The Lesson From This Summer’s Movies? Forget Everything

As the famous saying from screenwriter William Goldman goes, when it comes to the movie industry, nobody knows anything. It’s been taken as a truism for years now, but this may have been the summer when audiences decided to prove that to studios once and for all.

The success of the Wednesday opening of The Help yesterday – outstripping expectations with a strong $5.5 overnight take – underscores something that surprised many studioheads earlier this summer: There’s a large female audience out there, and they’re hungry for good movies. The success story of the summer was possibly Bridesmaids, which massively outperformed what was expected of it, despite having Judd Apatow’s name attached as a producer. The lesson here is probably one about underestimating movies based on demographics – Looking back, the idea that Bridesmaids wouldn’t be a hit because it was a female-led comedy seems especially ridiculous; think of 30Rock, Parks & Recreation and other female-led television sitcoms, and then try and work out why people thought that wouldn’t transfer to movies – but there’s every possibility that it’s something even more obvious about learning not to believe any box office predictions based on anything other than hard evidence.

For example: Who really thought that X-Men: First Class would be more successful than Green Lantern? Who expected Cowboys and Aliens to flame out quite as badly as it did? Who really thought that The Hangover Part 2 would be nothing more than a more expensive retread of The Hangover? All of those went against the conventional wisdom of the industry (As did the fact that the superhero audience didn’t just up and collapse through oversaturation. Not to mention the success of The Smurfs, which I am tempted to say is the random event of the season), underscoring Goldman’s line, and making me wonder… Will this finally be the summer that makes the movie industry throw away the rulebook – or, at least, look at it a little less often?

With the exception of Transformers and, to a lesser extent, Thor, this summer was the one where sure things didn’t necessarily pay off; it was a year when playing it safe disappointed everyone, which – if this were any other industry – might lead to a rethinking of the value of playing it safe. In a world where a movie can have all of the “right” ingredients like Cowboys and Aliens and still flop, you’d hope that it would cause some sense of reconsideration over what “right” means. Over the last few years, the idea of “guaranteed hit” has begun to fade into the background, leaving the space open for this revolutionary idea: Just make good movies that you think will entertain.

The thing is, of course, it won’t happen. The lead time involved in movies means that the next few years are already scheduled with the same kind of movies and the same schools of thought as the ones from this summer, and unless audiences manage to resist the obvious lures of The Avengers or The Dark Knight Rises or The Amazing Spider-Man, it’s unlikely that we’ll get the same kind of odd summer of refusal of taking what we’re being offered again, so the moment will pass. But… Just imagine, as the saying goes. Picture a movie industry more about individual projects that people believe in than chasing after fads and fashions… Nice thought, isn’t it?

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Comments

  • Hooper

    “Cowboys and Aliens” was a flop??

  • Boomtuber

    Yup.

  • http://www.facebook.com/people/Jeremy-Carrier/100001743102541 Jeremy Carrier

    Add Harry Potter to your “sure thing” pile

  • KryptonianSon

    Wow! Who would have thought that those cooties laden females, wanted to watch good films too?!

    (Sarcasm, off)

  • Anonymous

    My fear is that the only thing Hollywood will “learn” from these floundering movies is that ticket prices are too low.

  • Doktamoox

    Who thought X-Men First Class would outgross Green Lantern? Most people; it had better name recognition, and the buzz on GL was bad as soon as previews began to circulate.

    Who expected Cowboys and Aliens to flame out? Most people; it didn’t look like the genre-bending escapist fun it should have been, and its buzz was barely better than that for GL. And it didn’t have the “right” ingredients: the Western is a moribund genre, Daniel Craig’s only hits have been the James Bond films, and the film was largely humorless.

    Who really thought The Hangover 2 would be an expensive retread of The Hangover? Everyone; that’s what sequels generally are, and why The Dark Knight and X2 are so noteworthy — they break the mold.

    Seriously, do you not actually pay attention to the industry you purport to cover?

  • Joeforeal18

    Everything Doktamooz said was true.  No one was really surprised by the result this summer 

  • YoYoMa

    I liked Cowboys and Aliens a lot as did everyone I know that saw it. And if you didn’t know Hangover 2 was going to suck you clearly shouldn’t be a a movie critic.

  • Anonymous

    I think I speak for everyone when I say that we ALL predicted the Hangover Part 2 would be a retread, how could it not have been?

