Entertainment
Box office was down in 2024. Here's why Hollywood is still in recovery mode
It wasn’t good, but it could’ve been a lot worse. Given the lingering effects of last year’s Hollywood labor strikes, the relative lack of big movies and a dismal first half of the year at the box office, the film industry is breathing a collective sigh of relief as 2024 comes to a close.
This year’s box office revenue could total $8.75 billion in the U.S. and Canada, according to estimates from data firm Comscore. That figure would put the box office about 3% lower than in 2023. More dispiriting for theaters, it’s down about 23% compared with 2019.
But the numbers also represent a remarkable turnaround considering revenue was down 27.5% just six months ago after a weak slate and a string of high-profile flops, before Pixar’s “Inside Out 2” hit theaters in June.
“It was not your typical year because there was no traditional road map to follow through the entire calendar,” said Paul Dergarabedian, senior media analyst at Comscore. “The fact that we’re even here shows that audiences really love going to the movies, but they need a path to follow to get there.”
While 2024 presented unique challenges for the film business, moviegoing still faces a slew of hurdles that were accelerated by the pandemic.
Once-regular movie watchers aren’t seeing films in theaters at the same rate as before, waiting until their preferred movies show up as premium digital rentals or on streaming platforms. Films are also in theaters for shorter periods, meaning they’re often gone by the time casual moviegoers decide to check out a flick.
Last year’s strikes by Hollywood writers and actors also resulted in many movie releases being pushed out of 2024 due to production delays or a need for more marketing time. That meant there weren’t as many wide releases for moviegoers to get excited about.
As of Dec. 18, there were 95 domestic releases in 2,000 theaters this year, according to data from the National Assn. of Theater Owners trade group. That paled in comparison with 2023 (101 films). Next year is expected to be stronger, with 110 wide release movies on the schedule.
“As we were coming into the year, as a result of the strikes last year, I think there was clearly just some concern about what impact that would have,” said Sean Gamble, chief executive of Plano, Texas-based movie theater chain Cinemark. “The big thing that we’re just continuing to keep an eye on is what is the timing for volume, and where is volume going to fully fill out over the next couple of years.”
A lighter release schedule, combined with bombs early in the year, such as Warner Bros. Pictures’ “Furiosa: A Mad Max Story” and Universal Pictures’ “The Fall Guy,” had industry players feeling apocalyptic about the movies. But a strong string of hits throughout the summer and holidays has put some wind back in the sails.
“We’re ending the year in a better place than we were at the beginning of the year,” Tony Chambers, head of theatrical distribution at the Walt Disney Studios, said of the industry’s progress. “Part of it was how well these summer titles worked.”
Animation was a major win for the year, grossing more than $2 billion — a quarter of annual domestic box office revenue — and the biggest percentage ever for the genre. Summer films like Universal Pictures and Illumination Entertainment’s “Despicable Me 4” and Pixar’s “Inside Out 2,” the latter of which became the highest-grossing film of the year with nearly $1.7 billion in global sales, brought families to theaters in droves. Months later, Disney’s “Moana 2” helped anchor a massive Thanksgiving weekend box office haul.
Worldwide, animated films brought in more than $5 billion this year, according to Comscore. Analysts have credited family films — and more broadly, PG-rated titles, such as Universal’s “Wicked” — with boosting this year’s box office. The films not only resonated with their target audience of families, but also featured well-known and beloved characters, which can ease trepidation among families wrestling with whether a trip to the theaters is worth it.
While animated movies were a clear winner this summer, some superheroes also did their jobs. Marvel Studios’ latest film, “Deadpool & Wolverine,” grossed $1.3 billion worldwide, boosting the Disney-owned studio’s prospects after a string of lackluster films. The film also proved there is a niche for R-rated and irreverent storylines within the House of Mouse’s largely family-friendly and PG-13 superhero universe.
The summer may have been bolstered by blockbusters, but Osgood Perkins’ original indie “Longlegs” also contributed to the box office momentum. The breakout horror film, which stars Nicolas Cage, handed independent distributor Neon its biggest opening ever, with $22 million, and came after an extensive and cryptic marketing campaign.
As summer turned into fall, the string of hits continued with Tim Burton’s “Beetlejuice Beetlejuice,” Ridley Scott’s “Gladiator II” and the heavily marketed “Wicked.” The continued momentum helped affirm that theatrical movies are still in demand, said Gamble of Cinemark.
In a recent meeting in Los Angeles with studio executives, he said a common topic of conversation was the meaning of this year’s box office for the health of theatrical exhibition.
“Everybody’s viewed the collective results of this year as a really positive thing,” Gamble said. “What we continue to see are examples that suggest the enthusiasm for moviegoing remains very robust.”
Disney had an especially good year, as the studio crossed the $2-billion mark in domestic box office with three of the top five films of 2024 — “Inside Out 2” and “Deadpool & Wolverine,” each of which cracked $1 billion globally at the box office, and “Moana 2,” which has now grossed almost $821 million worldwide. That puts the Burbank media and entertainment giant at about 25% of this year’s box office.
“The successes we’ve had this year show that audiences are eager for that unbeatable experience of watching a great movie in a theater with a crowd of people who are enjoying it just as much as they are,” Alan Bergman, co-chairman of Disney Entertainment, said in a statement.
While blockbusters filled seats in theaters this year, there were also plenty of duds.
Oscar-winning director Francis Ford Coppola’s massive, $120-million passion project “Megalopolis” hit a hard wall at the box office, grossing just $4 million in its opening weekend and less than $14 million total worldwide. The loosely Roman-themed fable about an architect in a futuristic New York was anathema to major studios, leaving Coppola to shoulder much of the financial risk himself.
Kevin Costner’s western epic “Horizon: An American Saga — Chapter 1” met a similar fate, grossing just $38 million worldwide after the “Yellowstone” actor put up his own property to fund the film. The movie was the first in a planned four-part saga. After the first movie’s reception, the sequel was pulled from its scheduled August theatrical release.
Despite the success of “Deadpool & Wolverine,” other superhero-related films didn’t fare as well theatrically, including Sony Pictures’ “Madame Web” and “Kraven the Hunter,” along with Warner Bros.’ comic book sequel-turned-musical “Joker: Folie à Deux.” Eli Roth’s video game adaptation “Borderlands” also failed to connect with audiences, as did Lionsgate’s reboot of horror film “The Crow.”
Still, film industry executives and analysts say they feel hopeful about 2025 — a year in which the effects of the strikes and the pandemic are further in the rearview mirror, and the cadence of movies gets closer to normal.
Industry leaders said 2025 should be a return to the trajectory the business was on before the pandemic and the strikes. Next year’s slate is stocked with superhero fare (“Captain America: Brave New World,” “Thunderbolts” and a new DC reboot of “Superman”), action films (“Mission: Impossible — The Final Reckoning” and “Jurassic World Rebirth”) as well as sequels to popular films (“Now You See Me 3,” “Zootopia 2” and “Wicked: For Good”).
The success of — and reliance on — sequels and reboots is also going to force a future reckoning for new stories.
Though original films like A24’s “Civil War,” Amazon MGM Studios’ “Challengers” and “Longlegs” cashed in at the box office, the entirety of the top 10 highest-grossing films domestic or worldwide this year were sequels or films based on existing stories (“Wicked,” as an adaptation of the 21-year-old Broadway play and a revision of the classic “Wizard of Oz,” is included in this).
“What studios and exhibition and the industry needs to focus on is possibly how to cut through with original content,” said Chambers of Disney. “Being able to have original titles cut through, that’s going to be the challenge.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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