The critically disliked Stephen King adaptation The Dark Tower is the latest in a cord of misfortunes for the Oscar-winning actor, whose resurgence has crumbled. But what should he do next?
What in the world has happened to Matthew McConaughey? It was just three and half years ago that his busines comeback joyously dubbed the McConaissance culminated in a best performer Oscar for his accomplishment in Dallas Buyers Club, just as his memorable stint on HBOs True Detective was coming to a victorious open. That apex turned out to be more like the tuft of a movement. The resistance may have even started during his ludicrou, off-putting Oscar speech. As he boldly asserted that its a technical happening that grateful returns, you are able find the second thoughts pulsating through the auditorium. As if ordaining some kind of institutional right, McConaugheys career started tanking just about as soon as the ceremony objective. Since then, he has performed in a range of flops that have positioned him in an exceptional plight: only a few years after his exultant comeback, he is already in need of another one.
First came Christopher Nolans Interstellar, an grandiose sci-fi cinema from a director who had never had a bust. The 2014 film curved a profit with the help of a robust overseas box office, but it underwent motley reviews from critics and underwhelming ticket auctions in the US. Still, as flops depart, Interstellar was a mere prelude to McConaugheys horrendous 2016. The civil battle theatre Free State of Jones was eviscerated by commentators for its lily-white savior narrative and is impossible to egregious even half of its $50 m fund; Gus Van Sants mournful indie The Sea of Trees was booed mercilessly at Cannes and received only a token theatrical liberation; and Gold, which peculiarity McConaughey baldly striving for his second Oscar in a modern-day fib of mineral prospecting, flopped mightily with a$ 7m blatant and zero awardings consideration.
His cold streak continues with The Dark Tower, secreted last weekend to the worst its further consideration of McConaugheys career. The Stephen King adaptation has made a lukewarm $19 m up to now, although with most of it surely coming from Kings legion of devotees, a steep drop-off should be expected as the word gets out about its quality. It is nowhere close to earning the kind of coin to propel a right, which is what its financiers certainly had in thought. Still, its not fair to lay the blamed alone at McConaugheys feet. The cinema itself is a mess, but McConaughey is not the problem, diverting the specific characteristics of Walter, an evil wizard, into more of a crummy dude-bro. Its an interesting select that doesnt altogether use. Then again, in such a convoluted film, what would?