Sydney Sweeney’s latest film, ‘Christy,’ has delivered a shocking disappointment at the box office, earning just $1.3 million during its opening weekend despite launching on more than 2,000 screens. This is a tough blow for a story centered on courage and overcoming adversity in the world of boxing. But here’s where it gets controversial—could this flop be a sign of deeper issues in how Hollywood handles biopics about lesser-known figures? Let’s dive into the five key reasons behind this unexpected stumble, unpacking the details to understand why audiences stayed away. And trust me, this is the part most people miss: the movie’s heartwarming message might resonate deeply with some, yet the execution left much to be desired.
This fall has been a challenging period for combat sports biopics, proving that not every underdog story translates to ticket sales. Just last month, ‘The Smashing Machine,’ featuring Dwayne Johnson as MMA fighter Mark Kerr, only managed a global gross of $20 million against a $50 million budget—a disappointing result that raised eyebrows in the industry. Now, ‘Christy’ has joined the ranks of box office underperformers, crashing hard despite Sweeney’s hopeful Instagram post. In it, she emphasized that films aren’t always about profits; they’re about making a difference. ‘We don’t always just make art for numbers, we make it for impact,’ she shared. ‘And ‘Christy’ has been the most impactful project of my life.’
Sweeney portrays Christy Martin, a trailblazing female boxer from the 1990s who was inducted into the International Boxing Hall of Fame in 2020. But behind the scenes, Martin’s life was marred by domestic abuse. In 2010, she was shot, stabbed, and abandoned by her husband after expressing her desire for divorce. Miraculously, she survived, and Sweeney’s involvement stemmed from a belief that the film could inspire change. ‘If ‘Christy’ gave even one woman the courage to take her first step toward safety, then we will have succeeded,’ she wrote. This personal mission adds emotional weight, yet it didn’t translate to widespread appeal. Some speculate that a recent uproar over an American Eagle ad campaign featuring Sweeney’s jeans might have played a role, but the real culprits lie elsewhere in the film’s rollout.
First off, ‘Christy’ is an independent production without the muscle of a major studio. Backed by indie outfit Elevation Pictures and its parent, Black Bear Pictures, the movie represents a bold step for the company. Founded in 2011 as a production house, Black Bear expanded into distribution in 2023, handling international releases for films like ‘Longlegs’ and ‘Conclave.’ However, ‘Christy’ is their inaugural domestic distribution effort in the U.S., and it highlights the hurdles smaller studios face. Without big-studio resources, indie films often grapple with the high costs and complexities of a wide theatrical release. Take ‘Fighting With My Family’ from 2019, for instance—a modestly budgeted sports biopic starring Florence Pugh as WWE wrestler Paige (now known as Saraya). It benefited from Metro-Goldwyn-Mayer’s production support and partnerships with established distributors, leading to a healthy $41.5 million worldwide gross, dwarfing ‘The Smashing Machine’s’ performance. (Interestingly, Dwayne Johnson had a cameo in ‘Fighting With My Family,’ though it was far from the starring role posters might suggest.) For ‘Christy,’ Black Bear managed to get it onto screens, but filling those seats was another matter. The issue might stem from targeting the wrong demographics, but the core problem appears to be a lack of awareness—many potential viewers simply didn’t know the film existed.
Which brings us to the second reason: the movie’s marketing was minimal and ineffective. It all starts with the title—opting for just ‘Christy’ works best when the subject is a household name, as seen with biopics like ‘Elvis,’ ‘Frida,’ ‘Oppenheimer,’ ‘Malcolm X,’ ‘Lincoln,’ and ‘Jackie.’ But for someone like Martin, who’s not widely recognized, a more inventive title could have sparked curiosity. Consider ‘Fighting With My Family’ or 2023’s ‘The Iron Claw’—these names draw people in by hinting at the drama within. Even ‘The Smashing Machine,’ despite its own box office woes, avoided the pitfall of plain naming with A24’s smarter approach. Black Bear released only one full trailer and one poster, and if you missed them, you’re not alone. Their strategy relied heavily on Sweeney’s personal press tour, including a GQ cover story, which is cost-effective compared to pricey ad buys. Yet, as The Wrap pointed out, the only snippet from that interview that gained traction online was a mild response to the jeans ad controversy. This lack of buzz meant the film struggled to break through the noise, leaving audiences uninformed about its powerful narrative.
