A New York Times op-ed on Friday questions why moviegoers aren’t flocking to theaters to see Oscar-focused movies, suggesting that the films’ “explanatory” content may be one reason.
Despite audiences returning to theaters following the COVID-19 pandemic, some Oscar buzz movies are losing millions at the box office.
The Times spoke to film critics and production studios to find out why. Responses have been mixed, with some blaming streaming services and others claiming box office results are an outdated success model.
“Ask movie executives from 10 different specialties to explain the box office, and you’ll get 10 different answers,” writes Times reporter Brooks Barnes.
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However, one film historian has suggested that the heavy social messages in these films turned off audiences.
“People like to call it ‘escape,’ but it really isn’t,” scientist and author Jeanine Basinger told The Times. “It’s entertainment. It can be a serious subject, by the way. But when movies are too introspective, like most of the Oscars these days, the audience is forgotten,” he added.
According to Basinger, viewers want to be entertained, not reminded of all the “things that went wrong.”
“Give us a laugh or two there! I get so depressed when I think about seeing poverty, decay, racism and all the other things that are wrong with our lives,” he said. paper.
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Christian Toto, editor of HollywoodinToto.com, a conservative film critic, agreed that there were a variety of factors to blame, from “audiences getting used to seeing first-run movies at home to pandemic scares.”
Audiences distrusting liberal film critics “can’t be ignored,” he said.
“Audiences may not trust film critics as much as they used to. The critical community is not only left-leaning, but occasionally actively participates in their reporting, giving positive messages to films that align with their worldview. The gulf between the general public and critics has resulted in recent years is increasing,” he said.
Toto agreed that Oscar-nominated films are often too “serious and sober” and kill the entertainment factor. But they also ignore “real world” concerns, he said.
“Furthermore, Oscar-bait movies feel like audiences are taking their own medicine and not having a great time at the theater. The themes are serious and sober, and the issues at play are often the real ones for the average ticket buyer.” doesn’t solve their life problems. like inflation and crime rates. Most people don’t care if they fall in love with cannibals, and as a result, Bones and All recently opened up in theaters,” Toto added.
Politics is also a factor. “Hollywood in general has turned away a lot of moviegoers because of their political views and their views on the pandemic. This one-two punch has not helped Tinsel Town’s brand lately,” he concluded.
Last month, The New York Times blamed “homophobic” audiences for the poor performance of LGBT romantic comedy Bros. According to The Hollywood Reporter, the film cost $22 million to make, but only made $4.8 million in its opening weekend.
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The film’s star Billy Eichner warned “homophobic weirdos” to stay away from the film before complaining about its box office flop.
Disney’s latest “woke” animated film also exploded at the box office, and critics argue that when companies “wake up” they “go broke.”
“Strange world“Disney’s first openly LGBTQ+ teenage character featured and was a ‘huge failure’ over Thanksgiving weekend.
It’s the worst three-day opening for Disney’s 2000s animated film The Emperor’s New Groove, which grossed just under $10 million during its debut, according to Comscore, CNBC reported.
Liberal late night host Jimmy Kimmel will host the 95th Academy Awards in March 2023.