We live in a country where:
– Dirty Grandpa made more money than Hail, Caesar
– Now You See Me 2 made more money than The Witch
– Me Before You made more money than Hunt for the Wilderpeople
– Even Batman: The Killing Joke made more in the two days it played in theaters than Knight of Cups did in its entire ten-week run.
Now, some of this is down to distribution. Knight of Cups was only ever in 68 theaters nationwide, while Killing Joke enjoyed a 1,325-theater bow before its subsequent release on DVD and Blu-ray (why the theatrical release — to qualify it for Oscar nominations?). Still, it goes to explain why so very little is left in theaters worth getting in the car to see if you’re, say, 30 or older, whereas the blockbusters seem aimed at teens and kids as never before.
Of the top ten box-office titans of 2016, only two were original concepts — not a sequel or a remake or based on previously seen material, in other words — and they were both kiddie flicks: The Secret Life of Pets and Zootopia. Now, I hear good things about Zootopia, and Pets looked funny enough, but the point is, there used to be at least one or two things on that chart for grown-ups, too. Twenty years ago, Jerry Maguire and A Time to Kill both made the top ten. You can (and, in the latter case, should) have problems with these two films, but they were R-rated movies aimed at adults.
Not so this year’s list. Every damn movie in the top ten is for the younger set — a comic-book movie or an animated movie or a Star Wars film. Even the one R-rated film, Deadpool (which I admit was pretty entertaining), was based on a comic book and pretty solidly pointed at the teen heart. This is increasingly what you see when you look at the movie listings online (wanna know why listings aren’t in many newspapers any more? Because print-newspaper readers, a dying breed, are not in the favored moviegoing demographic). If you want adult entertainment (not porn), you have to stream it on iTunes or Amazon … or look to television.
Some have asked me why my reviews in the past year or two have trended away from new releases and towards classics or smaller independent films that don’t get theatrical treatment. I can only answer that there are only so many ways to review superhero movies, or the same Joseph Campbell hero’s journey told and retold endlessly, and still maintain interest. I would rather this column were a productive mix of criticism of film and celebration of the art than a constant moan of complaint against movie trends that now seem permanently, noxiously, too much with us.
So, for the present, we will continue to examine a blend of old, new, big and small here. I would sooner tell you about something obscure you might miss, or perhaps inspire you to revisit a classic, than haul out another disappointed review of something you weren’t likely to go see in the first place. This column was never meant to be a sort of Consumer Reports of movies, anyway. I still love movies, their potential, their art. For the record, of the vanishingly few films I saw this year that got any kind of major release, my top pick is Robert Eggers’ The Witch. It does what pure art often does — it puts us in an alien mindset and entrances us by the thoroughness of its detail and the clarity of its vision.
I highly recommend that film, either through streaming or checking it out of the library, with honorable mentions going to the filthy but deceptively thoughtful Sausage Party, the raucous goof Deadpool, the newly poignant Ghostbusters, the finely judged Miss Sharon Jones, the simplistic but rousing Hidden Figures, the sympathetic Jackie, and — what the hell, I’ll count it — the re-release of the year, Orson Welles’ technically compromised but artistically miraculous Chimes at Midnight, whose Battle of Shrewsbury sequence is still so far beyond most modern film attempts at action, violence, or combat the comparison hardly seems fair. But then, nobody said art was fair. Or dead. Just resting.