10 female-led action movies that prove Elizabeth Banks is wrong

A couple of Fridays ago, the latest reboot of Charlie’s Angels was released, and to no one’s surprise, including director/writer/supporting actor Elizabeth Banks, it bombed. Hard. No one was asking for another Charlie’s Angels and I have no clue how Banks got the greenlight to get the project off the ground in the first place.

Oh, wait, I think I can imagine how. Based on recent interviews, she probably threatened to tell the world that male Hollywood producers were sexist if she didn’t get her way. This seems to be Banks’ MO; if you don’t like her movies, it can’t be because they’re bad—it must be because you hate women. It feels like a typical response to any criticism against a product these days, in that if you aren’t down with it then instantly you’re sexist, or racist, or some other -ist. But the fact is, ticket prices are high and these days people have so many more entertainment options at their disposal that if it comes down between spending ten bucks to see three actors with zero star-power in a franchise which premise feels just a touch, you know, dated, and sitting at home to watch The Mandalorian, which one do you think most people in your supposed target demographic are going to do? Oh, and as of this writing some critics are calling The Mandalorian—wait for it—sexist. Color me surprised.

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So Liz… can I call her Liz? Yeah, definitely calling her Liz. Liz ironically said “women are allowed to have one or two action franchises every 17 years”, as if females haven’t appeared in several action flicks in all that time. Movies have evolved over the past couple of decades, and sensibilities have adapted to public demand. More and more we’ve seen women grow from mere love interests to kick-ass partners, and movies like Terminator 2 (remember that one, Liz?) have become less exceptions to the rule and more the norm. Some of the films that have shown women kicking ass alongside men are: the second and third Matrix films, the Fast and Furious films four through eight, the X-Men movies, the Avengers films, the Captain America franchise, the Guardians of the Galaxy movies, Harry Potter, the Incredibles, the Twilight series, the Alien franchise, the new Star Wars movies, as well as Mr. and Mrs. Smith, Serenity, Monsters vs. Aliens, The Brothers Bloom, Pacific Rim, Planet Terror, Kick-Ass, The Losers, The Expendables 2 and 3, the Red movies, Hansel & Gretel: Witch Hunters, Big Hero Six, Mad Max: Fury Road, Ant Man & the Wasp, The Man from UNCLE, Suicide Squad, Thor: Ragnarok, Hotel Artemis, and Men in Black: International.

Wow, that’s a lot of movies where women were largely treated as equals, and oftentimes portrayed as bad-asses. And while not all these movies were successful, they were most definitely part of a push to give females a legitimate shot at fair representation. But hey, you might ask, what about action movies where women were the lead and/or sole focus of the film? Well, there were a fair share of those as well, and to be honest, they often (please note I said “often”, and not “always”) bombed. But let’s also be honest: a lot of them (note that I said “a lot of them”, and not “all”) sucked. Among those were Catwoman, Elektra, Aeon Flux, Bloodrayne, Ultraviolet, Death Proof, The Golden Compass, Doomsday, B*tch Slap, Alice in Wonderland, Haywire, Sucker Punch, Hanna, Colombiana, Snow White and the Huntsman, Proud Mary, The Heat, Veronica Mars, Jane’s Got a Gun, Pride and Prejudice and Zombies, Ghost in the Shell, Annihilation, Ghostbusters (2016), Brave, Peppermint, Ocean’s 8, Widows, Moana, and Alita: Battle Angel. Were they all bad? Oh, by no means. But to assume people didn’t go to see these films simply because women were at the forefront is frankly bullshit. You can blame bad writing, bad direction, weak leads, and poor marketing for the failure of many of the films that tank. You know, just like a lot of movies where men were at the forefront.

Recycling an old franchise is never a guarantee of success: nobody went to go see the RoboCop or Total Recall remakes either. Having a bona-fide male action star in a film doesn’t always work either. Baywatch should have been a hit; you had Dwayne Johnson in a rated R movie with sexy women at the beach. By any measure, this movie should have grossed eleventy billion dollars, but it failed. And yet was anyone involved with these films claiming the fault was with a bunch of women who didn’t go see their movie? Grow up, Liz.

