“Wonder Woman” showed that a female-centered superhero story was long overdue. And “Spider-Man: Homecoming” served up a young, fun, and ultimately profitable take on what could have seemed like an overdone property. Last year was a pretty big disappointment with Alice Through the Looking Glass and X-Men: Apocalypse. That’s also not to say that this summer hasn’t had some wins. To find a summer season that earned less than 2017, one would have to look back to 2006 when the season posted $3.7 billion in grosses. This summer was a great time to be a movie enthusiast. As I said, after this year’s box office tally and conversation-dominating presence, there’s no doubt studios will be eyeing to tap into the horror market even further and that’s an exciting idea. Even the horror films that didn’t break out the box office or punch through the genre awards ceiling have found a place in the conversation as indie darlings; the lurid thrills of Julia Ducournau‘s coming-of-age cannibal movie Raw, Trey Edward Shults‘ mismarketed viral/psychological horror It Comes at Night, and of course, the Darren Aronofsky‘s madcap biblical allegory mother!, which dominated the zeitgeist for a moment despite bombing out with audiences and critics alike. © 2020 Collider Cryptomedia, Inc. All Rights Reserved. The oft-ignored genre has long been a reliable, affordable backbone of the film industry despite the ritual shunning come awards season, but even with that in mind, 2017 has been a truly stunning year for horror. Then there’s the matter of cultural context. Based on the beloved Stephen King novel about a deadly interdimensional force tormenting the townspeople of a small town. There were less super, but still heroic entries as well, including Christopher Nolan’s “Dunkirk.” But those are the exceptions. Likewise, Shane Black‘s The Predator is a potent combination of filmmaker and brand. We even got a delightful new Chucky movie. But why? Yet, contrary to what you might expect, audiences turned out in droves to get an added dose of terror from killer clowns, possessed dolls, and whatever other creepy creations filmmakers conjured up for audiences. In the back half of the year, Blumhouse might have another big winner on their hands with the Halloween remake from David Gordon Green and Danny McBride, which might just combine the brand name power of John Carpenter‘s iconic Halloween franchise with Blumhouse’s keen eye for picking filmmakers. We’re not thinking about our bills, about the future of the economy, about health insurance – we’re completely in the moment and feeling powerful thanks to the cascade of chemicals released in times of threat.” We did it in the turbulent times of the 1970s, which became one of the most fruitful, definitive periods in horror history, and again in the early 200s, when the visions of 9/11 and the War on Terror spurred on the waves of found footage and so-called “torture porn”. That film is, of course, Andy Muschietti‘s IT. Summertime is traditionally one of the most lucrative times of the year at the movie box office, as studios start to roll out films in May to entice audiences into theaters as the weather gets nicer and schools start to empty out for a few months. Thanks to disappointing debuts from a couple of high profile films this month, the summer box office is already down 10 percent from a year ago. While moviegoers had much to enjoy this summer, from Wonder Woman to Baby Driver, the overall box office numbers are pretty dismal. Our editorial content is not influenced by any commissions we receive. There’s been no shortage of reasons to be afraid in 2017, a year marked by political upheaval, natural disasters, and national tragedies across the board. Jigsaw, while viewed as a disappointment compared long-passed money-printing days of the Saw franchise, threw another $38 million on the horror total. New Line will target the summer crowds with their The Conjuring 2 spinoff, The Nun. All the latest gaming news, game reviews and trailers. The film received generally negative reviews from critics and despite grossing $410 million worldwide, it was considered a box-office bomb , losing the studio as much as $95 million. And the year wasn’t even out yet. 2017 was a record-shattering year for horror movies -- here's how 'Get Out', Stephen King, & a whole lot of box office made 2017 a landmark year for horror. Produced with a moderate budget, IT captured audiences to the tune of $327 million domestically and more than double that worldwide, making it the rare horror film that could go to bat against superhero cinema and the Disney cabal. That’s due to a winter and spring season that posted strong numbers thanks to record-breakers including “Beauty and the Beast” and “The Fate of the Furious,” and breakout hits, notably “Get Out.”