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As he says, 'Tidy, consistent, sustainable profits-the kind of thing generated by movie studios that once offered a diverse slate of reasonably budgeted adult dramas, teen-date rom-coms, family films, and fence-swinging art movies-are a thing of the past for those in charge of the industry.' All this to say, we're stuck in a cycle of blockbuster regurgitation that is our reality for the foreseeable future - but there is hope. The goalposts have shifted to an alarming maximum profit mentality. obsession of Hollywood's leading players. Paste Magazine's Jacob Oller likens modern filmmaking trends to venture capitalism in his eye-opening dissection of the current I.P. Paramount atop the list of follies that befall franchise starters is the temptation of telling a multi-film epic split into parts without thinking about the completeness of a single film. Everyone wants their billion-dollar mega-franchise to the point where quality can suffer because decisions shift away from a creative, artistic process to become a mass-marketable mess of mechanical motions searching for shortcuts. But it also brings out the worst tendencies in franchise filmmaking.

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This is a terrifying statistic to think about - made worse by SlashFilm box office analyst Ryan Scott pointing out how there is not 'a single original movie in the top ten at the global box office for 2023 thus far' after a 2022 that saw Bullet Train crack #18 as the highest ranking domestic original. Bert Kreischer's stand-up anecdote turned comedy feature The Machine, a Sebastian Maniscalco and Robert De Niro vehicle called About My Father, and the Gerard Butler action flick Kandahar barely mustered a collective $10 million against Disney's live-action The Little Mermaid, which left its competition drowning in the wake of its $95.4 million opening weekend. This past Memorial Day was a bloodbath for original movies in theaters. Consumers dictate what hits their screens by talking with their wallets, and right now, the overwhelming data suggests that the average moviegoer wants familiar characters (superheroes), recognizable stories (with superheroes), and the comforts of blockbusters based on known properties (loaded with superhero battles).įinancially, it makes sense. Studios chase the highest profit margins, making decisions based on box office returns. But it has become a crutch for multiplex theaters and superproducers alike.

It's not an unfounded strategy - think about marathon horror franchises like Friday the 13th that started in the ‘80s or pre-planned trilogies like Peter Jackson's Lord of the Rings adaptations. Fast X and Spider-Man: Across the Spider-Verse are just two recent examples of contemporary moviemaking trends that put a massive stress on milking recognizable IPs for as many 'universe' entries as audiences will financially support.

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