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Currently dominating my Twitter feed are headlines like this: “The Avengers Has Biggest Opening Weekend Ever with $200 Million.” This (estimated) box-office count apparently bests Hollywood’s previous domestic opening-weekend record of $169.2 million held by last year’s Harry Potter and the Deathly Hallows II (David Yates, 2011). Moreover, if we tack on The Avengers’ overseas box-office take this weekend, $151.5 million, we’re looking at totals nearing $400 million.
But that’s not all. Since the movie opened internationally a week earlier, its (estimated) current global haul is around $640 million, which, as the New York Post reports, is more than Iron Man (Jon Favreau, 2008), Iron Man 2 (Jon Favreau, 2010), Thor (Kenneth Branagh, 2011), and Captain America (Joe Johnston, 2011) took in during their entire runs.
Broadly, these numbers are supposed to be impressive, generating from me and other moviegoers a wow or daaaayum. And why shouldn’t they? Ultimately, it’s SIX-HUNDRED MILLION DOLLARS over the course of ONE WEEK. (Sorry for yelling, but it’s IMPRESSIVE, right?!) The figures are potentially also supposed to make me excited for the movie’s director Joss Whedon, who has now apparently successfully crossed over from TV (e.g., Buffy the Vampire Slayer, Dollhouse, Angel) to the big screen. Finally, these numbers, floating up and down my Twitter and Facebook streams, are perhaps supposed to make me want to close this laptop, grab the car keys, and drive ten minutes to see The Avengers and then do the same with the other rehashed, fantasy-based, machismo-driven, action-based fare coming soon to a cineplex near me. For example,
- Battleship (May 18)
- Men in Black III (May 25)
- G.I. Joe: Retaliation (June 29)
- The Amazing Spiderman (July 3)
- The Dark Knight Rises (July 20)
- Total Recall (August 3)
- The Expendables II (August 17)
But instead, here’s what all this press about The Avengers‘ weekend-take actually makes me do:
While people are going on and on about these figures, they’re not totally unexpected, are they? After all, The Avengers is the first major summer megapic. It features A-list stars who’ve had some success in similar roles. It is directed by someone whose former projects, while garnering a sort of cult-following, are known for interesting characters and unique storytelling. It has a built-in audience (comic-book readers/fans). It’s been promoted widely (exhaustively?) for several weeks now. It’s received strong reviews from combined critics and viewers on Rotten Tomatoes and decent reviews from critics on MetaCritic. And like most megapics, The Avengers was given a saturated booking (i.e., it opened virtually everywhere in the U.S. this weekend, IMAX included).
Certainly other movies based on this formula have failed, but from what I’ve pieced together over the last few weeks, it seems that most critics, producers, Hollywood insiders, etc. expected this one to hit. Bigtime. So, let’s simmer down a little bit about this first-weekend box-office draw, shall we?
Cringe a L’il Bit
These figures also kinda make me cringe because if The Avengers does well — like “The Dark Knight well” — we can possibly expect more superhero mashups/installments in 2013, 2014, 2015, etc. Look at the video mash-up below; honestly, how much more of this can we take? One Twitter user sums up my feelings nicely: “The Avengers‘ smashing box office records is like the groundhog seeing its shadow — it’ll mean six more years of the same damn thing” (@railoftomorrow). This could be true, to an extent. Keep reading.
Question the Cycle’s (and Our Country’s) Status
Related to the above and perhaps most significantly, these initial box-office sums also makes me, like Andrew O’Hehir earlier this week, ask the question When will this genre cycle die, or at least subside?
As a film instructor, I’m well aware that Hollywood won’t be doing away with big-budget, high-concept, CGI-laden, action-adventure megapics any time soon. Hell, since Jaws (Steven Spielberg, 1975) swam onto the scene, this has been the industry’s bread and butter. Gee thanks, Spielberg! (Kidding — I love me some Jaws.) As well, I understand that movie moguls won’t be backing away from any sequels, remakes, revisions, reimaginings, or reworkings in the near future. After all, such pictures are (supposedly) tried and true; they’ve succeeded in the past, so why shouldn’t they succeed now and in the future? To echo Matthew Vaughn, director of X-Men: First Class (2011), yay, way to latch on and run things into the ground, Hollywood!
Consequently, no, no one’s likely putting a proverbial nail in the megapic coffin anytime soon. But the superhero cycle? Could I at least keep my hammer and a box of nails nearby? You see, apart from Hollywood’s “tried-and-true” recipes, past/present box-office stats, foreign investors/partners, and major greed, there are actually other reasons genre cycles like this one wax and wane, surface and resurface — reasons founded within our culture, the zeitgest. Moving pictures, after all, aren’t created in a vacuum.
Again, earlier this week, columnist Andrew O’Hehir posed the question Will superhero movies never end? To which I respond: they will likely end, at least in part, when our culture no longer “requires” them. As my film students and I discussed in class just this week, the output of superhero movies has nearly doubled (from the 1990s) since 9/11, a time when our country and the world at large was vulnerable, confused about its identity, and arguably lacking in leadership (the Bush administration). To the rescue: movies that offer (among other things) stability, certainty, and leaders who (usually) can successfully understand and fight enemies. [Related: “How Hollywood Was Changed by 9/11,” and “Where Would Superheroes Be Without 9/11?” as well as academic essays like “American Exceptionalism, Visual Effects, and the Post-9/11 Cinematic Superhero Boom” and “How America Learned to Stop Worrying and Cynically ENJOY! The Post-9/11 Superhero Zeitgeist.”]
We’ve, of course, seen similar cultural influences with the rise and fall of other genres, subgenres, and genre cycles. Two examples: film noir (1941-58), itself a response to shifts in postwar traditional gender roles, McCarthyism, and the influx of existentialist thought; and “gangsta films” (i.e., 1990s coming-of-age pictures like Boyz n the Hood and New Jack City set in volatile black neighborhoods), cinematic reactions to real-life violence/riots and the crack epidemic in the U.S.
So back to The Avengers’ $200 million opening weekend…
Obviously, these numbers don’t impress me much; rather, they just make me wonder, as I do at the beginning of virtually every recent summer season, how long this superhero cycle will last. (No worries, comic-book film fans; I wonder the same about the bromance, that other current Hollywood mainstay.) Maybe it will die down when the economy straightens out and we don’t need “saving”? When our troops are removed from the Middle East? When the country’s global reputation has been mended? When our disparate and hard-headed branches of government are able to work together? Geez, if the latter is a requirement, then Iron Man, the Green Lantern, and all 356 reincarnations of Spiderman are going to be with us for a freakin’ long, long time.
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