. The horrific summer puts the year overall 6.5% behind 2016. Still, Jeff Bock of Exhibitor Relations notes, this coming weekend's big releases really need to make an impact, though, to start righting the ship. Variety and the Flying V logos are trademarks of Variety Media, LLC. A one-stop shop for all things video games. What’s at Stake for Hollywood in the Presidential Election? The PG-13 slasher Happy Death Day — another Blumhouse win — piled on another $55 million domestically. Dig even deeper into the realm of limited released and home video hits and you’ll find an abundance of exciting, creative horror films that landed this year: the Irish dark magic thriller A Dark Song, the traumatic Australian serial killer drama Hounds of Love, the subversive zombie reimagining The Girl with all the Gifts, and Netflix’s set of Stephen King adaptations, Gerald’s Game and 1922, just to name a few. ... 2017, is likely to skew towards a Male, Caucasian, older, higher frequency audience that primarily purchases tickets in singles or pairs, and is interested primarily in other Action or Tentpole films. “Guardians of the Galaxy Vol. Applying that idea to a broader scale, 2017 has by and large been one of the most traumatic, discordant years in American history, from politics and renewed threats of nuclear war, to natural disasters and acts of domestic terrorism, 2017 has washed over like a tidal wave of ice water. Here’s hoping they learn the right lessons. When the times become too chilling, we look for escapist horrors to light a fire and get the blood flowing. The Mummy premiered at the State Theatre in Sydney, Australia, on May 22, 2017, and was theatrically released in the United States on June 9, 2017, in 2D, 3D, and IMAX 3D. IT was a home run with critics and audiences alike and despite being snubbed from the makeup and hair category, still has a shot at some technical Oscars, with Benjamin Wallfisch‘s evocative score landing a spot on the Academy shortlist. On the heels of IT‘s unprecedented box office success, the New York Times reported that 2017 is officially the highest-grossing year in horror history, noting an upwards performance trend for the genre across the decades. So, like all good stories, to find out how this year ends we’ll all have to wait — the industry will be on the edge of its collective seat. “The Dark Tower” signaled that the month of August into Labor Day weekend would be especially brutal. That’s without adjusting for inflation, or taking into account the rising cost of ticket sales. Each of those films is poised to perform, with built-in franchise audiences and exciting new filmmakers iterating those worlds. Will Comedies Like ‘Borat 2,’ ‘On the Rocks’ and More Finally Get Some Academy Love? Its total revenue makes "Beauty and the Beast" the highest grossing film of 2017. Why 2017’s Summer Box Office Was So Terrible. That’s without adjusting for inflation, or taking into account the rising cost of ticket sales. Did The X-Men Just Spoil Their Own Swords Event? Big-budget flops and underperforming sequels were the main culprits as the summer season has finished with $3.8 billion in domestic ticket sales, according to data provided by comScore. Alex Garland’s Ex Machina follow-up Annihilation will also land in theaters for those in the States (on Netflix internationally), and while the film’s surreal structure of the source material could evade audiences, the biological terrors as interpreted by the reliably sharp sci-fi filmmaker seem likely to stir up some buzz. The sharksploitation chiller 47 Meters Down yielded impressive numbers relative to its budget, despite the fact the film leaked early online, and New Line’s Annabelle: Creation outpaced the original and crossed the $100 million mark at the box office, cementing The Conjuring-verse as a billion dollar franchise worldwide. ‘The Last Jedi’: Why Kylo Ren Is the Anakin We Needed, ‘Pitch Perfect 3’ Review: An Off-Key Swan Song. Yes, that’s precisely what summer ticket sales indicate audiences are tired of. snubbed from the makeup and hair category, Let’s Talk About That ‘American Horror Story: Cult’ Finale, Steven Soderbergh’s Mysterious iPhone-Shot Horror Movie Set for 2018, Universal’s Dark Universe May Be Dead; Producers Alex Kurtzman & Chris Morgan Depart, Jessica Chastain Is Definitely Down to Play Adult Beverly in ‘IT 2’, Don Mancini Breaks Down that Crazy ‘Cult of Chucky’ Ending, Clive Barker Heading Back to 'Hellraiser,' Joining David Gordon Green's New HBO Series, The Best Halloween Movies Streaming on Netflix Right Now, The Best Horror Movies on Netflix Right Now, 'Hunt A Killer Horror: Blair Witch' Review: A Great Way to Extend the Halloween Season.
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