2025's most disappointing biopics that missed the mark

Biopics carry the unique challenge of honoring real lives while keeping audiences engaged through compelling storytelling. They are expected to strike a delicate balance between factual accuracy and dramatic flair, bringing the subject’s story to life without sacrificing authenticity. 

However, not all biopics manage to achieve this balance. When the focus leans too heavily on either strict adherence to facts or purely on entertainment value, the result can feel either dry or overly sensationalized, alienating viewers and critics alike.

Even with high expectations and rich source material, some biopics fail to resonate because they struggle to connect emotionally or narratively with their audience. 

A lack of nuanced character development, weak pacing, or inconsistent tone can turn what should be an inspiring or insightful story into a forgettable experience. Ultimately, without a strong, engaging execution, even the most promising biopics risk falling flat and missing the mark with both critics and moviegoers.

Let's take a look at 2025's most disappointing biopics that missed the mark.

Christy

Christy, Americana and Eden all share two things in common, they feature Sydney Sweeney in a major role and they all underperformed at the box office.

For those unfamiliar, Christy, a biopic about the boxer Christy Martin, is particularly notable, as it recorded one of the worst opening weekends in the US for a widely released film but what makes it surprising is that Sweeney is currently one of the most in-demand actors in current times.

The film’s poor performance highlights that social media fame does not necessarily translate into cinematic success.

Controversy over Sweeney’s appearance in an American Eagle advertisement may have discouraged some potential viewers but it's also worth noting that she continues to pursue meaningful independent projects that do not rely on her image as a pin-up.

Films like Immaculate (2024) and Reality (2023) were unglamorous, risk-taking efforts, in contrast to flops like Christy, which were not mainstream blockbusters.

As Sydney Sweeney herself pointed out on Instagram, “We don’t always just make art for numbers, we make it for impact.”

Springsteen: Deliver Me from Nowhere

Springsteen: Deliver Me from Nowhere set out to be an intimate, character driven portrait of Bruce Springsteen at a pivotal moment in his career.

Starring Jeremy Allen White, who convincingly committed to singing and playing like Springsteen, the film focused on the period surrounding the creation of Nebraska, an album recorded largely in isolation.

Directed by Scott Cooper, known for his Oscar nominated Crazy Heart, the movie emphasised quiet self observation and over spectacle, depicting Springsteen as a brooding artist grappling with personal doubts, a subdued romance and the weight of his growing reputation.

Rather than celebrating fame or performance, the film chose restraint, minimalism and emotional subtlety.

The film ultimately flopped because that restrained approach clashed with audience expectations of a Springsteen biopic.

Viewers anticipating the raw power, sweeping narratives, and communal energy associated with his stadium anthems instead found a low key story about isolation and creative struggle.

The lack of dramatic momentum, limited scope, and absence of iconic performances made the film feel static, especially to casual fans.

While focusing on a narrow slice of an artist’s life can be refreshing, Deliver Me from Nowhere arguably needed the fuller “rags to riches, fall and redemption” arc to generate emotional payoff and broader appeal.

Without that sweep, the movie struggled to justify its significance and failed to connect with a wider audience.

The Smashing Machine

The Smashing Machine was positioned as Dwayne "The Rock" Johnson’s serious turn toward prestige drama, marking a clear shift from the high energy, crowd pleasing blockbusters that made him one of Hollywood’s most bankable stars.

Directed by Benny Safdie and co-starring Emily Blunt as the film tells the true story of a celebrated mixed martial artist whose success in the ring is overshadowed by personal struggles and particularly addiction.

With a respected filmmaker at the helm and a gritty real life narrative as the movie aimed to showcase a more vulnerable, dramatic side of Johnson while tapping into the awards season sports biopic tradition.

However, the film ultimately failed to resonate with critics and audiences. One major reason for its flop was that Johnson’s performance did not feel like a meaningful departure from his established screen persona as he remained a charismatic fighter playing another charismatic fighter, offering little surprise or transformation.

Additionally, the film’s bleak and somber tone clashed with audience expectations of a “Rock” movie which typically promises escapism, humour and excitement rather than emotional heaviness.

As a result, the movie struggled to attract Johnson’s usual fan base while also failing to fully convince awards voters that it represented a breakthrough dramatic performance, leaving it overshadowed by more acclaimed projects in the same genre.

The Alto Knights

The Alto Knights is a biographical crime drama directed by Barry Levinson and written by Nicholas Pileggi.

The film stars Robert De Niro in a dual role as rival New York mob bosses Frank Costello and Vito Genovese.

Set mainly in the 1950s as it explores their long friendship, growing rivalry and the power struggle that followed an attempted assassination of Costello.

Based on true events as the movie focuses on themes of loyalty, betrayal and the gradual decline of the American Mafia, showing how internal conflicts helped bring an end to a powerful era of organised crime.

The movie was considered a flop for several reasons as many viewers felt the story moved too slowly and relied heavily on long conversations, which made it less exciting for a wide audience.

Some critics said De Niro’s dual role was distracting rather than impressive. The film was also compared critically to earlier classics like Goodfellas, making expectations very high.

In addition, limited marketing and competition from fast paced modern films reduced audience interest as leading to weak box office performance.