Cinema – cinema – has become a conflict space for the films themselves. Only great studio stories franchises seem to have reached a profitability threshold that allows them to get closer to what used to go through the box office the film is supposed to be profitable or not.
The rise in consumption through the platform caused by the pandemic has changed the window display of cinemas in a way that they will certainly never repeat before, affecting, as we comment here, especially mid-budget films.
As a result, at least for now, the cinema market is still bearish, with films like Thor: Love and Thunderwhich also means that the public is used to some modern stunts.
Cash desk that is not recoverable
Despite grossing almost $760 million, the third Norse god film dropped over 60% from its first week to its second week at the box office. A descent that can be interpreted as the most diehard fans going to the movies in the early daysbut the public later knows that it’s not long before the premiere on Disney Plus, which is what happened.
Disney+ 75% off
All this is also reflected in the fact that, despite successes reminiscent of pre-pandemic times, such as Top Shooter: Maverickthe overall box office as of mid-September is still 40% lower than in 2019.
For all the streaming pessimism behind Netflix's latest results, something that has carried over into its operations, it's undeniable that its situation continues to be a winning one. People are spending more time browsing stories than before the pandemic. According to Nielsen, streaming now accounts for about 32% of total TV viewing worldwide. This represents an increase of approximately 26% a year ago.
It definitely doesn't look like we're back to normal. Or perhaps it's that we're facing a new normal where not only are viewers aware of a new set of windows, but a division of opinion between critics and viewers that has never been so divided.
With increasingly distant fan criticism
This year's two films illustrate this. unknown maybe it wasn't a great movie, but the audience They ran to see it in the cinema, and the critics destroyed it.
FROM Jurassic World Dominion similar happened. Lucas Shaw, Analyst bloomberg, recently ranked the highest-grossing films of the past few years. Bottom line: the average difference is 5 points, and this year it has reached 20.
What happened? Audiences gave the top 10 films an average rating of more than 19 points higher than critics, the biggest difference this century.
Audiences and critics often give the same ratings to the biggest blockbusters of the year. But this has changed in recent years.
There was only one year when the highest-grossing films of the year appealed to critics more than audiences: it was 2005, when critics gave more than half of the films released in 2005 higher marks, led by King Kong, War of the Worlds D Charlie and the Chocolate Factory. It's amazing how different the top 10 films of the year are from what they are now.. There is only one comic book movieBatman Begins) and two continuations (Harry Potter D star Wars).
Ten years later, another rare year arrives. In 2015, critics thought all blockbusters were good. New deliveries star Wars D Mission impossible received good reviews as Martian. The only film to receive a critical score below 60 is Minions. It was also the only film to receive an audience score below 60.
franchising cinematic successes of recent years and that they were the first to dare to set foot in cinemas, having more power in his hands to attract the public, seems to be the most obvious reason for this dissonance. Also, this apparent dichotomy that seems to still exist and will no doubt continue to exist between streaming and the big screen. We continue to live in very turbulent times for the cinema. Time will tell what is left of all this and what is not.
