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Superheroes came to Hollywood's rescue this summer. Is it enough to save movies?

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Superheroes came to Hollywood's rescue this summer. Is it enough to save movies?

Foul-mouthed superheroes, babbling Minions and plenty of Anxiety (the animated kind) have propelled this summer’s box office past the winter and spring theatrical doldrums, marking one bright spot in an otherwise industry-wide gloom.

Boosted by a bevy of sequels, the summer’s gross box office receipts (starting from the first Friday in May) is projected to total roughly $3.6 billion through the Labor Day weekend, according to Paul Dergarabedian, senior media analyst at Comscore.

That’s short of last year’s “Barbie” and “Oppenheimer”-fueled haul of $4 billion, but still higher than summer totals in 2022, 2021 and 2020 — a positive sign for theater owners and studio executives who weathered a tough January-to-May stretch of limited and underperforming films.

And with a much-anticipated fall and winter slate of films including “Beetlejuice Beetlejuice,” “Wicked” and “Moana 2,” industry insiders are sounding more upbeat for the end of the year and beyond.

“If we can carry this same momentum that we have this summer currently into the fall and then into the beginning of 2025, I think exhibition will be very pleased,” said Jim Orr, president of theatrical distribution at Universal Pictures. “We can truly say we’re back.”

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The optimism is a far cry from earlier this year, when the industry collectively wrung its hands as the box office struggled to captivate audiences. That concern turned into panic by Memorial Day, when films such as “Furiosa: A Mad Max Saga” and “Garfield” did not perform up to high expectations, leading to the worst Memorial Day weekend box office in almost three decades.
(“Garfield” ended up grossing more than $257 million in global box office on a reported budget of $60 million.)

Industry observers now see that five-month stretch as the low point in the theatrical slump, fueled in part by a lingering slowdown from the pandemic and the dual strikes by writers and actors, which disrupted the production and marketing of films.

“This industry took a double gut punch,” said Charles Rivkin, chairman of the Motion Picture Assn. “First we had COVID, which turned our $11-billion industry into zero overnight. And then when we were recovered from that, we immediately had the strikes.”

Morale was low at the outset of the season. Save for a few successes, such as Disney’s “Kingdom of the Planet of the Apes,” May releases — from Universal’s “Fall Guy” to Warner Bros.’ “Furiosa” — mostly fell flat.

“The expectations for ’24 were definitely tempered,” Dergarabedian said. “We didn’t have a Marvel movie kicking off the summer.”

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But starting with June’s “Bad Boys: Ride or Die,” the box office started to pick up. It would be the first of several sequels to power the all-important summer box office.

Animated films helped to power the rebound.

“Inside Out 2” and “Despicable Me 4” put up blockbuster numbers, which is notable because animation was one of the slowest genres to recover from the pandemic due to families’ wariness to return to theaters and the ease of watching movies on streaming platforms.

With several animated films set for release later this year, worldwide family box office revenue could reach $6.1 billion, which would surpass 2018’s total, said David A. Gross, who publishes the FranchiseRe movie industry newsletter.

“It’s fair to say that since ‘Super Mario’ in spring of 2023, family moviegoing is back to pre-pandemic levels,” he said.

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To date, the domestic box office has generated about $5.6 billion, down from $6.6 billion at this point last year, according to Comscore. But the summer box office has made up a lot of ground.

“I don’t like to spike the ball on the five-yard line, but I think we’re in the right direction,” said Rich Gelfond, chief executive of Imax Corp., the giant-screen technology company that operates out of Playa Vista. “We’re certainly on the road back.”

One reason for the recovery: Walt Disney Co. got its groove back this summer, with the help of “Inside Out 2.”

The Pixar animated sequel to 2015’s “Inside Out” drew $1.6 billion worldwide, making it the highest grossing animated title of all time, and the top movie of the summer season. Then, Disney-owned Marvel Studios packed a punch with the R-rated “Deadpool & Wolverine,” which amassed $1 billion in global revenue and became the second-highest grossing film of the summer.

