- cross-posted to:
- art
- cross-posted to:
- art
In Hollywood, the first weekend of May is traditionally seen as the official kick-off of the summer movie season: an auspicious blockbuster date that has, of late, become rather a boring one.
Since 2007, when Spider-Man 3 (three full cycles ago in that deathless franchise) topped the box office – and barring two years where the global pandemic threw the mainstream release schedule into disarray – that weekend has been the exclusive domain of Marvel superhero adaptations, through to Guardians of the Galaxy Vol. 3 claiming the No 1 spot last May. That stranglehold was set to continue this year, with the legacy-milking superhero mash-up comedy Deadpool & Wolverine scheduled for a 3 May release. It doubtless would have creamed the competition, too, had last year’s Hollywood strikes not delayed it to July.
And so, with the coveted early-May date open to a cape-free blockbuster for the first time since the Bush administration, Universal spotted an opportunity for its action romcom The Fall Guy, about a Hollywood stunt man tangled in an insider conspiracy.
They had reason to be confident. Ryan Gosling was riding a wave of public goodwill after his film-stealing turn in last year’s top grosser Barbie; pairing him with Emily Blunt, fresh from her appearance in Barbie’s summer sibling Oppenheimer, was a neat marketing angle the stars gamely launched as a presenting duo at the Oscars in March. Two days later, the film premiered to jubilant audience reactions at the hip SXSW festival. It seemed director David Leitch, who drove the comparably goofy action flick Bullet Train to a $240m gross in 2022, had another hit on his hands.
Or not, as it turned out. The Fall Guy opened modestly in the US, taking a little over $27m in its first weekend. At the time of writing, it’s made nearly $108m worldwide – not a bomb, but not a palpable hit either. Reviews have been solid; audience scores are good. All indications are that it’s a crowdpleaser, at least for the medium-sized crowds that are showing up. But why aren’t they bigger?
The movies just came out. I’d like to see Fall Guy in a theater but I’m busy, even movies that come out on streaming still take me a few weeks if not months to get to. I got shit to do.
Hollywood really needs to stop declaring flops within the first few weeks, whether it’s streaming or films in theaters. I really wish things were allowed to grow organically. Video games are essentially in the same boat. Unlike my dad who stopped watching movies because of the “Hollywood liberals” I’ve stopped watching/buying any new movies/tv shows/video games because everyone is looking for an immediate smash hit. I give them at least a year now. If enough people are still talking about it, I might buy it.
I finally watched the first Dune last month, still on the fence about buying Baldur’s Gate 3, I’ll probably get around to it eventually.
After wasting all that time typing this out, I realize that I don’t really care that much. The producers and powers that be don’t care about me so I’m not their target demographic. But, I take comfort in the fact that by the time I get to some new(to me) piece of media that it’ll be good because it stood the test of time(at least for a year or so).
I agree, immediate smash hits are more of a reflection of the advertising than the actual medium.
I’m like you. Really wanted to watch Dune2 in the theater but needed to watch Dune1 before but never got around to it in time. By the time we watched Dune1, Dune2 was already out of the theater! Oops. My bad.
Another problem with the theater is that my tv and surround sound are good enough and I get about 85% of the movie theater experience without the cost / hassle.