The release schedule also plays a roll. While it is becoming less and less relevant these days, there are certain times that certain kinds of movies come out. A huge blockbuster will release in the summer while the kids are out of school. A horror movie releases in November.
The Oscar bait comes out at the end of the year because The Academy is full of old people who can't remember a movie that came out more than a few months ago.
Also, if a movie is going to qualify for an award, then it must release before the end of the year. That is why critics get giant piles of screener DVD's and why there are staggered release dates for movies like Jackie.
As there are peak zones, there are dead zones as well. The most prominent is the beginning of the year. This is when studios tend to dump movies that they don't have a lot of faith in with the logic being that everyone is out of money from the holidays, so the first thing that goes out the window are frivolous things like going to the movies.
Mid-August to the beginning of October is also considered a bit of a dead zone because it's too late for the summer movies and everyone is back in school, but too early for the Oscar voters to remember your movie came out. This window gets smaller every year with huge blockbusters coming out earlier and earlier.
The industry hasn't quickly adapted to the changing market, so we have these huge blocks during which nothing comes out, and what does is mostly garbage. What does that mean for the audience versus critic dynamic? Action films were dominant throughout the 80s , with screen legends like Sylvester Stallone and Arnold Schwarzenegger making their names in glorified, bombastic action flicks. In recent years, the industry has veered against straight-up action and into more nuanced, balanced filmmaking that incorporates action elements with other genres.
You just don't see many old school "action movies" anymore. This trend may have started in the s. And this decade proves highly divisive, depending on who you ask. These are ten action movies from the s that critics hated but audiences loved. Like most Jerry Bruckheimer and Nicolas Cage productions, National Treasure wasn't very well received by professional critics.
Funnily enough, that's just what the general audiences love about it. Yes, it is silly and nonsensical. That's entirely the point. One of the most glaring disconnects between the entertainment industry and mainstream America is how the class of professional critics rate and review movies. Often, you read how critics blast movies and TV shows audiences love like Joker and The Witcher and instead celebrate the ones audiences dislike like Captain Marvel and the Ghostbusters.
In truth, the professional critics whose job is to influence audience reception and attendance to the movies are just one part of a group of supremely powerful media acolytes. This is a group of highly educated, highly privileged people whose day job is to watch movies and then give the public their opinions on them.
Naturally, with this much privilege comes a lack of perspective on what is normal in reality. What the stressed-out average person wants to do is go to the theater to be entertained or at least distracted with well-produced, positive, feel-good movies. These critics wish to exude an aura of cool i. This explains The Last Jedi.
Critics associated with so-called post-modernist thought had to clap just for the privilege to criticize movies for a living. As for low-budget films and the Rolfian democratization of entertainment via venues like YouTube, they put industry giants on their toes. Hence, everyone becomes and stays hungry, remembering to communicate with audiences instead of being merely clever. Another Channel named YellowFlash2 referred me here.
It could possibly be explained by the recent divergence between right and left. There is definitely correlation. Films are largely rewarded at the Oscars for having particular themes. Critics are largely from the humanities which is a largely far left affair. The skew will be much higher in the humanities. One could test third, but sorting critic political views would be time consuming.
As a filmmaker and film teacher, these are invaluable resources. The medium has always suffered from this lack of designation. He kinda pioneered that approach that the Hollywood studios still use. Big Hollywood studios. Many low-budget movies are catered to those studio brands designed not to make money, but to serve as the gatekeepers of the auteur cinema, while eliminating competition.
Therefore — there are two kinds of low-budget films: the ones with blood, boobs and beasts — and the ones with socially important messages that feed the illusion of the Hollywood corporate inclusivity.
Critics have been out of touch for a while. An easy example of one a startling difference is clear on rotten tomato ratings. Frequently, you see the audience rating and the critics are very different.
Studio films with wide releases have a great reach and dominate a culture that is inherently loud. Audiences who might be anxious at their own inability to be heard are therefore constellating around the loudest films and, for them, quality is a diminished standard by which movies are judged.
Good thought. Critics see them first, before most of the hype and coverage and do so in quiet, rarefied environments. They are also more likely to be battle-hardy over marketing messages around movies. On the flip side, audiences will see a movie after they have seen buzz, social commentary, marketing, promotions, etc and with a load of other people. But the key question is — has this shifted recently? I would prefer a plot with the budget on the x axis and the correlation coefficient between both scores on the y axis.
This would more clearly show whether audience and critics disagree more on low budget films. If so, we would expect the curve to go up with from left to right.
Of course, one would have to group the budget on the x axis in order to get enough films per group, e. Save my name, email, and website in this browser for the next time I comment. You'll only get film data updates from me and you can unsubscribe anytime. Skip to content. All articles. UK Film Industry. Working In Film. The Horror Report. Research Reports.
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