“Historically, there’s been a bit of a ceiling for R-rated movies just because a bunch of kids can’t come,” said Greg Marcus, chief executive of Marcus Theatres, a Milwaukee, Wis.-based chain with about 80 locations spanning 17 states.

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But the reception for the movie “speaks to the … clamoring for product. The people are saying, ‘If you build it, we will come,’” he said

The box office showing for Pixar and Marvel was significant, as the key Disney brands have struggled to consistently deliver in recent years. The House of Mouse’s uncharacteristically weak post-pandemic track record was one reason box office analysts drastically lowballed opening weekend projections for “Inside Out 2.”

“Everyone had high hopes for that film,” said Sean Gamble, CEO of Cinemark, the Plano, Texas-based theater chain with more than 300 locations, including 20 in Southern California. “We certainly did, but that proved out to be way beyond what we expected. It’s probably one of the biggest outperforming films … we’ve seen in a very, very long time.”

Tony Chambers, executive vice president of theatrical distribution at Disney, said, “Quality matters, and quality delivers” — echoing a key point from Disney CEO Bob Iger, who has ordered sweeping cuts across the company to stem losses from its streaming business and has directed creative departments to focus on theatrical and not crank out as much content.

Appealing to broader, multicultural audiences doesn’t hurt either, Chambers said.

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“It sounds very simple, but if you cast your net wide enough, the more fish you’re likely to get,” he said. “That’s been the common denominator for all the movies that have worked successfully this summer.”

To be sure, the movie industry still faces massive challenges, regardless of this summer’s slight reprieve. Box office revenue is still below pre-pandemic levels, and it’s unclear whether it will ever fully rebound as viewing habits shift.

So far this summer, theaters across the U.S. sold 274 million tickets, an 18% decline from last summer, according to industry data firm EntTelligence. That pales in comparison to the 406 million tickets sold in summer 2019 — a time when moviegoers weren’t yet accustomed to watching major releases at home on streaming services.

What’s more, film financing has become more difficult as interest rates have increased. China is no longer a reliable market for boosting American films’ box office revenue. And studios have slashed budgets and laid off thousands of employees as they struggle to balance their massive spending on streaming services with the lower-than-expected returns.

Still, if box office returns for the second half of this year are down by only 10% compared to pre-pandemic levels, that would be a good result, Gross said.

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And this summer, the charge was led by a plethora of sequels.

“Sometimes people question, ‘Are there too many sequels?’’’ Gamble said. “Across the board, with compelling stories, they work. And we’ve seen many, many examples of that throughout the course of this summer.”

Of course, simply adding more chapters to a franchise doesn’t necessarily guarantee success (see: “Furiosa”). But this summer’s sequels have been “solid,” leading to some level of reassurance for the industry.

“When these things are hitting, and when the box office is flowing, it just helps everything about the business,” Gross said. “It helps everyone relax.”

While original and nonfranchise films didn’t lead the box office this year, they certainly gave it a boost.

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Surprise breakout hits such as Neon’s masterfully marketed horror flick “Longlegs (the indie studio’s biggest movie to date) and Sony’s adaptation of the bestselling Colleen Hoover novel “It Ends With Us” weren’t nearly as lucrative as the likes of “Deadpool” or “Inside Out 2.” But they played an important role, exceeding expectations and keeping the popcorn lines moving.repeats “flowing” from quote.

“Every dollar counts in the summer, and those … films added significantly to the bottom line,” Dergarabedian said. “Every $20 million times five … is $100 million. So it all adds up to what turned out to be a pretty magnificent summer.”

Emelyn Stuart, owner of Stuart Cinema and Cafe in Brooklyn, N.Y., said summer business has been “amazing” compared to the previous year. Her theater has only one screen, which means she has just one chance at a time to pick a winner.

Last year, some of her choices included “Indiana Jones and the Dial of Destiny,” as well as the DC Comics superhero film “The Flash,” which grossed just $271 million worldwide amid a controversy surrounding its star, Ezra Miller.

