Nearly two years ago, I made a post titled "On the superhero question" and three years ago I made a retrospective on the box office since theaters closed in 2020.

So I figured it was time for an update.

Re-reading those posts makes me realize how optimistic the theatrical landscape seemed in the wake of Barbenheimer. I don't think I was alone in that; I think the industry felt optimism from that cultural moment as well. That same year was when superhero films imploded, so there was this idea that audiences wanted "real" films. They wanted films by "real" directors, and now there was some discernment from audiences. Grouping both Barbie and Mario, it spoke to the value that other IP now has.

The landscape became much more depressing in 2024. It seems like the idea of audiences flocking to other types of films did not happen. After consistent growth, the box office fell in 2024 from 2023. I remember the panic that the industry felt after both The Fall Guy and Furiosa: A Mad Max Story flopped at the box office. But Inside Out 2, Deadpool and Wolverine breaking out balanced out those disappointments.

Speaking of Deadpool and Wolverine, I remember my prediction of the film being that it would be the lowest-grossing of the Deadpool franchise. Not only that, but I predicted that Joker 2 would outgross it, and we all know how that played out.

Because Deadpool and Wolverine did so well, it delayed the narrative that had been forming throughout 2023, the "superhero fatigue" narrative. It wasn't until now that the narrative is back, and it seems like Deadpool and Wolverine was more of an exception. The film needed 20 years of nostalgia to power it to those numbers. Something under-discussed about D&W's performance is that it was more domestic-heavy than a lot of billion-dollar MCU films (47% DOM split when many of them were in the 30% range throughout the 2010s). Spider-Man: No Way Home also had a split in the 40s, which perhaps was an omen for what was to come.

There were other overperformers throughout 2024, don't get me wrong. Wicked, making over 400M DOM and 700M WW, was not something people were expecting early on. Mufasa: The Lion King still made over 700M WW despite a mediocre reception and a "why would you make this?" issue. But there was certainly a depth issue. Fewer films hit the 100M DOM mark in 2024 than in 2023, and the rest of the top 100 films made less in 2024 than in 2023. It did feel like many films underperformed or did not reach their full potential, which would have helped out the overall box office. Many horror films like Abigail, Night Swim, MaXXXine, could have done better but didn't. Gladiator II would have likely done better if it had been better received. Twisters and Beetlejuice Beetlejuice did well, but didn't get the late legs that would have driven it to 300M totals. Bad Boys: Ride or Die decreased from the previous film. Red One and Bob Marley: One Love didn't crawl past the 100M DOM mark. Little things like that that add up.

So how's 2025 looking so far?

In short, not great. We're currently lagging behind 2024 during the same calendar year. Inside Out 2 and Deadpool and Wolverine contributed over 600M DOM each, while our highest-grossing film this year so far is still A Minecraft Movie, and that didn't even hit 500M DOM (it probably would have if word of mouth wasn't horrendous). We do have three big films left for the year: Zootopia 2, Wicked: For Good, and Avatar: Ash and Fire. All three are potential 500M DOM grossers, although Avatar will be making a majority of its money in the 2026 calendar year. There are also smaller-scale studio films hoping to break out, such as The Running Man, Tron: Ares, and Predator: Badlands.

The issue, though, is that many of these films can underperform, and that's been a common theme this past year. The well-received Thunderbolts could not get in the black, and the much-anticipated Fantastic Four is going to barely break even theatrically. Even Superman, with its great legs, will end up below what many superhero films did during the peak, even mediocre or lesser-known superheroes. It does seem like the box office will continue to collapse since nothing is filling that Disney-sized void. Outside of superhero films, Lilo and Stitch didn't perform as well as it could have and neither did Minecraft.

So it's kind of grim. I mean, in reality, movie-going reached its peak in 2002. It has been declining in admissions ever since. So it was perhaps naive to think that the growth we experienced from 2021 to 2023 would continue. But it really seems like the domestic box office will continue to decline, and the international box office has collapsed for a lot of Hollywood films, specifically comic book films. So we're entering a very different landscape, a much more muted world for films from now on. And it will likely continue to shrink.

Now markets shift, they can shift back up. The international market can be brought up again (Superhero movies used to always play better with domestic audiences). But I'm certainly not as optimistic as I once was.

Have you watched any movies recently you want to discuss? Any films you want to recommend or are hyped about? Feel free to discuss anything here.

Please just try to provide fair warning of spoilers if you can.

Have you watched any movies recently you want to discuss? Any films you want to recommend or are hyped about? Feel free to discuss anything here.

Please just try to provide fair warning of spoilers if you can.

I didn’t expect to be saying this, but Kpop Demon Hunters surprised me.

Going in, I figured it was going to be a niche kids animated movie trying to cash in on a trend, but put it on in the background.

I’m not into Kpop, and nothing about the marketing really pulled me in. But within ten minutes, it completely won me over.

The animation style is great. Same team that worked on Into the Spider-Verse, and it shows, bringing the same kind of energy and attention to detail when it comes to character design and world building. The way they handled anime-inspired expressions and visual effects in 3D actually worked, and it gave the movie a really unique feel.

What surprised me most was how strong everything else was. The plot isn’t an afterthought, the humor lands, and the songs are ridiculously catchy. I had no reason to expect this to be as well-rounded and satisfying as it is, but here we are.

I’m a 34-year-old man with no interest in Kpop, and this is now a comfort movie for me.

Have you watched any movies recently you want to discuss? Any films you want to recommend or are hyped about? Feel free to discuss anything here.

Please just try to provide fair warning of spoilers if you can.

Have you watched any movies recently you want to discuss? Any films you want to recommend or are hyped about? Feel free to discuss anything here.