Third, Sydney Sweeney’s track record at the box office has been uneven, casting doubts on her star power. Her biggest win came with 2023’s rom-com ‘Anyone But You,’ a charming tale co-starring rising talent Glen Powell. That film defied rom-com trends by grossing over $220 million on a $25 million budget—a rare triumph in today’s market. But for Sweeney, it feels like an outlier. Her breakout role on HBO’s ‘Euphoria’ ended with season 2 in February 2022, and while the show’s hiatus allowed cast members like Zendaya, Jacob Elordi, and Hunter Schafer to launch film careers, Sweeney’s path has been bumpier. ‘Christy’ is her fourth flop since ‘Anyone But You,’ with only the horror flick ‘Immaculate’ turning a profit. Other outings, like the criticized ‘Madame Web,’ the long-delayed ‘Americana,’ and Ron Howard’s ‘Eden,’ have all underperformed. This pattern might point to poor project choices, given the mixed-to-negative reviews many received, but it also raises questions about Sweeney’s appeal. Is she a reliable draw, or is her fame tied too closely to specific roles? But here’s where it gets controversial—some fans argue that Hollywood’s focus on ‘bankable’ stars overlooks raw talent and meaningful stories like ‘Christy.’ What do you think: should actors be judged solely by box office numbers, or does impact matter more?
Fourth, the film received mixed reviews from critics, which likely dampened interest. In an era where Rotten Tomatoes scores can decide a movie’s fate, especially for smaller indies, ‘Christy’ landed at 66% based on 146 reviews—not strong enough to convince on-the-fence viewers. Successful biopics like ‘Fighting With My Family’ (93%) and ‘The Iron Claw’ (89%) show the power of critical acclaim. With awards season looming, where biopics often shine, Black Bear might have hoped for Oscar buzz, but that’s unlikely now. While Sweeney’s acting drew praise even in negative critiques, the consensus is that the biopic feels too formulaic and uninspired, lacking emotional depth. The Boston Globe’s Odie Henderson called the script ‘shockingly inept,’ transforming Martin’s inspiring journey into something akin to a made-for-TV drama with clichéd humor and rah-rah moments. This feedback suggests the film didn’t stand out in a crowded field, failing to connect on a deeper level.
Finally, ‘Christy’ faced stiff competition from other releases, which split the audience. Debuting alongside films like ‘Predator: Badlands,’ which appealed to action fans with its intense scenes and dominated the weekend box office, it competed for viewers interested in fights and thrills. For those drawn to stories of personal struggle, Lynne Ramsay’s ‘Die My Love’—starring Jennifer Lawrence as a mother battling postpartum depression—offered another ‘women going through it’ narrative. Plus, another empowering biopic, ‘Sarah’s Oil,’ about the life of Sarah Rector, opened to $4.5 million in its debut, highlighting faith and perseverance. The period from September to early November is ideal for biographical dramas, away from summer blockbusters and before holiday fare, but not every story emerges victorious. This saturation meant ‘Christy’ had to fight for attention, and it wasn’t enough.
In wrapping this up, ‘Christy’s’ box office failure underscores the challenges indie films face in a competitive landscape, from marketing missteps to critical reception. But here’s the part most people miss: despite the numbers, the film’s message about domestic abuse survival could still inspire change off-screen, proving that impact isn’t always measured in dollars. What are your thoughts? Do you believe biopics like this deserve more support, or is the market too saturated? Do you agree that star power alone doesn’t guarantee success, or is there a controversial element here—perhaps Hollywood’s overreliance on big names stifling fresh voices? Share your opinions in the comments; I’d love to hear if you see this as a missed opportunity or a symptom of broader industry flaws!