Why Arnold Schwarzenegger’s 1999 Millennium Thriller Became a Box Office Success Despite Critical Scorn

Why Arnold Schwarzenegger’s 1999 Millennium Thriller Became a Box Office Success Despite Critical Scorn
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In short: Released on the eve of the new millennium, the action-horror film End of Days saw Arnold Schwarzenegger battle Satan in New York City. Despite a $100 million budget and a $212 million worldwide gross, the film faced scathing reviews, Razzie nominations, and bizarre behind-the-scenes allegations from its co-stars.

Directed by Peter Hyams, End of Days follows Jericho Cane, a former NYPD detective who discovers a religious conspiracy to birth the Antichrist before the turn of the millennium. The production was marked by significant turnover; directors Sam Raimi and Guillermo del Toro declined the project, and Marcus Nispel left due to script and budget concerns. Schwarzenegger, returning to the screen after a hiatus, was cast in March 1998, though the role was originally written for Tom Cruise. The film's development was heavily influenced by James Cameron, who recommended Hyams to Schwarzenegger.

The film’s reception was largely negative, with critics labeling it incoherent and formulaic. Rotten Tomatoes reports an 11% approval rating, and the film earned three Razzie nominations, including Worst Actor for Schwarzenegger. Despite this, the film was a commercial success, bolstered by a massive promotional campaign with the WWF and a soundtrack featuring industrial rock. Universal Pictures, however, reportedly felt the final box office numbers fell short of their internal expectations.

The production process was notably contentious. Hyams shot two versions of the ending—one where the protagonist survives and one where he dies—eventually choosing the latter after internal debate. Years later, actress Miriam Margolyes alleged unprofessional behavior by Schwarzenegger on set, claiming he farted in her face. Despite the critical panning, some retrospective commentary has described the film as fascinating, and it remains a unique artifact of 1999’s end-of-the-world cultural anxieties.

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