One Of Hollywood's Best Directors Keeps Getting Screwed Over – And It's Time To Make It Right

On January 16, 2026, the sequel "28 Years Later: The Bone Temple" hit theaters ... and almost immediately face-planted as far as the box office was concerned. Frustratingly, this is now part of a larger pattern for the movie's talented and visionary director Nia DaCosta, and she deserves much better from Hollywood. 

DaCosta, a Brooklyn-born talent who got her start by winning the Nora Ephron Award at the 2018 Tribeca Film Festival for her project "Little Woods," has helmed a number of legacy sequels and movies based on existing, high-profile intellectual properties. None of them have performed well at the box office — in fact, even though the majority of DaCosta's projects have gotten positive reviews from critics, they've all been deemed failures by the industry apparatus. I don't think I need to say this, per se, but the fact that a Black female director is gaining a reputation as someone who can't, for whatever reason, make a "successful" movie is bad, certainly as far as the basic optics are concerned.

This, for lack of a more sophisticated term, friggin' stinks. DaCosta's movies are, by and large, really good, and her not-so-good Marvel movie isn't really her fault; to use a popular Internet parlance, "Nia Dacosta innocent." So, what did happen here that resulted in DaCosta becoming a scapegoat for every poor marketing decision, retooled movie, or bad box office performance? Why was one of her recent star-studded projects shunted to streaming, and why is her latest movie, "The Bone Temple," already proving to be one of the year's biggest flops despite the fact that it absolutely rocks? Let me try and break it all down.

After "Little Woods," Nia DaCosta's first huge theatrical venture was "Candyman," a legacy sequel to the beloved 1992 horror classic starring Tony Todd. At first glance, this film seemed almost too big to fail. DaCosta co-wrote the screenplay with Oscar winner Jordan Peele, she got Todd and his original co-star Vanessa Williams to join the project, and the movie starred the always welcome Yahya Abdul-Mateen II ("Aquaman," "Watchmen"). Unfortunately, the original release date for "Candyman" was June 12, 2020 ... so, as you might recall, it ran into some big pandemic-related problems. By the time the film finally hit theaters in August 2021, the damage had already been done.

From there, DaCosta journeyed to the Marvel Cinematic Universe with Brie Larson, Iman Vellani, and Teyonah Parris for "The Marvels," which Marvel Studios interfered with to the point where it ceased to really be "her" film any longer. Combine that with the fact that it debuted immediately after the 2023 actors strike ended and other factors firmly out of DaCosta's hands, and it's no wonder it radically under-performed — not that this stopped Disney CEO Bob Iger from throwing DaCosta under the bus anyway. 

Then there's "28 Years Later: The Bone Temple," the follow-up to 2025's legacy sequel "28 Years Later." My colleague Ryan Scott discussed why "The Bone Temple" failed right here at /Film, but the reasons are all incredibly frustrating, especially since the movie is really, really good. Overall, this is a sad state of affairs for DaCosta, whose body of work has been borderline ruined by bad timing, studio interference, and poor marketing tactics to the point where she's likely not seen as a profitable director. With that in mind, what can be done?

At this point, as we survey the ruins of "28 Years Later: The Bone Temple" and its dismal box office turnout — and, speaking personally, hope and pray that its sequel goes ahead as planned — it feels like Nia DaCosta might end up in director jail, and that would be a crying shame. Again, apart from "The Marvels," DaCosta's movies are atmospheric, tense, and deeply considered. Without spoiling any specifics from "The Bone Temple," the film similarly balances outright horrors with unexpectedly sweet, tender scenes and even finds moments of actual levity where you feel comfortable letting out anything from a chuckle to a full belly laugh.

And let's also not forget "Hedda," the DaCosta-directed "Hedda Gabler" re-imagining that you likely haven't seen yet since it got shipped directly to Prime Video with little fanfare despite making big waves on the film festival circuit.

I'm not a studio executive, and I'm not a box office expert. What I am is someone who loves movies, likes DaCosta's work, and wants better for her as an artist. Obviously, no movie is guaranteed to succeed in Hollywood without caveat; anything can disrupt a movie's box office performance, and I've laid out exactly how a movie can flop without being "bad," per se. Still, I can't help but hope that DaCosta gets more opportunities as a director but is also given support by whichever studio she's working with at the time in terms of good marketing, a release date that might help get butts in seats, and even just public lip service on her behalf. 

Anyway, go see "28 Years Later: The Bone Temple" now, please; it's still in theaters.