The Amazing Spider-Man is a trickier situation. With a global box office about to top $700 million, the $230 million production will make money. But Sony spent the second-most amount of money of any Spider-Man film and ended up with a product that A) will be by-far the lowest-grossing Spidey flick ever ($260 million U.S. and well-below Spider-Man 2's $782 million worldwide total) B) failed to ignite much excitement in a new series of Spider-Man adventures. Even if you weren't disappointed by the end result, are you even half as excited by the idea of new Spider-Man films set in this universe as you were at the respective climaxes of Batman Begins, Star Trek, or Casino Royale? Universal's The Bourne Legacy has the same problem. It will at best match the $121 million domestic gross and $214 million worldwide gross of The Bourne Identity while falling well short of the sequels, but more importantly it too failed to give audiences a reason to get excited about another entry in 2-3 years time. Prometheus was a moderate hit, bringing in $300 million worldwide which makes Fox glad they only spent $130 million on the R-rated Alien prequel/spin-off. Anyone thinking that an Alien prequel was going to be an out-of-this-world blockbuster was frankly delusional. As it is, the final product was too caught up in franchise building to give us a single film worth giving a damn about and the brand may suffer as a result (essay). Next time, give us the actual climax in theaters, not on a Blu Ray deleted scenes reel (essay).Men In Black 3 looks to be the least-profitable $600 million+ grossing film in history, thanks to a budget that allegedly reached as high as $325 million. Still, with $621 million, Will Smith's return to the screen scored his third-biggest worldwide triumph ever, just $3 million behind his number two earner Hancock. Domestically, it earned $179 million, which is at the high-end of his 'normal zone' when he isn't over-performing (his 2002-2006 six-film run earned between $133 million and $190 million a pop). Sony's Men In Black 3 was a prime example of the 'woulda been a smash if we hadn't spent so damn much' category. Also in this slot is Universal's Snow White and the Huntsman, which will crawl to $400 million worldwide but cost $170 million to produce. Kristen Stewart powered this one to a $56 million opening weekend, proving that she absolutely can open a mainstream film, and it will be interesting to see where this much-debated 'franchise' goes from here (I'm no fan of the picture, but at least it had a refreshingly closed-ended story). Also in the 'cost too much' category is Universal's Battleship, which qualifies as a massive bomb purely because of its budget. The film made $300 million worldwide, meaning that a Battleship made for $125 million instead of $215 million would have been a solid hit. It's the same sad story with Tim Burton's Dark Shadows. The Johnny Depp adaptation of the cult television soap opera made a perfectly solid $236 million worldwide, which would have made it another hit for the Depp/Burton combo had the film not cost an inexplicable $150 million to produce. There was a real conversation this year about ever-escalating budgets for not-so surefire tentpoles, mostly fueled by this Spring's John Carter, but the lesson is as it always was: don't spend Return of the King money on Fellowship of the Ring (essay).
On the other side of that coin was the surprising success of a number of mid-to-low budget genre entries both aimed at adults and budgeted with a token amount of sanity. Two big myths fell this summer. A) Adults don't go to the movies. B) There are no movies in theaters for older audiences. Warner Bros' marketing deserves some kind of medal for selling the heck out of the $7 million Magic Mike, making the $112 million-grossing Channing Tatum vehicle about male strippers into one of the most profitable films of the year. Debuting the same weekend was the $50 million Ted, which surprised by both being the best mainstream wide-release film of the summer and by grossing $213 million domestic (the third biggest R-rated comedy of all time behind Beverly Hills Cop and the two Hangover films) and $352 million (and climbing) worldwide. Both films prove that in an era where Hollywood is desperate for a new leading man who actually brings in crowds, Mark Wahlberg and Channing Tatum are genuine movie stars (Chris Hemsworth may be too, but he has yet to have a 'on his own' box office test). Tyler Perry's Madea's Witness Protection quietly became his second-biggest earner yet and The Campaign looks to end up with around $80 million domestic, which is actually a record for a political comedy. Warner spent too much ($65 million) on the comedy, but it did have an R-rating, which also hampered the rare out-and-out Adam Sandler flop, That's My Boy ($37 million on a $70 million budget). Hope Springs is a relative success at $45 million and Savages cost too much ($45 million) but still counts as a moral victory with $47 million for the hard-R Oliver Stone drug drama released in over the July 4th weekend.
The other good news of summer 2012 was the relative success of the arthouse crowd, as minor hits From Rome With Love ($15 million), Beasts of the Southern Wild ($9 million), joined relative mega-hits like The Best Exotic Marigold Hotel ($45 million) and The Moonrise Kingdom ($42 million, and again I was dead wrong when I criticized Focus's seemingly too-slow expansion back in June). But the most interesting success story of the limited release crowd came from Bernie, as the Jack Black/Shirley MacClaine/Matthew McConaughey Texas comedy stayed in theaters for four long summer months (following a three-screen release on April 27th) and earned $9 million without expanding wider than 330 screens. On one hand, one must applaud the success of the Millennium Entertainment which survived almost entirely thanks to word-of-mouth. On the other hand, Bernie is a prototypical example (along with the delightful Safety Not Guaranteed which still earned $3.7 million in no more than 182 theaters) of the kind of 'art-house film' that darn-well would have been a major release just five or so years ago. That it found its audience is fine, but the true cost of the blockbuster mania is that it forces everything but the tent-poles to fend for themselves on the art-house circuit. The situation is of course exasperated by the emergence of 3D and IMAX as a major player, as now a film that might have taken up one or two screens at the multiplex now gets two-to-four screens thanks to the varying formats. This summer was an excellent one for grownup cinema, both in quality and relative quantity. But the battle is not yet won.
Overall, this was one of the more artistically disappointing summers in recent memory in terms of big-scale mainstream product. The Avengers delivered in spades, Men In Black 3 was surprisingly moving and witty, and Ted was a stunningly smart social satire, but otherwise most of the big-scale stuff (The Dark Knight Rises, The Amazing Spider-Man, Brave, Prometheus, etc.) underwhelmed in a pretty big way. On the plus side, the art-house rode to the rescue, with The Moonrise Kingdom and Beasts of the Southern Wild earning pretty much ironclad spots on the 'best films of 2012' list. For much of summer 2012, it seemed like the season was going to be 'The Avengers was great, everything else stunk', as one high-profile entry after another (Dark Shadows, Rock of Ages, Ice Age: Continental Drift, etc.) rather horribly dropped the ball artistically. The periodic high-quality product mixed in the May-August mix didn't quite erase the stench of so much unexpectedly mediocre-to-terrible product, but again, the likes of Safety Not Guaranteed and the superb Take This Waltz helped lessen the blow and salvage the season as a whole. As for 3D, it only was a factor in terms of making hit films into bigger hit films. Otherwise the films that hit would have flopped in 2D flopped in 3D as well.
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