Well, it seems the Bruce Springsteen biopic, “Springsteen: Deliver Me From Nowhere,” hasn’t exactly been a runaway success at the box office.

Instead, it appears to have stalled.

Despite featuring Jeremy Allen White from “The Bear,” the film has only managed to bring in $19.4 million on a global scale.

This is quite underwhelming for a film backed by Disney about an American icon who has sold over 128 million records across more than five decades.

Those who have watched the movie generally appreciate it, myself included. “Deliver Me From Nowhere” holds a solid 83% audience score on Rotten Tomatoes, indicating a favorable reception.

The problem, however, is that few are rushing out to buy tickets to the Bruce movie.

Why are they shrugging en masse?

Well, that’d be Bruce.

He’s brilliant, talented… and a big ol’ snooze.

One of the greatest songwriters of all time happens to be a nice, mostly drama-free, soul-searching open book, who, after a brief marriage to Julianne Phillips, has been with the same woman, wife Patti Scialfa, for 34 years. 

“Deliver” doesn’t even get as far as that. It ends when Springsteen is just 32 and is struggling with anxiety.  

That’s not exactly a pass-the-popcorn formula. Or, for that matter, an Oscars rubric. At best, it’s a thoughtful-insight manual.

There is, of course, Springsteen’s political outspokenness. His lefty leanings might be a turn-off for some. But then so would 99.9% of the entertainment industry.

Many have also questioned the choice to focus the film on the 1982 creation of “Nebraska,” a somber, acoustic folk album recorded in his bedroom, instead of the Boss’ better-known bangers, only a few of which make a cameo appearance.

But I doubt a starrier soundtrack would’ve moved the needle much.

When it comes to Bruce, poetic stories about the man’s working-class New Jersey upbringing, strained family relationships and introspective writing process are only truly compelling when they come from the genuine article.

For instance, his solo show, “Springsteen on Broadway,”  which featured songs strung together by autobiography, was a fantastic smash.

At the movies, though, there is a hint here of the 2018 battle between “Bohemian Rhapsody” ($910 million) v. “Rocketman” (whoops, $192.5 million).

“Rocketman” was, by far, the better, more stylish film. But audiences were completely indifferent to learning any more details about Elton John’s life. Anyway, what more is there to know?

Queen frontman Freddie Mercury, on the other hand, was an eccentric enigma who died of AIDS in 1991 at just 45 years old. 

“Bohemian Rhapsody,” then, promised mystery and a tragedy that was made all the more shattering by our happy memories of tunes like “Under Pressure” and “Radio Gaga.” 

I doubt anybody was ever made chipper by the title song of “Nebraska,” which is about a serial killer.

The narrative matters every bit as much as the name. So does a revelatory central performance. Rami Malek won the Oscar for playing Freddie.

Chilled-out White, whose acting is quite good, opts against trying to nail his character’s look and mannerisms. Admirable, Jer, but generally speaking not what audiences want in a flick about their favorite artists.

Hollywood is always trying to crack the musician biopic code. Easy, you’d think, but it’s really one of the the most difficult genres to get right.

Two bombs that, on their face, should’ve worked, were “I Wanna Dance With Somebody,” about Whitney Houston, and “Back to Black,” about Amy Winehouse. 

Both were torturous pulp, and rightly tanked.

But “Elvis,” starring Austin Butler as the King, and “A Complete Unknown,” with Timothée Chalamet as Bob Dylan, turned out to be box-office hits and award-season players. 

The key to their success was artfully fusing popularity and prestige. 

The pair had meaty stories about obsessed-over rock gods, fantastic songs, sweeping presentations and transformative, theatrical, talker lead performances.  

“Deliver Me From Nowhere,” depending on who you ask, checks anywhere from three to zero of those boxes.

The movie might best be described by this lyric from a song everybody wishes was in the movie, “Thunder Road”:

You ain’t a beauty, but hey you’re alright.