Summer Box Office 2019: what are the main lessons of the season? | film

Disney is responsible for the kingdom

Aladdin's Mena Masswood and Will Smith.

Aladdin's Mena Masswood and Will Smith. Photo credit: Daniel Smith / Disney

Finally, here is some good news for exciting young people at Disney. It's no surprise that the studio made money this season, but many people Much I will make money. With more than $ 400 million in hits, Disney set a new record and the industry endured another summer with the film accounting for 50{7be40b84a6a43fc4fae13304fce9a2695859798abfc41afd127b9f8b21c5f9c5} of the season's total. Most importantly, their success came from three different areas (Marvel, live-action / CG remakes and Pixar) and their hits weren't based on original properties, but they're a sign of how the company has grown over the last decade .

The Avengers: Endgame, the endless exaggeration of the Avengers franchise, earned more than expected at $ 2,970 million worldwide to become the most successful movie in the world. Marvel and Disney have been working for the last 11 years since the original Iron Man, with over $ 1 billion in revenue with Captain Marvel, a hit before summer.

Dumbo's overwhelming box office in March 2019 is pointless when Disney compares how the fan base from the original 1941 is different, although three more live action or CG spins on the animated classic. In the same way as Lion King and Aladdin, both were the ninth-largest films this summer and summer, and the sequel to Male Picent in October this year won't expand to such heights, but practice retains great profitability (Mullan will be better next year Aiming at a lot of cash).

Finally, their standard summer Pixar offering was hit harder than usual, given that it's Toy Story 4. The latest chapter seemed unnecessary as a concept, but given the way the third ended with the completion of such an opera, critics were still warm and movie lovers became the biggest toy story in the world a few days ago. The studio will look happier as Disney + is unlikely to dominate the streaming market.

Bed hits are hard to find

Booksmart's Beanie Feltstein and Caitlin Divers

Beanie Feldstein and Booksmart Photograph by Kaitlyn Dever: Everett Collection Inc / Alamy Stock Photo

While the summer season is most relevant to big hitters, it was also the time to appeal to those who were tired of the explosion, as traditionally small films shine. Last season, Julie & Julia, Little Miss Sunshine, My Big Fat Greek Wedding, Garden State, Napoleon Dynamite, Blair Witch Project, and The Big Sick were overworked and gained more buoyancy by word of mouth than aggressive and expensive marketing. .

But even this year, even titles with low cast titles, name cast and wide titles became blood baths. In January, through a number of large acquisitions, experts suggested that Sun Dance is positioning itself as a competitive market for studios that want crowd-pleasant sleep with surprise Megabucks deals on numerous titles. But by summer, execs may regret Amazon's $ 13 million (Late Night) showing off their check books without breaking $ 16 million in the United States. The problem is when in Park City both may look commercial and audience friendly, but they are surrounded by smaller, opaque titles and surrounded by avid festival audience. It's a completely different outlook to bring a wide audience to the upcoming story of the late night writer's room and Bruce Springsteen's soundtrack in the 80's and encounter movies about diversity.

Elsewhere in the sundance hit San Francisco, the last black man couldn't break $ 5 million, and Diane Keaton turned Poms into another Book Club level hit despite a similar release date, commercially anticipated music Indian Teen Teen and Wild Rose cann I could not. Bernadette's bad buzz was translated as bad BO, and Jim Zarsus's weird zombie comedy The Dead Do n & # 39; t Die was dead, and Booksmart's critical worship did not impress most people despite the bold widespread. Release strategy. Sundance Buying The news about The Farewell is almost $ 15 million, but the financial losses are small, but given the reviews and commercial appeal of the film, it's not the slam dunk distributor that A24 expected.

The summer dog days finally threw something close to the sleeper at Good Boys-the first R-rated comedy to win first place after the 2016 boss was far from the 21-metre opening comedy hit. Summer like The Hangover ($ 44m), Girls Trip ($ 31m) and Central Intelligence ($ 35m). Especially when compared to other original movies of the summer, its success is the Rebold humor and the easy-to-sell concept (rude children), which are well received at festivals and attract more people than big stars, at least in the warm months.

Do not underestimate the 90's movie star

John Wick's Keanu Reeves: Chapter 3-Wave Label Room

Keanu Reeves by John Wick: Chapter 3-Parabellum Photo: Allstar / LIONSGATE

The mourning knights of the film actor have been in circulation for several years because of the power of the franchise to make the star-driven project less preferred to the audience. In the last 12 months, we have seen flops by Matthew McConaughey, Chris Hemsworth, Charlize Theron, Mark Wahlberg, Steve Carell and Will Ferrell.