This year, she chose “Bad Boys: Ride or Die,” “Despicable Me 4,” “Deadpool & Wolverine” and “A Quiet Place: Day One.” The variety of available films led to a winning combination, she said.

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For the fall, she’s planning to add a second screen to expand her options — particularly for attracting family audiences.

“With ‘Wicked’ coming, with ‘Beetlejuice,’ with ‘Joker,’ I think we’re going to end the year strong,” she said.

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Video: Boeing Union Members Vote to Strike

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Video: Boeing Union Members Vote to Strike

new video loaded: Boeing Union Members Vote to Strike

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Boeing Union Members Vote to Strike

Thousands of machinists and aerospace workers walked off the job on Friday, after rejecting a proposal that would have delivered raises and improvements to benefits but fell short of what the union initially sought.

“Strike! Strike! Strike! Strike!” “This is about respect. This is about addressing the past. And this is about fighting for our future. Our members rejected the contract by 94.6 percent. And they voted to strike by 96 percent. We will be back at the table whenever we can get there to drive forward on the issues that our members say are important. Congratulations, machinists.”

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Beverly Hills is dragging its heels on a new building. The governor says: Build it

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Beverly Hills is dragging its heels on a new building. The governor says: Build it

California officials are turning the screws on the city of Beverly Hills, where approval of a new hotel and apartment complex is moving too slowly for state housing bosses and the governor.

The lightning rod is a planned mixed-use development near Wilshire Boulevard that has been brought forth under a state law intended to force cities to add more housing whether they like the proposals or not.

The 19-story building on Linden Drive by local developer Leo Pustilnikov would be big by Beverly Hills standards and include a 73-room hotel and restaurant on the first five floors. Plans call for the higher floors to contain 165 apartments including 33 units reserved for rental to lower-income households.

The project so far has failed to pass muster with city planning leaders, who say Pustilnikov hasn’t provided all the details about the project that the city requires to consider approval.

Pustilnikov has pioneered a novel interpretation of a state law known as the “builder’s remedy” to push cities to allow development projects at a size and scale otherwise barred under zoning rules.

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As part of their efforts to tackle California’s housing shortage and homelessness crisis, legislators recently beefed up the law, by giving developers leverage to get large proposals approved so long as they set aside a percentage for low-income residents.

Last month the state Department of Housing and Community Development backed Pustilnikov in a “notice of violation” to the city, saying it was violating state housing laws by holding up the project.

“The City Council should reverse its decision and direct city staff to process the project without further delay,” the state notice said, referring to a council vote in June to delay the approval process.

Gov. Gavin Newsom piled on in a statement, saying that the city is violating the law by “blocking” the proposal and referring to opponents of the project as NIMBYs — a highly charged acronym for “not in my backyard” that refers to homeowners who resist development projects in their neighborhoods.

“We can’t solve homelessness without addressing our housing shortage,” the governor said. “Now is a time to build more housing, not cave to the demands of NIMBYs.”

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Beverly Hills already faced pressure to approve the Linden project before the state’s letter. In June, Californians for Homeownership, a nonprofit affiliated with the California Assn. of Realtors, sued the city in Los Angeles County Superior Court for not advancing the development.

Some residents in the neighborhood south of Wilshire Boulevard are up in arms about the scale of the project that is designated to fill a parking lot at 125-129 S. Linden Drive between a five-story office building and low-rise apartment buildings.

“None of us are opposed to affordable housing,” said Kenneth A. Goldman, president of the Southwest Beverly Hills Homeowners Assn., but “you don’t have to be a NIMBY to say that’s just so far out of line.”

It would be almost four times taller than the five-story height limit the city has on its books and could threaten the neighborhood’s “quiet lifestyle,” Goldman said. The construction period would be “hell,” he added.

The city has until Sept. 20 to respond to state housing officials and indicated in a statement that the delay was due in part to Pustilnikov changing the original all-residential proposal to include the hotel. It is a switch that could offer a financial coup for the developer in a tourist-friendly city, where getting permission to build a new hotel is a tall order.