But setting aside ensemble films and female-oriented action movies that didn’t do well, were there any successful women-centric action pictures in the past 17 years? Why, yes, there were. And that’s even setting aside the Underworld, Resident Evil, and Hunger Games franchises. And I’m not going to look at animated films that would have had the benefit of a younger audience swelling its gross. Here now are ten movies Elizabeth Banks either forgot existed or dismissed out of hand that proved women in kick-ass roles can dominate the box office.

1. Kill Bill Volume 1 (2003) and Volume 2 (2004)

I won’t lie; at this point, Quentin Tarantino was a nerd darling at this point. Reservoir Dogs, Pulp Fiction, Jackie Brown… he had produced some great films that while employing classic actors like Pam Grier and Robert Forester and using tons of classic music still felt fresh. But part of what really sold me and a lot of others was this teaser trailer.

Holy shit, I thought. This movie looked so stunningly kick-ass that I had to see it. And yeah, it was a touch misleading, but was I disappointed with the end result? Not a bit. And the sequel was just as good. Both films were rated R and both were successful, with both costing $30 million apiece and making $180 and 150 million, respectively. To this day, I anxiously await the third movie Kill Beatrix. Uma is an attractive woman, but at no point was there an attempt to base this movie solely around sex appeal; I and millions of others went mainly to see her murder lots of people in the most gratuitously violent manner possible.

2. Wonder Woman (2017)

According to Liz, people only went to see this Gal Gadot starring film because it’s tied into the DC Cinematic Universe. I won’t totally deny it; I can imagine there was a big faction of people out there who saw the movie for that very reason. Personally, I never saw Batman vs Superman, because I hated Man of Steel and I was indifferent to the prospect of a Wonder Woman film, especially after the sheer disaster that was Suicide Squad. Nope, I thought. Not again. Then two things happened: first, someone posted the Wonder Woman fight scene from Batman vs Superman to YouTube, and second, I saw the Wonder Woman trailer. And Gal Gadot’s presence sold me; I was going to give this movie a chance.

Wonder Woman is action-packed and has a charismatic lead, unlike Charlie’s Angels. It also had an effective ad campaign and it was a franchise that had yet to continue on long past its shelf life. Merely assuming people went to see it because of its place in the DCEU is a simplistic fallacy, because Suicide Squad and Justice League both bombed, and yet Wonder Woman’s numbers were stunning, earning over $800 million world wide on a $150 million dollar budget.

3. Atomic Blonde (2017)

Another movie released in 2017, Atomic Blonde had an uphill battle because it was rated R. Fortunately for viewers, the R rating meant that there was going to be some utterly epic and brutal violence on display. Charlize Theron’s heroine, MI-6 agent Lorraine Broughton, is sent into East Berlin days prior to the fall of the Berlin Wall on a dangerous assignment that’s already cost the life of another spy. There she has to contend with Stasi and KGB agents and has no clue who to trust. Broughton is intelligent, talented, and dangerous as hell, and yet she isn’t written like she’s James Bond in a skirt; she avoids fights with men when possible because 1) it ain’t her job, and 2) her opponents are trained killers and generally outweigh her by a hundred pounds. An action movie that attempts to deliver realistic fight scenes between men and women? Gasp!

The movie grossed $100 million, more than three times its $30 million budget, which was good enough for the studio to greenlight Atomic Blonde 2. I can hardly wait.