    As for Green Lantern vs X-Men, I could see form the start that First Class had something of substance that would do well. I also think bad reviews killed Green Lantern which was a shame beacuse it was at least better than most made it out to be, although it was dissapointing but thats a conversation for a different topic.

    The interesting thing to note will be next years box office for Superhero films, since all the heavy hitters are on show, then we can judge if the genre has been oversaturated.

  • MalReyn

    Doktamoox is right. For all of the questions posed, I answered “Me.” Either I’m a friggin’ genius that people should start paying to do the job that isn’t being done well, or Graeme McMillan is just as out of touch with reality as hollywood is revealed to be because, really, the answers to most of these questions were so obvious from a long time before these movies were released that the questions didn’t even need to be asked.

  • Nataniel Costard

    Not that it matters at all to me (I actually hate this box office crap), but I just saw in Rotten Tomatoes, The Smurfs had a $ 75.9 m. opening (you say it`s a success), and in the same day, Cowboys and Aliens opened with $ 67.3 m. So why is it a flop?

  • Doktamoox

    Well if you hate this box office crap, why read and then comment on an article about box office crap?

    But to answer you question, The Smurfs cost $110 million to produce; its $144 million gross worldwide (which would translate into roughly $75-80 million net at this point, depending on the contract between the studio and exhibitors) thus has put it closer to profitability. Cowboys and Aliens cost $165 million to produce; its $78 million gross to date (about $40-45 million net) is thus much lower in actual dollars and in proportion to its budget.

  • Shamontemple

    a strong story is what you needed and it had to have heart that why all marvel movies did good this summer

  • Leewan17

    The female lead in parks and rec and 30 rock don’t carry those shows. Plus 30 rock could use better ratings. So yeah, bridesmaid should have been a surprise hit. Bridesmaid is the rare quality female led comedy. I think Hollywood has a ridiculous stereotype that since so many women watch lifetime movies they’ll watch crap in theaters.

  • David Fullam

    “Who really thought that The Hangover Part 2 would be nothing more than a more expensive retread of The Hangover?” Anyone with a brain?

  • Dan

    By female you must mean white females.  The same white females that control book publishing with their book clubs.  The African-American community had been wailing this movie for being overly simplistic in it’s portrayal of characters and themes.  The fact NPR and Rolling Stone have been declaring this a film a classic shows how low film standards of gone (not to mention the To Kill a Mockingbird comparisons).  Black maids are left unemployed while a white girl move to the city and lives her dreams.  It’s a white chick flick.  Plus, if Aibaleen could write, she should’ve written the book herself and joined her contemporary, Zora Neale Hurston, who gets no mention in the film.  Instead, Skeeter takes credit for everything and everyone (including the film’s writers) has no comment on it.

  • Anonymous

    Analysis about the uselessness of analysis?

  • http://pulse.yahoo.com/_QKN5MHOI6VUFOYCTV5REK7M7A4 Jacob

    Unfortunately.

  • Billy Whala III

    Please tell me that everyone realizes that the “more expensive retread of the Hangover” IS the point of the Hangover Part 2. The director and cast all knew it was stupid to make a sequel to the Hangover, where the same thing somehow happens to these group of guys twice, and that’s exactly the point of the sequel, that’s it’s ridiculous.

  • Lead_sharp

    Well the 2 Marvel Studio movies did pretty ok, I was surprised that XMFC was as great as it was and thus not surprised it did well, Green Lantern was bollocks and thus was not a surprise when it bombed harder than the dam busters.  

  • stealthwise

    For example: Who really thought that X-Men: First Class would be more successful than Green Lantern? Who expected Cowboys and Aliens to flame out quite as badly as it did? Who really thought that The Hangover Part 2 would be nothing more than a more expensive retread of The Hangover?

    Er, most people I know did.  I was more surprised that X-Men First Class was watchable.

  • Rene

    “Cowboys and Aliens” had FLOP written over it all over. In big, blinking neon letters.

    The last western movie that worked was Unforgiven and that was in frigging 1992. Almost 20 years ago. And Unforgiven was a mature deconstruction of the genre. The last popcorn western that worked arguably was Back to the Future 3, and that was 21 years ago and a much loved franchise that people wanted to watch despite the western elements, and not because of them.

  • http://pulse.yahoo.com/_QKN5MHOI6VUFOYCTV5REK7M7A4 Jacob

    True Grit, less than 12 months ago. 2007 had No Country for Old Men and 3:10 to Yuma. And lets not forget Brokeback Mountain in 2005 (which also saw the release of Serenity, which was a “space western”)

  • Rene

    I’d say only True Grit and 3:10 to Yuma qualify.

