cent‘s movie debut, “Get Rich or Die Tryin’,” the cinematic equivalent of a trip to the candy shop? Is “Derailed” a speedy locomotive, or is it true to its name? What do the critics have to say?

Zathura” is the third story by Rhode Island-based children’s book author Chris Van Allsburg to make the leap from the page to the big screen (the other two were “Jumanji” and last year’s “The Polar Express“). And critics say it’s the best of the bunch. “Zathura” tells the tale of a pair of squabbling brothers who must learn to work together after they are transported into space while playing the titular board game. According to the critics, the movie is solid family entertainment, with a real sense of adventure and wonder, emphasizing characters over the (not at all shabby) special effects. At 71 percent on the Tomatometer, “Zathura”‘s got game. And it beats “The Polar Bear Express,” which scored 56 percent on the Tomatometer, and “Jumanji,” at 48 percent.

Curtis “50 Cent” Jackson has a life story that seems ready-made for cinematic treatment: he was a drug dealer, he survived a shooting, and he eventually became one of America’s biggest musical stars. But the critics say the semi-autobiographical “Get Rich or Die Tryin’,” which features 50 in his acting debut, still feels like the stuff of many other rags-to-riches dramas. The scribes say even veteran director Jim Sheridan can’t make it fresh, despite an excellent supporting cast that includes the always-dependable Terrence Howard. At 16 percent on the Tomatometer, “Get Rich or Die Tryin'” can’t make a dollar out of 50 Cent. And it’s the worst-reviewed film of Sheridan’s career (beating out “The Field,” at 46 percent).

As the old saying goes, what a tangled web we weave, when we make a thriller about adultery and betrayal with lots of plot twists. “Derailed” tells the story of an extramarital affair gone terribly awry, after a very bad guy threatens the two trapped philanderers. The critics say the title is all too apt; the plot twists become more tangled as the film goes along, and Clive Owen and Jennifer Aniston, in spite of their considerable skills, are miscast as, respectively, a schlubby family man and a fundamentally decent femme fatale. At 19 percent on the Tomatometer, the critics say “Derailed” has jumped the tracks.

Movies Starring Musicians Playing Musicians:
——————————————————–
5% — Undiscovered (2005) – Starring Ashlee Simpson
81% — Hustle & Flow (2005) – Starring Ludacris
15% — Raise Your Voice (2004) – Starring Hilary Duff
76% — 8 Mile (2002) – Starring Eminem
7% — Glitter (2001) – Starring Mariah Carey
14% — Crossroads (2002) – Starring Britney Spears
24% — Duets (2000) – Starring Huey Lewis
32% — Black and White (1999) – Starring Raekwon
81% — Selena (1997) – Starring Jennifer Lopez
11% — Cool as Ice (1991) – Starring Vanilla Ice
70% — Purple Rain (1984) – Starring Prince

The man, the myth, the — casino king? Ocean’s Eleven star George Clooney, the one-man Rat Pack Redux of the new millennium, has revealed long-rumored plans to erect a $3 billion Las Vegas resort. Named Las Ramblas, the resort will include a hotel, casino, and high-end condominiums; Clooney, along with partner Rande Gerber (nightclub impresario and husband of Cindy Crawford), plans to purchase a residence for himself on the resort grounds. The dashing bachelor hopes to bring back the style and class of old-time Vegas, back when Clooney-predecessors like Dino and Sinatra haunted the Strip. Before construction begins early next year, Clooney will have his hands full with two fall releases, as his self-directed Good Night, and Good Luck opens in October to be followed by December’s espionage flick, Syriana.

For those of you wondering what Keanu Reeves, Billy Joel, and Sting were doing hanging out together last Saturday, wonder no more. The three celebs were guests at the Long Island wedding ceremony of Robert Downey Jr., who wed producer girlfriend Susan Levin at a friend’s house in the Hamptons. The happy couple met while both worked on the abysmally received Gothika (he starred, she produced) back in 2002. Downey stars in two upcoming films this fall — Kiss, Kiss, Bang, Bang and Goodnight, and Good Luck — while his new missus follows this year’s House of Wax with the in-production, Hurricane Katrina-interrupted thriller The Reaping.

And finally, the latest in celeb-pairing hits the news as Shrek-voicer and all around stand-up guy Eddie Murphy was spotted canoodling with diva extraordinaire Mariah Carey last weekend in Miami. Murphy, who very recently filed for divorce from wife Nicole, met up with the high-shrieking songstress-actress (remember Glitter?) at a private party before the couple retired to the swanky Hotel Setai for the night. Carey continues to pursue a film career and is currently filming the female boxing rom-com, The Sweet Science, in which she plays — what else? — a female boxer.

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