If Netflix and the like were any more the cause of death of the movie business than the 10 previous hypothetical, I don’t think there would be any reason for any movie that isn’t a giant spectacle to work. For those of us making movies that aren’t based on global intellectual property, the bar for execution is higher-not just execution in the movie, but learning and paying attention to how specific choices along the way impact your ability to get people to the theater.”Īnother high-ranking executive felt differently, saying, “I do not yet see any evidence that audiences who are excited about a movie in a theater aren’t going. I think if you polled a lot of people, they see massive value in both the theatrical experience and the streaming service. Said one industry insider: “I think that all movies that aren’t giant Marvel movies, or Star Wars, have more competition from streaming services offering compelling content at home. Movies that could recoup box office in the second and third weeks are pronounced D.O.A. What’s concerning is that for the films that don’t work, the rejection is swift and absolute. To be sure, this year has had its share of mid-level-budget successes, including Jordan Peele’s Us and the Kevin Hart feature The Upside, and Hollywood is bullish on quite a few titles set to hit theaters this month: Olivia Wilde’s teen comedy Booksmart, the Elton John musical Rocketman, and Ma, the Blumhouse thriller starring Octavia Spencer. Why? Some industry observers pointed to twin pressures: Disney, which this week announced ambitions to lock up every major weekend through 2022 with its overflowing portfolio of I.P., and streamers, which are working like hell to keep viewers on their couches.īy Christian Black/MGM/Everett Collection. Should The Hustle fail to reach double digits, it will join Long Shot and a slew of recently released comedies, including The Spy Who Dumped Me, Super Troopers 2, and Holmes & Watson, to name a few, in its inability to connect with consumers. (Last weekend’s soft numbers aren’t just because of the Avengers blackout on the box office.) It’s been a soft year for openings of the latter: Laika’s Missing Link ($5.9 million), Paramount’s Wonder Park ($15.8 million), and The Lego Movie 2: The Second Part ($34 million), and even rougher for the former. But right now, there’s a fear around town that audiences are abandoning two specific categories: mid-market comedies and animated movies.
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