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Last year Beverly Hills voters decided to rescind the City Council’s approval of an ultra-opulent hotel called Cheval Blanc on the edge of Rodeo Drive after French luxury retailer LVMH spent millions of dollars planning the project.

Of the Linden Drive proposal, the city said in a statement, “The project has not been denied.”

“What was originally submitted as a purely residential project has now morphed into a 73-room hotel and restaurant project with 35 fewer residential units, including a reduction of 7 affordable units,” it said.

When the application is complete, the city said, a public hearing will be held, followed by Planning Commission review and potential approval by the City Council.

That process may be complicated by Pustilnikov’s stated intention to sell his interest in the Linden Drive property as part of a Chapter 11 bankruptcy proceeding involving another of his real estate projects.

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In 2018, Pustilnikov purchased a 50-acre parcel on the Redondo Beach waterfront that is the site of a defunct power plant. The property is controlled by entities owned by Pustilnikov and a business partner, Ely Dromy. Using the builder’s remedy law, the pair has advanced a massive mixed-use project for the site with 2,700 apartments as its centerpiece. In court documents, Pustilnikov estimates that the development, if completed, would be worth $600 million.

The effort has been stymied amid fights with the city of Redondo Beach, the California Coastal Commission and AES Corp., the owner of the power plant. In late 2022, AES threatened to foreclose on Pustilnikov. To stave that off, one of the entities that own the site filed for bankruptcy.

In a recent filing in the case, Pustilnikov and Dromy said they will sell the Linden property for $27.5 million to help preserve their ownership of the power plant site.

However, a representative for Pustilinkov, Adam Englander, said in a statement that is not necessarily the case.

Instead, more investors may be brought in to the Redondo Beach property and a developer with luxury hotel experience may become a partner in the Linden project, Englander said.

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“It is not anticipated,” Englander said, that the Linden project “in its current form, will be sold prior to completion.”

Pustilnkov has put forward plans to build nearly 3,500 apartment units — 700 of them dedicated as low-income — across a dozen projects in Beverly Hills, Redondo Beach, Santa Monica and West Hollywood under the builder’s remedy. The Linden project is one of seven he’s planning in Beverly Hills alone.

The builder’s remedy provides few avenues for city councils to deny the developments. But because it’s legally untested and separate state environmental laws still apply, projects are not a slam dunk. None of Pustilnikov’s proposals have been approved.

Cities are subject to the law if they do not have state-approved blueprints for future growth. Every eight years, the state requires communities to design a zoning plan accommodating specific numbers of new homes, including those set aside for low- and moderate-income families.

In the current eight-year cycle, Beverly Hills struggled to get a plan that passed muster. Elected officials and residents balked at the city’s requirement to make space for 3,104 homes, saying that doing so would unalterably change the community’s character.

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The city blew multiple deadlines and was sued by Californians for Homeownership. In December, a L.A. County Superior Court judge ruled that Beverly Hills could no longer issue any building permits — including those for pools, kitchen and bathroom remodels and other renovations — because of its failure.

The city appealed the ruling and continued to process permits in the meantime, but the decision sparked alarm among civic leaders. In May, the state approved a revised housing plan for Beverly Hills, ending the threat of the permit moratorium.

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How Self-Driving Cars Get Help From Humans Hundreds of Miles Away

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How Self-Driving Cars Get Help From Humans Hundreds of Miles Away

In places like San Francisco, Phoenix and Las Vegas, robot taxis are navigating city streets, each without a driver behind the steering wheel. Some don’t even have steering wheels:

But cars like this one in Las Vegas are sometimes guided by someone sitting here:

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This is a command center in Foster City, Calif., operated by Zoox, a self-driving car company owned by Amazon. Like other robot taxis, the company’s self-driving cars sometimes struggle to drive themselves, so they get help from human technicians sitting in a room about 500 miles away.

Inside companies like Zoox, this kind of human assistance is taken for granted. Outside such companies, few realize that autonomous vehicles are not completely autonomous.