    I’m sorry, if the movie is set in the present day or close enough, then you have at best a homage to some Western tropes.

    Serenity, maybe, but that wasn’t exactly a hit.

    But anyway, you are right. I just forgot about True Grit.

  • MalReyn

    That’s because they typically will. I’m not saying women wouldn’t prefer to watch something that’s not crap, but… Twilight for example. They eat up that BM. This is just a generalization, of course, but… well, actually I can’t think of a single woman I personally know under the age of 50 that doesn’t salivate at the thought of each next Twilight movie. I’m sure there’s exceptions out there, somewhere.

  • MalReyn

    Just as it is ridiculous for them to expect it to be anywhere near as big a hit.

  • Omegasaga

    What mold did the overatted BORING X2 break back in 2003?

  • Omegasaga

    Here is how you determine if a movie will do well or not:

    If a Trailer is AWSOME and gets people realy excited… well then, at least that means people will go out in droves opening weekend.

    A great trailer means the movie is either just as great or not that great. 
    Rarely does an awsome trailer mean TERRIBLE.

    A  TERRIBLE trailer means that the movie is terrible…… NO great/ awsome movie ever had horrible trailers.

  • http://pulse.yahoo.com/_QKN5MHOI6VUFOYCTV5REK7M7A4 Jacob

    I don’t actually know a single person looking forward to the next Twilight movie. Not a single person. And even when they were just getting started, I knew more males excited about it than females…

  • Joe Kerr

    Actually It doesn’t mean because The Help was popular that OMG there’s this large ontapped female audience outthere. It’s just that Hollywood has pretty much ignored every fanbases other than the geeks and toddlers. Grownups want to see movies too and the studios just choose to ignore them.

  • Vegeta906

    I think ticket prices made worse by more expensive 3d prices didn’t help

  • Anonymous

    I think the simple reality is that Green Lantern and Cowboys & Aliens had to be real crowd pleasers with better critical reception out of the gate to have been successful.

    Something like Transformers has a built in audience and you ultimately get exactly what you come for. Thor was mostly well received by critics and solid word of mouth gave it some legs. Smurfs hit the family audience at a time in the summer when school was still out but there wasn’t a lot of options for kids. X-Men had a built-in audience, was a critical success and also had good word of mouth.

    GL and Cowboys — not so much. Both were OK… not the worst movies ever made, but both very cookie-cutter, forgettable, and not ones most people would see twice or rush to recommend to friends.  

  • Obsidian Thought

    The success of a female-led movie like Bridesmaids should tell TPTB that a female superhero movie is way over due…

  • http://www.facebook.com/profile.php?id=663669914 Sean Richardson

    adding to what Doka said, ‘Cowboys’ has several people involved who have what’s called “first dollar gross” deals, which means that they get money directly off the top of the gross profits that come back to the studio.  At the very minimum, Harrison Ford, Steven Spielberg, and Ron Howard have this.  It’s quite possible that Daniel Craig & Jon Favreau do as well.  Less likely, but technically possible, the screenwriters might.  So even if the two films had made the same (which they didn’t) and cost the same (which they didn’t; both of those are weighted in ‘The Smurfs’ favor already), ‘Cowboys’ would still have wound up making less, because the actual money that goes to the studio would be less.  I don’t have the specific numbers for ‘Cowboys’, but I know that if you can get Ford and Spielberg on board for only 20% first dollar gross (in addition to salaries, of course), that’s generally considered a pretty good deal, so I’m thinking, in this case, the studio is losing 35% off the top.  Of course, that’s just a rough estimate, but it will give you some idea.

    Also, ‘Cowboys’ spent a LOT more on marketing, because ‘Smurfs’ is a kids’ movie, and it’s cheaper to market those for a variety of reasons.

  • http://www.facebook.com/profile.php?id=663669914 Sean Richardson

    It actually made more money, worldwide, and was pretty close to the same US gross, so it wasn’t that ridiculous of an expectation.

  • http://www.facebook.com/profile.php?id=663669914 Sean Richardson

    It’s funny that you think ‘Back to the Future 3′ counts but ‘Brokeback Mountain’ doesn’t.

  • http://www.facebook.com/profile.php?id=663669914 Sean Richardson

    “Who really thought that X-Men: First Class would be more successful than Green Lantern?”

