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Last year’s Barbenheimer was hailed as saving cinema. Now takings are down and even franchises are falling flat. Can Hollywood manoeuvre itself out of this disaster zone?
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?
It comes down to the dreaded letters IP, or intellectual property: the pre-established brands, story worlds and characters on which the vast majority of big-budget studio movies are sold these days, to the detriment of original screenplays and untested ideas.
Technically, The Fall Guy is an adaptation, loosely drawn from an ABC television series that aired from 1981 to 1986. However, the IP in this case has lingered so little in the public imagination that Leitch’s film may as well be an original property. Universal instead marketed the film on star power and the promise of a good, fun time – a deal ticket-buyers were willing to take in the 90s but are warier of now. Everybody loves Gosling, but they love him most when he’s playing a character as recognisable and meme-ready as Barbie’s Ken; he may work the same vein of self-deprecating himbo comedy in The Fall Guy, but action-man Colt Seavers doesn’t have the same allure.
Getting audiences to invest in characters that they haven’t previously met remains the toughest game in Hollywood
Universal had reason to think they might turn back the clock. The story of last year’s summer box office was the aforementioned Barbie–Oppenheimer double – disparate films that turned the rather banal fact of a shared release date into a wildly successful marketing gimmick, as audiences fashioned “Barbenheimer” into a double-feature roadshow with little official prompting from the studios. The films were not exactly original: Barbie was a corporation-backed spin-off vehicle for Mattel’s most iconic toy line; Oppenheimer a biopic of a much-discussed historical figure. But they were, in the current blockbuster landscape, bracingly unconventional.
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Last year’s Barbenheimer was hailed as saving cinema. Now takings are down and even franchises are falling flat. Can Hollywood manoeuvre itself out of this disaster zone?
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?
It comes down to the dreaded letters IP, or intellectual property: the pre-established brands, story worlds and characters on which the vast majority of big-budget studio movies are sold these days, to the detriment of original screenplays and untested ideas.
Technically, The Fall Guy is an adaptation, loosely drawn from an ABC television series that aired from 1981 to 1986. However, the IP in this case has lingered so little in the public imagination that Leitch’s film may as well be an original property. Universal instead marketed the film on star power and the promise of a good, fun time – a deal ticket-buyers were willing to take in the 90s but are warier of now. Everybody loves Gosling, but they love him most when he’s playing a character as recognisable and meme-ready as Barbie’s Ken; he may work the same vein of self-deprecating himbo comedy in The Fall Guy, but action-man Colt Seavers doesn’t have the same allure.
Getting audiences to invest in characters that they haven’t previously met remains the toughest game in Hollywood
Universal had reason to think they might turn back the clock. The story of last year’s summer box office was the aforementioned Barbie–Oppenheimer double – disparate films that turned the rather banal fact of a shared release date into a wildly successful marketing gimmick, as audiences fashioned “Barbenheimer” into a double-feature roadshow with little official prompting from the studios. The films were not exactly original: Barbie was a corporation-backed spin-off vehicle for Mattel’s most iconic toy line; Oppenheimer a biopic of a much-discussed historical figure. But they were, in the current blockbuster landscape, bracingly unconventional.