4. Captain Marvel (2019)

By all accounts, this movie should have bombed. Hard. Captain Marvel is an unpopular Marvel Comics character (seriously, her comic has been rebooted some seven times due to low sales) played by Brie Larson, a credible actor but not exactly a big name, and someone who made a lot of controversial statements even prior to the film coming out. YouTube “critics” predicted the film would fail in truly stunning fashion. And yet, Captain Marvel soared high and blew away expectations, raking in over a billion dollars worldwide. Yes, some claimed Disney had inflated numbers and pulled shenanigans like buying tons of theater seats, but until I see some actual proof, to me those figures still stand. Again, Liz would have you believe people just went to go see it because of the lead-up to Avengers: Endgame, but if that were the case, why didn’t Ant Man & the Wasp, which already had a built-in audience and was also a lead-in to Endgame, crack a billion? We can possibly chalk this up to an effective ad campaign and ’90s nostalgia, but whatever the case, this movie was one of Disney’s biggest successes of 2019.

5. Lucy (2014)

I’ll confess that I’m not a fan of this film. At all. Don’t get me wrong, I like Scarlett Johansson, but that doesn’t mean I like every project she takes on. For example, I thought she was wholly miscast in Ghost in the Shell. As a matter of fact, I don’t think the live-action film should exist at all, or if it had to exist, it should have been made by a Japanese studio, starring a Japanese actress. But I digress, perhaps because I don’t have a great deal to say about Lucy other than the fact that critics were generally middle of the road on it, but that didn’t stop it from making $460 million on a $40 million budget.

6. Spy (2015)

There are those who might be sick of Melissa McCarthy’s shtick, and I can’t say I blame them. That, and the fact that she’s done a whole lot of movies over the past few years. But comedic actors generally have a short shelf life, and it’s only smart of her to make bank while she can. And McCarthy seems to be pretty damn smart, as in recent years she’s branched out into more serious roles in movies like Can You Ever Forgive Me? and The Kitchen. Will she succeed as a serious actor? Based on the critical response, it’s hit or miss, but I wish her luck.

As for Spy, I’ll be damned if I didn’t think this film was funny as hell. With Spectre leaving a bad taste in my mouth, I was willing to give McCarthy’s film a chance and I laughed a lot. And judging by the way it made $235 million on a $65 million budget, maybe people felt the spy genre needed to have a little fun poked at it as well.

7. The Descent (2005)

Here’s the thing that Elizabeth Banks might not understand, which is that maybe women and men excel in different things. For example, a male cast generally might make for a better action film, while a female cast might make for better romantic comedies and horror films. I won’t deny that this might be due to public perception and outdated sensibilities, but that doesn’t mean we have to see the same old tropes applied to horror films. For example, take The Descent, a horror movie involving six female characters. Gone are the tired clichés of the knife-wielding slasher or the virgin being the only survivor. This horror film is a different animal altogether, and one that proved successful with an estimated $7 million budget and making $57 million worldwide.

8. Halloween (2018)

And speaking of horror films, here we have one where Jamie Lee Curtis, pushing 60 years old, manages to help resurrect what to many was a dead franchise, with numerous cinematic corpses in its wake. People didn’t go to see Halloween because Curtis was sexy; they came because the premise was intriguing and it had an effective ad campaign. And it worked; Halloween not only made $255 million on a $10 million budget, the sequel Halloween Kills has been greenlighted as a result.

9. You’re Next (2011)

I won’t deny this one might be a movie most people have never heard of, but if you haven’t seen You’re Next, then your life is just a touch less awesome. A well-to-do family has a get-together at their country estate, and during dinner, three strangers wearing animal masks start killing them off one by one. It seems that it’s going to be a slaughter. Only, one of the dinner guests starts fighting back, and it turns out her dad was a whack job survivalist who taught her how to kill. Sharni Vinson is a tremendous lead in this film and the movie made $26 million from a one [!] million dollar budget. Not too shabby. Now give me my sequel, dammit. With the way the movie ended, I need to know what happens next.