    The real surprise is that ‘X-Men’ did as badly as it did.  “bomb” or “flop” would probably be a bit of a stretch, but if it made its money back, it only limped past the mark (and that number doesn’t seem to include marketing costs).

  • Jayz

    Are you kidding? Green Lantern looked a turkey from the start, Cowboys & Aliens was just a joke title looking for a script, and who thought Hangover 2 would be a patch on the original? Nobody knows anything, that’s true, but those examples you picked hardly prove it.

  • Jayz

    I guess because BTTF3 was set in the old Wild West and Brokeback is modern day. Though, yes, it does have guys in stetsons riding horses.

  • Beast

    Spot on. Spot on. Green Lantern looked like a huge trainwreck right from the get go.

    And fighting Monsturd as the main baddy of the film certainly didn’t help.

    Parallax should have really been saved for the 3rd film like Mandarin was for Iron Man.

    Surprised to see no mention of Rise of the Planet of the Apes. Which for all the concerns about how it would perform generated great positive reviews and decent box office numbers.

  • Renaud

    Nothing sure about disrespecting the original Green Lantern Alan Scott and ignoring him completely

    Recognizing that without Alan Scott there would be today
     
    - No Green Lantern Name
    - No Green Lantern Titles
    - No Green Lantern Heroes
    - No Green Lantern Villains
    - No Green Lantern Powers
    - No Green Lantern Rings
    - No Green Lantern Lanterns
    - No Green Lantern Light
    - No Green Lantern Corps
    - No Green Lantern Fans
    - No Green Lantern Movies
     
    and
     
    - No Green Lantern Oath

    My Green Lantern movie Franchise would have killed 2 birds with one stone, while presenting first the original concept with Alan Scott opening the way to the JSA and introducing future Green Lanterns as kids first and launching the future films.

    Quote from my site
    In a first respectable Green Lantern movie honoring the original source material, Alan Scott would be the main event in a dark scary mystery story. The film would be about the origin of Alan Scott, and how he became Green Lantern after a train incident caused by sabotage, and having in his hands at the time that old antique railroad signal green lantern that saved his life. And Alan’s first mission would be to find those responsible for trying to kill him and leaving everyone else in that train wreck all dead. Later on we could see the origin of Solomon Grundy, Alan’s greatest adversary, possibly also linked in some way to the train sabotage, and it would all lead to a classic confrontation between the two, with very spectacular moments
    But before, could be told a little ancient history about that green meteorite that fell on Earth ages ago; and without giving away too much details, we could see that same meteorite linked to an incident long ago, very far away in outer space, where ancient guardians of the universe were experimenting with new different technologies and approaches of incredible green lantern power, when all went terribly wrong and resulted in a huge planetary explosion that scattered debris flying across space in every directions, and in the end some of this very material from which was made Alan Scott’s green lantern and ringWe could also see Rose Forrest, secretly the super-villain known as the Thorn, and she would conceal her newborn girl Jennifer, Jade to be, and before dying, not tell Alan Scott of the existence of his daughter, only to find out years later. Also, we could see other cameos, as other heroes attracted by all the commotion would arrive on the scene to help out, and possibly be witness to the very birth of the amazing Justice Society. And with the legendary Green Lantern Alan Scott flying over head and battling it out against evils might, he would also save innocents from the destructive rampage of Solomon Grundy, and with his protective green energy he would shield from certain death two boys in the streets, a young Hal Jordan and Guy Gardner, and farther up ahead, also a mother with her new born child by the name of Kyle Rayner; and all would be witnesses to the spectacular events going on around them, so that maybe someday they would all find their own Green Lantern light. And in the end Alan Scott, opening up for all and future generations, would look up at the stars and promising to stand guard and protect Earth as long as he could no matter what; and the movie would end with the echo of his very own wordsIn Brightest Day, In Blackest Night, No Evil Shall Escape My Sight,Let Those Who Worship Evils Might, Beware My Power, Green Lantern Light

  • pDUB

    its all subjective

  • Monti Rock

    And I noticed, in that long winded fan-proposal, you neglected to mention John Stewart.

    FAIL!

  • Doktamoox

    XFC didn’t make its budget back in the states ($145m gross against $160m) but did well enough overseas to be somewhat profitable. As of today its worldwide gross is $350m.

  • Doktamoox

    I don’t know the specifics of this movie, but the studios have been balking at first dollar gross deals for several years now for exactly the reasons you outline: it makes it impossible for the studio to make money. The Ben Stiller/Jim Carrey project “Used Guys” was canceled because the studio didn’t believe it would be profitable for them after first dollar gross deals. It’s possible that Ford, Spielberg and Howard still have enough clout to get them, but I doubt Craig and Favreau do.

