At the Cannes Film Festival premiere of “Highest 2 Lowest” in May, all eyes were on the crime drama’s fourth lead: A$AP Rocky. The presence of the “Everyday” rapper at the Palais ignited a frenzy among photographers, capturing every moment before he and partner Rihanna were whisked off to the film’s exclusive beach party. Their night continued with an early-morning yacht bash sponsored by Ray-Ban. Despite the glitz and glamor surrounding the premiere, “Highest 2 Lowest” struggled to make an impact at the box office when it debuted in approximately 300 theaters on August 15.
Upon its release, the film's performance was so underwhelming that A24 and Apple Studios made the unusual decision not to disclose box office figures at all. This trend is not isolated to Rocky; a number of chart-topping artists with substantial social media followings have faced similar challenges in making a successful transition to the movie industry. From Taylor Swift's "Cats," which bombed and was a major contender at the 2020 Razzies, to Harry Styles' limited release of “My Policeman” in 2022, the pattern is clear: music stars often struggle to draw audiences to the cinematic experience.
The challenge of crossing over from music to film is a phenomenon that has persisted for decades. Many famous musicians, including Mariah Carey with “Glitter,” Britney Spears in “Crossroads,” and even Rihanna in “Battleship,” have seen their cinematic aspirations falter. This year alone has witnessed two notable misfires: The Weeknd's “Hurry Up Tomorrow,” which grossed just $5.2 million despite a wide release across more than 2,000 theaters, and Lady Gaga's “Joker: Folie à Deux,” which, despite generating $208 million, barely broke even against its $200 million budget.
This raises an important question: Why do music industry A-listers struggle to find success on the big screen? According to box office analyst Jeff Bock of Exhibitor Relations, “Fame isn’t really transferable currency across mediums. A music star can bring awareness but not loyalty. Fans escape through that persona, not by watching them act as someone else.” He refers to the desperately ambitious attempts of Madonna to become a major movie star, which ultimately fell flat.
The decision by A24 and Apple Studios to withhold box office results for “Highest 2 Lowest,” directed by Oscar winner Spike Lee, could signal deeper issues. This is not the first time A24 has opted for opacity regarding a film’s financial performance. Their previous release, “The Tragedy of Macbeth,” also saw a lack of transparency, with only vague statements about “multiple sellouts across all 12 opening markets.” Notably, the budget for “Highest 2 Lowest” has also not been disclosed.
Shawn Robbins, director of movie analytics at Fandango, emphasizes the unusual nature of this decision: “A24 is very consistent in terms of reporting numbers. It’s unheard of for a well-known studio like that to be keeping mum about box office receipts.” However, the integration of high-profile recording artists into films can sometimes yield successful results, as seen with Bradley Cooper’s casting of Gaga in “A Star Is Born.” This film, with a modest budget of $36 million, grossed an impressive $440 million worldwide and earned Gaga a Best Actress nomination.
Despite the evidence that some musicians can successfully transition to acting, it remains a complex endeavor. For instance, Ice Cube, who started as a member of the gangsta rap group N.W.A, has successfully starred in franchises like “Barbershop” and “Ride Along.” Yet, for many, the crossover proves difficult. Robbins notes, “Crossover for a very popular artist can be very difficult. Playing against type can work really well, and lightning is captured in a bottle like Justin Timberlake in ‘The Social Network.’” However, the success of a film often hinges on multiple elements, rather than solely on the star's presence.
Producers point out that it’s tricky to determine why some musical talents resonate on screen while others do not. Sticking strictly to musicals is no guarantee of success, as evidenced by “Joker 2” and “Cats.” In contrast, Styles’ decision to take a supporting role in Christopher Nolan’s “Dunkirk” proved to be a wise choice. However, Swift’s brief appearance in Russell’s “Amsterdam” did not generate the expected results, pulling in only $31 million against its $80 million budget.
Even established stars like Gaga faced criticism for their dramatic roles, such as in Ridley Scott’s “House of Gucci,” where her Italian accent drew mockery. Meanwhile, despite having one of the largest fandoms globally, Selena Gomez saw minimal box office support for the 2019 zombie comedy “The Dead Don’t Die.” Auteurs like Paul Thomas Anderson have taken risks by centering films around musicians, as he did with 2021’s “Licorice Pizza,” which starred Haim vocalist Alana Haim. However, despite critical acclaim, it failed to recoup its $40 million budget.
Even artists like Travis Scott, who can fill stadiums, have found their cinematic ventures lacking. A24’s “Aggro Dr1ft,” led by Scott, earned a mere $201,351 worldwide after its premiere at Venice in 2023. Ultimately, the decision by A24 to withhold box office results for “Highest 2 Lowest” raises eyebrows. Their adeptness at platform releases makes this silence puzzling. As Bock summarizes, “Movies are their own sacred ritual and thus have different fan behavior. Music fans want to see their favorite artists in person at a concert, not on a screen.”