10. Gravity (2013)

There was a time when Sandra Bullock was considered one of the sexiest women in Hollywood. I remember her in Speed, for example, where she had this girl-next-door vibe that made her somehow accessible in a way that sexier women weren’t. And in an industry that often tosses women aside when they hit 30 in favor of younger talent (e.g. watch the Jason Bourne films and see how Julia Stiles’ character is killed off to make way for Alicia Vikander. God, how I hate that film), Bullock has thrived. Gravity is a movie where she has to largely carry the whole movie on her own, portraying a stranded astronaut who must somehow survive the harshest environment known to humanity and somehow make it back to Earth, in a role that could have just as easily been played by a man. The movie scored over $700 million on a $130 million budget.

Elizabeth Banks should have realized that the Charlie’s Angels franchise was dead before she ever touched the project. But even after that, when it looked like the film wasn’t going to do well, she should have remained positive instead of looking for a scapegoat. And when the film finally did bomb, instead of doubling down, she should have accepted responsibility for her project’s failure. Instead, Banks proved to be petty, mean-spirited, and dare I say, sexist in her attack on male audiences. My advice to Liz is to stick to Pitch Perfect films.

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  • Tim

    I will also add a simple factoid – Charlies Angels died because I, like probably 98% of the country, didn’t even know it was on it’s way, much less that it got released. That was one of those movies that just came and went with so little in the way of marketing that I didn’t even see a trailer for it on youtube.

    • Michael Weyer

      As someone nicely said on the Booth’s Box Office predictions “this movie looks like it was made just to promote the music single.”

    • Xander

      I didn’t even realize this was out until I stopped by a mall in another town and they had the poster up. There might be some sexism behind this movie’s bombing, but you’d want to look to the studio marketing department for that rather than the public at large.

  • Michael Weyer

    The shame is the actresses were good with Kristen Stewart a total delight in her role. They got saddled with a terrible script and the last five minutes were so horribly pandering in celebrity cameos and “girl power” it was painful to watch.

    The thing that blows me away is how Banks keeps acting like Charlie’s Angels is somehow like making a drama about the woman sufferage movement and it’s a blow to women everywhere it flopped. I like her but geez, her ego can put most guys in Hollywood to shame.

  • Jordon Davis

    I think Banks can be forgiven a little for her temper tantrum. Imagine writing, producing, directing, and starring in a movie only to see it fail. I’m sure she invested a lot of herself and a lot of years getting this to the screen. I’d hope that once she cools off, she’ll be better able to understand what Charlie’s Angels did wrong and why it bombed so badly.

    • Michael Weyer

      I can cut some minor slack on that but it still shows the key flaw in that she’s acting like it’s because of sexism and such rather than the fact the movie was badly written and directed.

      There’s also how it just wasn’t that fun (aside from Stewart). The entire point of the show was to flaunt the ladies beauty and get them into wild antics with a campy feel. The 2000 movie captured that pretty well. One of the worst things to do is take a property meant to be camp and play it totally straight and yet another reason this film didn’t work.

    • David

      … or she can read the blogs & get it from the people who chose not to see it.

  • Kradeiz

    The Robocop remake is five years old already? Man, I feel old.

    But yeah, I hate when people use legitimate issues for their own selfish motives. It belittles actual cases and can lead to people treating them less seriously.

    • David

      The Robocop remake didn’t get my money BECAUSE it was a PG-13 flick when the original was Rated R. It’s THAT simple.

      • oohhboy

        On top of it being god awful, unwanted and unnecessary even without comparison to Verhoven’s master piece.

        PG-13 was already a death sentence. A R wouldn’t have saved it either.

        • Nasty In The Pasty

          The first sequel to Robocop was a hard R, and it blew ass. I happened to like the remake, and thought it did some interesting things with the core idea.

          • oohhboy

            ??? The sequel wasn’t as good but “Blew ass”???!!!.

            It keep the tone and satire of the original, succeeding for most part. It has Verhoven like commentary on corporations, corruption, privatisation, militarisation, slum clearance, worker rights, war on drugs, restrictions on free will different from directive 4, consent, cults, unequal justice, capitalism of lives. It was close enough in every aspect that you would think it was Verhoven directed with some sequel decay and vague villains. Hard to beat Clarence “Bitches leave” Boddicker.