Murder Mystery's record success this summer at Netflix has shown the steady appeal of Adam Sandler and Jennifer Aniston's 90s, but given the low participation rate of streaming watches, it's the same as Big Little Lies or other TV series performers. Boasts a roster talent. But this summer there were two major box office hits that almost exclusively rely on star power. In May, Keanu Reeves pushed John Week 3 to the top of the huge series, nearly doubling the production of previous films. The success allowed Marvel to receive green lighting for the fourth Matrix film.

Two months later, the heartbreaking Brad Pitt and Leonardo DiCaprio of the 90s helped bring Quentin Tarantino's Once Upon A Time in Times to 239m (about $ 23.9 billion) in Hollywood. The original film, released in the summer, is a rare and impressive number, and the star power of all three was undoubtedly a bigger factor than the theme.

Do not make a sequel if in doubt

Vera Farmiga and Millie Bobby Brown of Godzilla: the king of monsters.

Vera Farmiga and Millie Bobby Brown of Godzilla: the king of monsters. Daniel McFadden / AP

In the season, critics and spectators had almost universal agreement on what to avoid on almost all flops, and almost everyone had a rotten evaluation. They all shared noticeable similarities. They were a sequel that no one needed.

Although the international box office may have solidified Godzilla's reboot in 2014 to $ 529 million worldwide, non-original characters and non-existent fanbases have made the sequel a dangerous proposition. : King of monsters at the end of May. Earlier versions accounted for more than half of what they ate in the United States, and less than $ 400 million worldwide, rarely scratching what the 1998 version requires. Godzilla vs. Hong Kong crosses the cinema in March and Crossner is in panic mode so far. The studio also wisely poured into Netflix around the world with the misjudged Shaft sequel, crawling in American cinemas, earning US $ 11 million and immediately ending the series.

Sony's black male: International fell far below expectations due to the total invisibility of the franchise in the pop culture dictionary, earning $ 255 million worldwide, and at least not following up with Will Smith back I assured that The studio has been trying to figure out how to make more money from the brand for years, and at least it should be thankful that the MiB / 21 Jump Street hybrid never came true. There was similar news for Fox, who arrived at the door of Disney with the award-winning Dark Phoenix. The X-Men spin-off / sequel / unnatural disaster moved on schedule for a period of time, eventually leaving it in prime slots with negative reviews and audience indifference. X-Men: Same as the result of Apocalypse. On the opening weekend.

Common topics were predictable indifferent audiences and critics who responded in unison to lazy and unnecessary repacks, contrary to the sequels that worked this season, such as Spider-Man: Ranger, Toy Story 4, The Avengers: End Game. A story with wit and originality.

Children are discerning!

Still in Uglydolls

Still Uglydolls Photo: PR Handout

If you're not Hollywood, there are few sure ways to make money in Hollywood, but traditionally one of the safest ways is that it doesn't matter whether the movie you want to watch is good or bad, and your parents can't tell the difference. . But this summer and year-round, children's films were rather miserable.

Before the start of the warm month, Warner could not compare the franchise killings of the Lego movie part two with $ 260 million worldwide ($ 469 million of its predecessors), but Paramount Wonder Park had exceeded $ 190 million. Worldwide. But these were solid gold strikes when compared to summer crops. A few weeks before Endgame officially started the season, Missing Link, the first film with Annapurna's famous boutique animation company Laika, was a huge bomb of less than $ 17 million in the US on a $ 100 million budget. In May, the sick studio STX, along with Uglydolls, saw one of the largest films so far, and the commercial was selected as the "Film Musical Event of the Year", but it was well received by the audience for the definition of non-event. It's $ 30 million worldwide and is ending the hope for a franchise quickly. Then, far from the flop, Universal would worry about the secret life of Pet 2, which is less than half of the original 875m around the world. In recent weeks, Sony's Angry Birds movie 2 was accidentally discovered and saw $ 10 million compared to $ 38 million in the original despite positive reviews. With a $ 49 million budget, now $ 60 million worldwide is not the brilliant start they expected. Even the strange and credible sub-genre of movies about dogs is sputtered into the art of racing in the dog's journey and in the rain, struggling to make $ 25 million in one piece.

Making big bets on suspicious material (does anyone still do Angry Birds?) Is an important issue, but there's also a saturation problem and Disney is monopolizing multiplexing with a $ 3 billion hit aimed at a young audience. Roam



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