For years, companies avoided mentioning the remote assistance provided to their self-driving cars. The illusion of complete autonomy helped to draw attention to their technology and encourage venture capitalists to invest the billions of dollars needed to build increasingly effective autonomous vehicles.

“There is a ‘Wizard of Oz’ flavor to this,” said Gary Marcus, an entrepreneur and a professor emeritus of psychology and neural science at New York University who specializes in A.I. and autonomous machines.

If a Zoox robot taxi encounters a construction zone it has not seen before, for instance, a technician in the command center will receive an alert — a short message in a small, colored window on the side of the technician’s computer screen. Then, using the computer mouse to draw a line across the screen, the technician can send the car a new route to follow around the construction zone.

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“We are not in full control of the vehicle,” said Marc Jennings, 35, a Zoox remote technician. “We are providing guidance.”

As companies like Waymo, owned by Google’s parent company, Alphabet, and Cruise, owned by General Motors, have begun to remove drivers from their cars, scrutiny of their operations has increased. After a series of high-profile accidents, they have started to acknowledge that the cars require human assistance.

While Zoox and other companies have started to reveal how humans intervene to help driverless cars, none of the companies have disclosed how many remote-assistance technicians they employ or how much it all costs. Zoox’s command center holds about three dozen people who oversee what appears to be a small number of driverless cars — two in Foster City and several more in Las Vegas — as well as a fleet of about 200 test cars that each still have a driver behind the steering wheel.

When regulators last year ordered Cruise to shut down its fleet of 400 robot taxis in San Francisco after a woman was dragged under one of its driverless vehicles, the cars were supported by about 1.5 workers per vehicle, including remote assistance staff, according to two people familiar with the company’s operations. Those workers intervened to assist the vehicles every two and a half to five miles, the people said.

The expenses associated with remote assistance are one reason robot taxis will struggle to replace traditional ride-hailing fleets operated by Uber and Lyft. Though companies like Zoox are beginning to replace drivers, they still pay people to work behind the scenes.

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“It may be cheaper just to pay a driver to sit in the car and drive it,” said Thomas W. Malone, a professor at the Massachusetts Institute of Technology Center for Collective Intelligence.

Waymo and Cruise declined to comment for this story.

While those companies use traditional cars retrofitted for self-driving, Zoox is testing a new kind of vehicle in Foster City, just south of San Francisco, and in Las Vegas, not far from the Strip.

After testing the vehicles with Zoox employees, their family members and friends, the company plans to make the service available to the public this year. But this robot taxi, like all others, will lean on human assistance.

In Foster City, the company operates what it calls a “fusion center,” where employees monitor robot taxis operating both locally and in Las Vegas, several hundred miles away. From their computer screens, these workers can track live feeds of the road from cameras installed on the cars as well as a detailed overhead view of each car and its surroundings, which is stitched together using data streaming from an array of sensors on the vehicle.

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The workers can provide verbal assistance to riders via speakers and microphones inside the cars. They can also assist a car if it encounters a scenario it cannot handle on its own.

Jason Henry for The New York Times

“These are situations that don’t necessarily fit the mold,” said Jayne Aclan, who oversees a team of Zoox technicians that provide cars with remote assistance.

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Self-driving cars can reliably handle familiar situations, like an ordinary right turn or a lane change. They are designed to brake on their own when a pedestrian runs in front of them. But they are less adept in unusual or unexpected situations. That’s why they still need the humans in the fusion center.

But even though self-driving cars have remote assistance, they still make mistakes on the road.

After reviewing the incident, Zoox indicated that its car had struggled to recognize the fire trucks because they were yellow, not red. “We continue to test and refine our driving software,” Whitney Jencks, a company spokeswoman, said.

Zoox will also continue to lean on human assistance.

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“We think that computers should be able to replicate humans and replace humans in all ways,” Dr. Malone, the M.I.T. professor, said. “It is possible that might happen. But it hasn’t yet.”

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