            IMO Verhoven would have done differently would be more subtle and tighten up the script as it addresses too many things. Remove the cartoon whistling during the fall. Be more dead straight with the dark comedy instead of the Amazon is burning down from a nuclear fire *giggle*.

            So much gold. Thank you for not smoking. Reading rights to a corpse. Behave yourselves! Lethal car alarm. Literal “Robocop 2”.

            Robo 3 was the one that blew ass. So bad Nancy Allen asked to be killed off.

  • Xander

    I absolutely hated Lucy, but it wasn’t because it had a female lead: it was the reliance on the 10% trope and the fact that the climax could only work if the police were blind or functionally impaired in some way. The bad guys literally pulled up across the street and took out their weapons as the police entered the building! The only reason that movie worked at all was because of the quality of Johansson’s acting as she completed her journey through the film.

    I was not a huge fan of Kill Bill vol. 2, but–again–it was not the lead actress’s fault, and I’m one of the few people I know who loved the final conflict between Bill and Beatrix. Chekhov’s Gun was in full effect there.

    As for Charlie’s Angels, the first one was bad, but the second actually made me furious. I was telling someone that I hadn’t bothered seeing the second one because I disliked the first, and she talked me into seeing it. I felt like I’d wasted two hours on that movie that I hadn’t planned to. And, yes, I was mad at the movie and not my friend.

    Given how awful those other two movies were and either not knowing or not liking the talents of the actresses in this one, why would I drop any money on it? As you say, Mr. Stockel, movie tickets aren’t cheap, and I have to be discriminating where I spend my money. Plus, there’s the time investment, as well. I saw Charlie’s Angels Full Throttle on HBO when my cable company was giving it to me for free by accident, and I was still angry at the movie for wasting my time.

  • Jon9

    Okay, hate to nitpick, but your link regarding “The Mandalorian” being interpreted as sexist contains a Daily Wire story seriously actually claiming that a feminist (Anita Sarkeesian) is trying to “cancel” the show. While I don’t object to you referencing the recent critiques of the show, I do object to dishonest framing of feminist critique of popular media.

    Look through Anita’s tweets related to “The Mandalorian” since November 21st. Whoops! Not a single tweet even remotely suggests “cancelling” the show. Rather, she was just critiquing the general absence of female characters, while acknowledging that more could end up showing up in later episodes. That’s literally it. This is what anti-feminists and MRAs are collectively throwing all their toys out of the pram for. Because a feminist on the internet had an opinion about a piece of media they like. This is every bit as stupid as when she was getting harassment for making some general non-controversial Feminist 101 critiques of video games and some tired old tropes.

    Now, onto the main meat of your article, which I generally liked. The problem here is that while the failure of films and TV shows or video games or comics lead by white, straight males will generally be accompanied by a shrug; on the other hand pretty much any time in the modern age you get a movie or a TV show or a video game or a comic with a woman lead or an ethnic minority lead or LGBT lead not do particularly well, this will be used as “evidence” by outrage-merchant anti-feminist MRAs that this is totally because the makers of the piece of media tried to “get woke” and that when you “get woke” you “go broke”, even though there’s all these examples of media to the contrary of what they claim.

    Don’t get me wrong, I’m not particularly enthusiastic about Charlie’s Angels either (although since I have an “Unlimited” card about my local cinema, I will probably still watch it when it comes out over here), but let’s not pretend like Elizabeth Banks is the only problem here. It’s also all the YouTube grifters like TheQuartering and Ethan Van Sciver and others, as well as their fanatical anti-feminist followers, who will use the failure of movies like Charlie’s Angels as “evidence” to push back against female-led potentially progressive movies.

    Also just curious, why is Moana listed as an example of a “failure” in your list of female-led movies when it has 96% on Rotten Tomatoes and it made $690.8 million on a budget of $150-175 million? Also you missed out the recent Jennifer Lopez movie Hustlers, which made $150.4 million on a $20.7 million budget, and has been critically acclaimed.

