Theater-going still hasn’t recovered from the pandemic shutdown, and as a consequence, even more than before, theatrical box office is being driven by an ever narrower range of films. And having had a hand in creative projects that didn’t get any further than complimentary rejections, I understand the frustration as well.
I sympathize, I really do, because I miss movies that do more than offer a showcase for advances in CGI technology, and where the ending isn’t pre-determined by the star’s multi-sequel contract. Just last month, filmmaker John Michael McDonagh was also blaming the audience for not showing up for his drama, The Forgiven, claiming that their tastes had been corrupted – he used the word “infantilized” – by an overdose of Marvel movies and thus couldn’t tolerate a downbeat movie based on a downbeat novel which works on the presumption that they should’ve been able to tolerate a downbeat movie based on a downbeat novel. Billy Eichner, star, producer, and co-writer of American cinema’s first gay romcom, Bros, is blaming the failure of the movie, despite glowing reviews and a high-flying CinemaScore, on “…straight people, especially in certain parts of the country, just didn’t show up.” That left Universal on the hook for the $22 million budget and another $30 million in marketing costs on a movie that looks like it’s not going to do much better than its $4 million opening.Įichner tried to make the case that those non-woke straights were missing out by tweeting about a Los Angeles screening he attended where “The audience howled with laughter start to finish, burst into applause at the end, and some were wiping away tears as they walked out.”
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