‘Barbie,’ ‘Oppenheimer,’ Even ‘Sound of Freedom’ — Audiences Don’t Crave IP. They Want Originality
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Stop the presses. We don’t need the full weekend results to report huge news.
Two non-franchise films began their massive releases Thursday with partial-day shows, bolstered by stellar reviews and top-tier directors, in a summer that lagged more than five percent behind last year. The result: A combined gross of $32.8 million.
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“Barbie” (Warner Bros. Discovery), with a 3 p.m. start and shorter running time, took in $22.3 million. “Oppenheimer” (Universal), which began at 5 p.m., runs three hours; it benefits from higher-priced premium tickets while being limited by lesser total capacity. It grossed $10.5 million.
Results like these beg for hyperboles, and deserve them. However, focusing on the eye-popping numbers risks missing an even bigger point: Audiences are stating, in no uncertain terms, that IP and connected universes and sequels are not going to save theaters. The secret lies in investing in risky projects based on compelling ideas that challenge filmmakers and their audiences.
Lest this sound too much like a “Eureka!” moment, this conclusion has to give studios pause. They love the idea of franchises, repeatability, security. It’s all too possible to make expensive original movies that fall flat, or alienate. They often require visionary filmmakers, which are in short supply and offer no guarantee.
Still: Look at those numbers. There are untapped masses ready, eager, and willing to see movies in theaters.
That two risky projects, each costing $100 million or more, could simultaneously outpace the more conventional “Fast X,” “Indiana Jones and the Dial of Destiny,” “Mission: Impossible — Dead Reckoning Part One,” and “Guardians of the Galaxy Vol. 3” will shake up the fundamental precepts of how Hollywood operates.
And yes, “Barbie” is Mattel’s IP, and the company intends to use it as a way to launch other toy-based features and franchises — almost as certainly as “Barbie” will launch one of her own. But the excitement for the film comes from a distinct, unique, even weird interpretation of the classic doll and those will be the high heels that future iterations have to fill.
It also comes when writers and actors are on strike. Margot Robbie and Ryan Gosling are paramount for “Barbie;” Cillian Murphy and a phalanx of terrific actors are key to “Oppenheimer.” Directors Greta Gerwig and Christopher Nolan are co-writers of their films.
With “Barbie,” Gerwig is poised to become the most successful female director in history. And she’s doing it with a comedy, a genre that has withered and nearly died in recent years.
And miracle of miracles: This is a film without premium screens. Maybe some movies can do just fine without IMAX.
“Oppenheimer” couldn’t have a more serious subject and, like “Barbie,” it could be a major awards contender. Both came out in July and opened in thousands of theaters. Gamechanger.
And how about critics? Last year, no major-studio wide release score above 80 (meaning universal acclaim) on Metacritic. (“The Fabelmans,” initially platformed, got an 84). This summer, five films have achieved that already. Apart from the two new releases, “Spider-Man: Across the Spider-Verse” (the biggest hit so far), “Mission,” and “Joyride” have also been at this level, with only “Joyride” not getting strong or better initial response. Who says critics don’t count?
Fans of “Sound of Freedom,” the independently released child-trafficking story that’s now grossed over $100 million in just over two weeks, might beg to differ. (Metascore: 43.) It too is original and while it has little in common with “Barbie” or “Oppenheimer,” it shares a key to success: Don’t rehash past hits.
“Sound” might even achieve the unthinkable: It could beat “Mission: Impossible” for #3 this weekend.
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