    • David

      If your Mandalorian essay does NOT include Baby Yoda… I’m afraid I’m going to have to give you an F. Here’s my note I wrote on the bottom of your paper: If you’re going to write about The Mandalorian, you MUST include Baby Yoda. We clear?

    • Thomas Stockel

      That’s why I added the qualifiers. I added Moana there just to show the number of female led films that have been given the green light over the past seventeen years.

      And valid point, Hustlers should have been mentioned somewhere in the article.

      As to the Youtube guys, Banks gave them ammunition when a week before the movie aired she was already blaming men for it’s failure. And take Terminator for example. People had no problem with a female lead; it was the fact that it was a cut and paste of Terminator 2 and that they killed John Connor that they mostly had a problem with.

      And perhaps I could have used a better article in regards to Anita and her opinions on the Mandalorian:


    • oohhboy

      Woke sucks and it is giving feminism a very bad rap. As a lefty I am embarrassed and annoyed by the association. They keep damaging the very thing they think they are helping. You can’t guilt people into seeing movies and they sure aren’t going to after insulting the customers. You can’t bludgeon a message into a movie without it becoming propaganda. Then there is the “cover your ass value” where you blame everyone but yourself to stay in the job. Corporate consumer activism little different to selling indulgences. It’s disgusting. This is what “Get Woke, Go Broke” is.

      Sarkeesian cranks out hot takes to stay relevant. She sell outrage like her counterparts. Her past offers of “Consultation” are really veiled threats that she would use weaponised social media on you, effectively asking for protection money.

      A good movie isn’t selling a message, it’s telling a story.


      Halle Berry in John Wick 3 was amazing. You could see her dedication to the art. She worked with the dogs for months. She wasn’t a “Strong female”, she was a badass. I am like, damn, I wouldn’t mind her showing up in JW 4. With a bit more work she could have a spin off movie.

  • Murry Chang

    I’m sure it has nothing to do with Charlies Angels being a mediocre property at best. No, gotta be all those he man woman haters.

    Good job, Liz.

  • Greenhornet

    =Captain Marvel is an unpopular Marvel Comics character…=
    I stopped following comics decades ago, but from written and video reviews on the net, I understand that Captain Marvel is a totalitarian bitch has kids running a no-trial prison for those who don’t toe the line.
    Then again, it may not be her fault. The Marvel comics universe governments (The DC universe too) seem to have gone full dictator.

    • Michael Weyer

      That was a brief part of the loathsome “Civil War II” story where Carol was rocked by the death of lover Jim Rhodes and, worse, was being written by Bendis. Also, how she was manipulated by Steve Rogers when he thought he was a Hydra soldier.

      ….It was a very ugly time period for Marvel.

      • Xander

        It’s been a very ugly time period for Marvel since Civil War I.

  • Cory Skowronek

    I waited until I was on an airplane to watch Wonder Woman because it was part of the D.C. cinematic universe.

  • David

    I think what she was trying to say is that… A movie that has a all female cast with a female screenwriter that’s attached to a female director who got an all female catering company who knew a team of females who know how to set design… blah, blah, blah… You know where I’m going with this. She stating that an all female film will never be successful because of men… which is ABSOLUTELY bull to the shit. The Charlie’s Angels reboot never had my money to begin with. It had nothing to do with females on the poster or anything like that. It just wasn’t for me, that’s all.

  • windleopard

    Suicide Squad was not a bomb. It pulled in 746 million and that was without a Chinese release.

    • Nasty In The Pasty

      Exactly. It was a massive hit.

  • John

    Making an action movie with a badass, competent lead that happens to be female is how you do it. Once the movie starts pushing the fact its a female led action flick and the plot and script are created with that mindset, the movie is no different than those Christian films. It’s a movie that has an agenda and that what people will see it as. Then the only ones that will seriously watch it will be people that already believe in it.