  • DoktaMoox

    I thought X2 was overrated as well, but it did feature more character development than most action movies are expected to.

  • Zagreus

    The producers and executives in Hollywood are mostly idiots, it seems.  Everything has to be safe and predictable, otherwise audiences won’t “get it”.  Although, audiences are made up of people do understand the unpredictable nature of the common human existence we all share, and hunger for the new, something to jolt us from the ennui of daily life 

  • http://twitter.com/MC_Nedelsky M. Carens-Nedelsky

    Star Trek had truly awful trailers and TV ads. They were just terrible. But the film was fun.

  • Be happy

    I’m sorry…but this sounds bad. Alan Scott is awesome, true. But he isn’t a sell. The first draft of green lantern had pretty much all the cameos you mentioned with Legion and hammond as villains. In fact, the first draft trumps your cameos and JSA, which honestly is one of the lowest selling on-goings, by having a superman cameo that was way more plausible than wolverine’s in XMFC and thus bringing what every comic book parent and their kid knows about to the screen, the JLA.

  • Firelord808

    Maybe if the film industry learns something from this summer and changes what they are doing, comic book fans may be able to get our San Diego Comic Con back.

  • Faust

    I loved X2! Its the best out of the first trilogy!

    Although ‘X5′ has to do a hell of a lot of work to beat First Class IMHO! ;)

  • Faust

    I hate how just because Bridesmaids has a primarily all female cast – that the perception is only women went to see it?!? Who thinks like that?!? Did only men see Transformers, or X-men or Hangover 2. I wanted to see as soon as I saw that first trailer.
    For me (a male here!) Bridesmaids is the funniest fucking movie I have seen in years. Its not just a ‘chick flick’ its the BEST comedy out so far this year (and probably of last year too!).

    There is even disgusting toilet humour in it! haha… so funny!

  • Faust

    Twilight is aimed at ‘tweens’. The Justin Bieber crowd. So as long as there is a hot male lead (or two) and a love story, they will come! haha…

    Bridesmaids is aimed at Adults.

  • Faust

    stetsons are cool!

  • Brian from Canada

    Hollywood will always chase fashions and trends. But there’s a few key points you’re missing here.

    The Help was a popular novel with a decent cast and trailer dropped in a month that, quite frankly, may be summer but isn’t considered to be one of the blockbuster months — those belong to May and July with June getting in there by default.

    More importantly, it may seek a female audience like Bridesmaids but Bridesmaids was the only raunchy comedy promising something new: every critic came out of the advanced preview with the same comment — it’s The Hangover redone in another city, no big improvements at all.

    What other comedies have the same level of astonishment? Bad Teacher was unattractive, The Change-Up was something we’ve already seen before… Bridesmaids was the only big comedy to promote itself as something new.

    And with the rising cost of movies and the lack of development for some franchises, people are choosing to ignore films that aren’t offering anything they feel they have to see.

    X-Men: First Class more successful than Green Lantern? Sign one was Blake Lively’s agent praising Gossip Girl for protecting his client from that mess well before the film’s release. Sign two was the first trailer, which turned people off with its overdone CGI. Sign three was the untested lead actor for a superhero film combined with a lack of build up with other movies. Sign four was the general lack of pre-film information by WB so that nobody (outside of comic fans and those who watched Super Friends) knew what GL was about.

    Whereas X-Men was built on four previous films. Satisfied fan worries by bringing Bryan Singer on as producer. Pushed the sixties aesthetic which is in right now in Hollywood (Mad Men being copied by network’s Playboy Club and Pan Am). And when the film came out, critics adored the fact that this film had a tight story that made it a worthwhile addition to the franchise.

    Smurfs is not a random event; it’s a well-known franchise with adults that does what every other successful family film does — gets the parents to bring their kids. Chipmunks did the same thing. Mr. Popper’s Penguins should have done the same thing too, except that most adults forgot the book and the film changed too much to play to the cutesy side of Jim Carrey.

    As for Cowboys & Aliens, going into the summer it was defined here as the movie which will either be a huge success or a huge flop. But it spoiled a lot in the trailers, is built around a weak genre (Westerns), had nothing to interest teens — too serious a story based on the trailers — and came too late in the summer. I can guarantee it will do better on television and appreciate with age.