Please just try to provide fair warning of spoilers if you can.

This will be an informal essay without citations or links. Basically, source: just trust me bro.

In the 2010s, a group of online film writers decided to reevaluate blockbuster filmmakers. This was supposed to be our modern Cahiers du Cinema, the film critics who brought us The French New Wave. They re-evaluated Hollywood directors from the 40s and 50s, filmmakers who were thought of only as making commercial entertainment. They're the reason that filmmakers like Alfred Hitchcock, Howard Hawks, and Nicolas Ray are now held in high esteem. They're also the reason why Citizen Kane is so revered today.

Critics from The Village Voice and The A.V. Club became proponents of this "new" auteur theory. Vulgar auteurism, which focused on a type of broad filmmaking distinguishing itself from prestige auteurs. It brought up filmmakers such as Michael Mann, who already had acclaim contemporarily, into the realm of one of the great filmmakers. It also brought up filmmakers that weren't acclaimed during their time, such as Tony Scott, who is now held in high regard and in some cases held in higher regard than his more prestige-oriented brother, Ridley Scott.

As time has gone on, this now applies to filmmakers such as Michael Bay, who has made a critical comeback after his Transformers movies with his 2022 film Ambulance, and M. Night Shyamalan, who started losing prestige throughout the 21st century. Movies from Shyamalan, such as The Village, The Happening, and After Earth are now held in higher regard than they were back during their releases.

Now that I have that out of the way, I wanted to bring up something as it's happening. While certain popcorn movies are now acclaimed (John Wick: Chapter 4 and Top Gun: Maverick being recent examples), there are still directors that are currently not being regarded highly that will likely meet a fate similar to Bay, Shyamalan, and Scott. I'm thinking of David Leitch, who received mixed-negative reception with his film Bullet Train while receiving positive albeit tepid reception with his follow-up The Fall Guy. Leitch is an auteur, much like Bay. His work on Deadpool 2 feels like him, even his film Hobbs and Shaw feels different than the other Fast and Furious franchise (although not to the same degree). Bullet Train was a relative box office hit at the time, but it's reached cult-classic status. Most people will probably know what movie you're talking about if you bring it up. It has a large presence on TikTok and other social media platforms. It simply lives in the culture. It contains the highly stylized, technically proficient action of films from Bay and Scott that were not well-liked by critics at the time. The same 20 and 30-something-year-olds who love Shyamalan today but despise Leitch will be in for a shock in ten years' time when the 20-something year olds who grew up with Bullet Train hold it in high regard like these people do Bad Boys II or Pain and Gain.

Another filmmaker who falls into this is Adam McKay. Much like Shyamalan, McKay received immense acclaim and prestige for his film The Big Short. Even films that weren't so acclaimed by critics at the time, such as Step-Brothers and The Other Guys, are held in high regard today as comedy masterpieces. So, what then of his critical reception on his last two films, Vice and Don't Look Up. Yes, they received Best Picture nominations, but they have become punching bags for these same film critics who loved Shyamalan's Trap. Don't Look Up specifically gets considered a terrible film. These aren't action films, so why am I bringing it up? McKay exhibits a loud and vulgar style in these films. He breaks the fourth wall constantly, interrupts the flow of scenes with freeze frames and insert shots. The editing in his films feels chaotic. So while this loud and vulgar style is accepted with filmmakers such as Scott, it seems like it's a bridge too far here. So I would not be surprised if McKay and Don't Look Up, which was one of the most-watched films on Netflix of all time, meet a similar reassessment period as the other films I've mentioned.

I didn't have much of a point to this other than to notice this pattern, even from critics and film lovers who seem to hold the theory to heart. And for some reason can't notice what's in front of them.

Have you watched any movies recently you want to discuss? Any films you want to recommend or are hyped about? Feel free to discuss anything here.

Please just try to provide fair warning of spoilers if you can.

I feel bored with new movies. I don’t know if it is me or if I feel burnet out on what Hollywood is putting out, either way i don’t feel there is anything new or refreshing.

I’ve watched some old movies, such as '12 Angry Men' (1957) which i found incredibly interesting. The entire movie is shot in one room basically and is about a youth charged for a murder and the twelve men in question have to decide if he should be put to a death sentence or not.

The point about mentioning this movie is that it is something very different than what is put out from Hollywood now. The same goes for 'Oceans Eleven' (1960) with the Rat Pack, which is a very different movie than the reboot from 2001.

I find older movies has more interesting plots and stories, not that it needs to be from the sixties. It can be from any decade, but I’d like to hear what you think should be on a movie bucketlist!

Thank you for your time, and I’m excited to watch your recommendations!

I've given this some thought and I'm still not sure if I'm expressing it the right way.

I generally don't like "dumb" entertainment. Having said that, I don't think I'm particularly highbrow or pretentious. A quote I refer to often was made in regard to videogames and it aligns very neatly with my philosophy: “If every movie were a porn movie, most people wouldn’t see movies. The majority of games are basically porn—the onus is on [designers] to make more things that are worth a reasonable person’s time.” That's equally applicable to other forms of media as well. You can even argue that various popular mainstream movies/franchises are essentially porn of another type (gun porn, trauma porn, etc.). All of that is to say that I try to look for a level of emotional maturity or sophistication that's beyond cheap gratification.

In practice, that usually means that my plan-to-watch list has a lot of stuff on the more serious side of the spectrum. However, I enjoy comedy just as much as anyone else. Generally, I like clever, witty comedy and I find that I get that mostly from standup comics, sketch shows, and the rare sitcom - not so much movies. But am I limited by my sense of humor? Does emotionally mature comedy necessarily mean "intellectual"/smart comedy? What comedic films would you present as emotionally mature?