Domestically, Chris Hemsworth’s movies have grossed a combined $4.6 billion. It’s a staggering amount, but that number is heavily inflated by his work in the Marvel Cinematic Universe, with his various appearances as the superhero Thor making up about three and a half billion dollars worth of that haul. The $258 million domestic gross of “Star Trek” (in which Hemsworth appears only in the opening scene) makes up another big chunk of the total figure.

Breaking down the numbers like that, one realizes that Chris Hemsworth might not be as much of a bulletproof box office bet as his various Marvel hits might indicate. When you look at his career as a whole, you soon come to realize that the Australian heartthrob has limited box office power when he’s not wielding a hammer and fighting alongside a host of other big names. His many flops range wildly in genre and scope, and the reasons that they tanked also vary. Here’s why these Chris Hemsworth movies bombed at the box office.

Even die-hard Chris Hemsworth fans may scratch their heads at the mention of “Ca$h,” which — ironically given its name — made next to nothing at the box office. This 2010 crime thriller was one of the actor’s final performances before his career forever changed with the first “Thor” movie in 2011. Directed by Stephen Milburn Anderson, “Ca$h” sees Hemsworth playing a man named Sam Phelan, who stumbles onto a briefcase full of money while driving and decides to keep it. If “No Country for Old Men” taught us anything, it’s that nothing good comes from accidentally acquiring a briefcase full of money. This cash leads to Phelan becoming the target of a dangerous psychopath played by Sean Bean, whose twin brother tossed the suitcase during a police chase.

That premise might sound like a standard set-up for a crime thriller, though “Ca$h” had anything but a traditional box office run, even for a financial misfire. The film didn’t so much flop at the box office as it did outright flatline: On a $7 million budget, “Ca$h” grossed a shockingly low $46,488. Why? Well, distributor Roadside Attractions never brought the title into more than 43 theaters and it ran for an average of less then two weeks in each of them. With no support from its distributor and no real critical acclaim to speak of, “Ca$h” had no way of standing out to moviegoers. Its financial fate was practically sealed before the first screening started.

Before “Blackhat,” director Michael Mann had a relatively solid box office track record to accompany his acclaim as an auteur, with the likes of “Collateral,” “The Aviator,” “Hancock,” and “Public Enemies” all raking in north of $200 million worldwide. Then, after a six-year absence, Mann returned to potentially continue that streak with the January 2015 hacking drama “Blackhat.” He was well-known for working with big-name performers like Al Pacino, Johnny Depp, Tom Cruise, and Jamie Foxx at this point. Unfortunately, Hemsworth was still in the early days of his Marvel stint, and having Thor anchor “Blackhat” couldn’t save the film from financial disaster.

“Blackhat” made just $19.6 million worldwide, including an abysmal $8 million domestically. On a $70 million budget, that box office haul was downright atrocious. Only two of Mann’s previous directorial efforts (both of them made in the 1980s) did worse in North America. An uninspired marketing campaign and the difficulties of making cyber crimes visually compelling to general moviegoers put “Blackhat” at a major disadvantage from the get-go. And, to complicate matters further, Mann’s absence from the silver screen hadn’t exactly left people praying for his comeback. Rather, the movie world had left him behind.

The 2012 Kristen Stewart/Chris Hemsworth feature “Snow White & The Huntsman” made a tidy sum at the worldwide box office, raking in over $400 million. It was enough for a sequel to be greenlit, but it took four years to get the follow-up into cineplexes. “The Huntsman: Winter’s War” came out in April 2016, but it was missing a key ingredient of its predecessor: Snow White. Kristen Stewart was MIA from this installment, which immediately made “Winter’s War” seem superfluous to moviegoers. The lengthy gap between movies didn’t help things, either. Any “Huntsman” hype from 2012 had long cooled by 2016.

Still, Universal gave a big marketing push to “Winter’s War,” which included emphasizing in trailers and TV spots that this was the story that came before Snow White. This attempt to explain why “Winter’s War” was missing its predecessor’s protagonist was misleading — only part of “Winter’s War” is a prequel. This somewhat dishonest strategy only works if a film has a huge opening, but it only made $19 million on its first weekend. Reviews and word of mouth meant people found out that the film was all hype and no substance pretty quickly. In the end, “Winter’s War” limped to a $48 million domestic haul. Overseas receipts were more favorable, but the film (which cost $115 million to make) ended up losing money. Analysts suggest that Universal was down by around $30 million after P&A expenses were factored in.

It’s doubtful that Drew Goddard’s 2018 feature “Bad Times at the El Royale” (which features Chris Hemsworth as a cult leader in its ensemble cast) would have been a massive success in any timeline, as dark and original R-rated noirs tend to be hard sells for modern moviegoers. Maybe a few more star names added to the mix would have helped — back when the cast was being assembled, the likes of Tom Holland, Russell Crowe, and Beyoncé were reportedly approached for lead roles. They all passed, and, when you consider the film’s box office haul, they’re probably happy that they did: “Bad Times at the El Royale” was a financial flop, only grossing $31.9 million worldwide on a $32 million budget.

Perhaps execs expected fans of “The Cabin in the Wood” (a previous collaboration between Goddard and Hemsworth) to come out in full force for “Bad Times at the El Royale.” The 2011 horror-comedy was a big hit with the critics, scoring an impressive 92% on Rotten Tomatoes. “Bad Times at the El Royale” was also reviewed favorably, but too few people went to see it in cinemas. Why was this the case? Well, a murky, unfocused marketing campaign didn’t help, and a lack of genuine A-listers made the movie a hard sell. Also, “Bad Times at the El Royale” went up against the likes of “Venom,” “A Star Is Born,” and “Halloween,” which spelled disaster in terms of box office potential.

The very same things that make “Furiosa: A Mad Max Saga” an artistic triumph also limited its box office potential. Sometimes, a movie’s greatest qualities don’t line up with what moviegoing audiences actually want. 2015’s “Mad Max: Fury Road” ticked all the right boxes, but you can’t say the same about the latest installment in George Miller’s dystopian universe, in which Chris Hemsworth plays the vile Dementus. While the aesthetics match up, “Furiosa” is radically different to “Fury Road” in several ways. This includes an intimate finale that emphasizes a lengthy dialogue exchange instead of a pulse-racing set piece. Story takes precedence over action, and, as such, there’s no big cathartic moment in the movie.

Those qualities, plus other factors (like Hemsworth’s go-for-broke performance) led to glowing reviews for “Furiosa,” but these same qualities alienated summer moviegoers, who just wanted a rip-roaring good time. As a result, “Furiosa” bombed at the box office. The film bowed to low numbers in North America, posting the worst Memorial Day opening in 30 years. “Its takings make it the lowest box office figures for the holiday weekend since ‘Casper’ debuted to $22.5 million in 1995,” the BBC reported, adding, “‘Furiosa’ only narrowly beat its closest competitor, ‘The Garfield Movie,’ which made $31.1 million.” Even overseas figures were disappointing: The film opened in sixth place in China, with an initial haul of just $3.7 million.