    Finally, Transformers and Thor were guaranteed pay offs because they were in the hottest slots of the summer. Harry Potter was a guaranteed pay off because it closed the biggest franchise in movie history.

    If other big sequels didn’t pan out, it’s because the sequels themselves failed to excite audiences. Pirates Of The Caribbean was been there, done that; Fast Five was not, adding in The Rock and Rio to the mix, which turned out to be quite a good heist film and addition to the franchise. 

    What really needs to change in Hollywood is the expectation of huge returns on every single film they spend a fortune on — and worse, the press has to stop identifying the blockbusters as dismal failures and surprise successes because those aren’t realistic comments either. (Okay, GL deserves to be called a failure, but still… not in its first weekend!)

    What really needs to change in Hollywood is to stop flinging release dates without scripts — and stop looking at fanboy anticipation as the sign to release it either. Tron and Green Lantern are two fantastic examples of films that needed more script work; GI Joe was rushed to production by deadlines and it shows.

    Hollywood needs to made 3D worth it. Period.

    Finally, Hollywood needs to rethink how to promote a movie. GL’s trailer sucks. Footloose’s trailer makes every person who’s seen the original immediately ask “Why?” M:I4′s trailer shows you too much, while Sherlock Holmes’ trailer shows you hints that this really will be a big case for Holmes on top of all the action.

    And The Muppets… well, everyone who’s seen the second trailer knows that they are trying to hit on all the right nostalgia moments early to assure parents and other fans that this will be classic Muppets, not a mis-step plot like Muppets From Space.

  • http://pulse.yahoo.com/_IVXIUGIJKB5JCUGORJZTTUKVI4 Chachi

    Yeah, because they should see something by Spike Lee or Tyler Perry, the masters of oversimplified stereotypes in movies…

  • kalorama

    “Who really thought that X-Men: First Class would be more successful than Green Lantern?”

    I did. I said before either one was released that XM:FC had a better chance of succeeding and that GL had a better chance of being a train wreck.

  • Evil_s2003

    Stop doing worthless remakes and reboots, give us something different for a change, it’s sad that Cowboys & Aliens was ‘a flop’ when it was one of the more entertaining movies out this summer. 

  • Shaun

    “Who really thought that X-Men: First Class would be more successful than Green Lantern? Who expected Cowboys and Aliens to flame out quite as badly as it did? Who really thought that The Hangover Part 2 would be nothing more than a more expensive retread of The Hangover? ”

    Actually *I* thought all three of those things (the previews for GL and C&A both sucked), and as a result I didn’t see GL, or  C&A, or Hangover 2. There were plenty of good movies to choose from this summer.

    “With the exception of Transformers and, to a lesser extent, Thor, this summer was the one where sure things didn’t necessarily pay off; ”

    Oh c’mon Graeme… No mention of the most “sure thing” of them all? HARRY POTTER! Which, by the way, is the #1 movie of the year now, topping even (thank goodness) Transformers 3. Give the wizard his due, please.

  • Shaun

    $81 million after 3 weeks (according to Box Office Mojo) and dropping like a rock. That’s way below expectations. Given that it barely beat out the freakin’ Smurfson its opening weekend, got mostly terrible reviews and has (domestically) only made back about half of its budget (“Mojo” says the budeget was $183 million) I’d call it a bomb. It might not even crack $100 mil in the U.S.

    Put it this way… Planet of the Apes cracked $100 mil after last weekend (its second week out), the Smurfs (which opened the same weekend as C & A) is over $100 mil, and Captain America (which has only been out one week longer) has taken in almost double what C & A has made.

  • Shaun

    Also consider that DVD/Blu-Ray/downloads, etc., are probably just as big deal to movie studios now as the actual box office. First Class will end up making a profit, and the generally good reviews and audience repsonse has made a sequel pretty likely.

  • Shaun

    I meant to say there were plenty of OTHER good movies to choose from this summer. Thor, X-Men, Super 8, Midnight In Paris, Harry Potter (which I saw twice), Captain America, and Planet of the Apes were all either good or great.

  • http://twitter.com/daniel_ch_moran Daniel Chavez Moran

    Hollywood being so safe is very aggravating.

  • MalReyn

    i know this was 5 days ago, but i just opened my browser and this popped up…

    i was speaking more in terms of buzz and reception than sales in this case. i know plenty of people that saw it, but when the first one came out people were all “you gotta see it! it’s sooo funny!” where with this one, at least with the people i know that saw it, the reaction was more of “ha… eh.”