Hollywood has always been a little bit dumb, a little bit over-written. It's hard to have both artistic individualism and a reliable business. This is not a new trend.
The examples are not very good. I would take Gladiator II, but Megalopolis was a self-funded project which is completely out of left field, and The Apprentice... I'm not sure what it's an example of. Many more titles are dismissed with a couple words. They really lose me when it comes to Anora. That's quite possibly the worst take I've heard about that film yet, and I've read some Letterboxd reviews.
> What feels new is the expectation, on the part of both makers and audiences, that there is such a thing as knowing definitively what a work of art means or stands for, aesthetically and politically.
Before rushing to judge today's movies, shall we remind ourselves what popular movies 20 years ago were? There were some real stinkers there, too, and they were not more smartly written in this regard. They just weren't.
> The point is not to be lifelike or fact-based but familiar and formulaic—in a word, predictable.
Has this person forgotten Titanic, one of the best-selling movies of all time? It's extremely formulaic, predictable, and intentionally so. It's basically opera, not really a new genre.
>but Megalopolis was a self-funded project which is completely out of left field
sure, but it was self-funded and it was completely panned by the audiences which I think was undeserved, from a lot of people because they found it "weird" or incomprehensible. Which it wasn't in the grand scheme of things.
I can't remember whose blog it was on but someone recently compared audience and critic ratings in the 70s/80s and today, and in the past there was a lot of overlap. Today completely divorced. And it's honestly because the audience, not the critics, just can't take anything unconventional. Creators that had mainstream appeal, Kubrick, Tarkovsky were out there by today's standard. You could not put the opening scene of 2001 in front of a modern audience without half of the people playing subway surfers on their phones. Or take Lynch, he wasn't just niche, people made an effort to understand that stuff.
I noticed this in other media too. I saw reviews for Kojima's Death Stranding 2 and every five seconds someone went it's so weird as if that's almost an offense, from the guy who made the Metal Gear universe. You make something like Evangelion today, the biggest mainstream anime franchise at the time, you'd probably have people on social media cancelling it for some of the more Freudian stuff in it, and complain because there's not enough plot in it.
I think people today, in general, would be unwilling to hold the idea in their heads that a movie might be good in a way that goes over their heads, or that they just don't understand. There's no curiosity that it might be more than what they saw it to be. And when everyone sees art as beneath them (or at least, certainly not above them), it loses that transcendent quality.
The art house vs blockbuster dichotomy has existed for a while, but I do think the internet as a medium makes it hard to have truly individual opinions. The whole point of reviews is to surrender a bit of your judgment, but this is more dangerous when the reviewer is an aggregate group. Lots of dogpiling, etc.
>it was completely panned by the audiences which I think was undeserved, from a lot of people because they found it "weird" or incomprehensible.
The biggest issue with the movie is that it's boring. I personally think the weirdness wasn't used to it's full potential.
A very similar (and highly underrated) movie is Richard Kelly's Southland Tales which in my opinion is far superior and vastly more entertaining to watch. Which I guess does prove there is some merit to your point, since this movie was also panned by critics and audiences for being "way too weird".
I'm glad you bring up Kojima, because I think he's a master of this New Literalism. I just watched my partner play Death Stranding 2, and it feels like every other cut-scene has an NPC turn to camera and explain the themes of the game. And I love it! And it doesn't detract from the games ability to express those themes through metaphor and game-play.
Obviously subtlety is good, but choosing to be very literal can be an interesting artistic take. I don't think Kojima was thinking about how to dumb-down his message for audiences. I think its a genuine artistic choice rooted in his style. While I didn't like it for other reasons, I think the same can be said for Megalopolis. I loved the scene were it's just a full screen interview with Catiline, even if it was kinda dumb.
There's probably something interesting about how both the ten thousandth grey-CGI marvel movie and these more experimental artists are drawn to hyper-literalism in the now, probably with some thoughts about the social internet thrown in. I'll have to think about it.
I agree. The article feels like it's onto something but ultimately fails to say anything new.
The opinion that most movies are dumb, and only a few of them respect their audience and are worthy of awards and praise, has been true for as long as movies have existed
I find this article rather underwhelming because it spends so much time calling out bad examples and so little time highlighting examples of subtlety (in any era). Without positive examples, I don’t think they make the case that this is a new phenomenon or even a phenomenon at all: all the author has done is identify a lens to criticize through.
It may be the case that this is a recent phenomenon (though some other commentators disagree), but without providing detail on what movies the author feels avoid this pattern, they make their argument impossible to refute or engage with. (It also insulates the author’s tastes from criticism, which I suspect is part of the motivation)
A couple examples the author gave sounded plausible--though I hadn't seen the movies in question--but then I felt the author was beginning to reach.
It's a bit of a humble brag to complain that movies are too obvious, isn't it? Serpell invites us to pat ourselves on the back for our sophistication as we turn up our noses at art that the uneducated rabble can comprehend.
Yes, there is a tradition in the arts of weaving subtle elements into a work that will reward the savvy observer. Arguably, it began when scribes and storytellers became no longer satisfied to merely repeat ancient texts, and set out their own commentary and interpretation, no doubt with some frequency constructing theories that never were conscious in the mind of the long-dead author.
This literary game is wonderful for arts colleges who happily charge young adults a handsome fee to play at this game that arose in a time when eligible aristocrats scrambled after every affectation that might provide an honest signal of their ponderous amounts of free time, wealth, and sexual fitness. Like tonsils, these vestigial organs have their defenders.
No doubt Serpell holds the skills she honed first at Yale and then at Harvard in great esteem. I imagine she derives much satisfaction at her ability to write hundreds of pages expounding on the literary equivalent of atonal noise. But while I'm happy for her to share her preferences, I'm not sure why those preferences should hold any great weight when it comes to popular culture.
Unsaid--and of course it is unsaid, it would be gauche to speak directly--is the claim that great art cannot be direct, clear, or obvious. The purpose of art is not to speak to us, but to sieve society into gradations of fineness. If any coarse, unimproved grit passes through the sieve, the sieve is defective. After all, if this rough grit can pass through the sieve, who will pay Serpell to laboriously grind the sediment into a fluffy, airy, rarefied powder at Harvard.
Yes, you are clearly also very educated. Impressive use of language!
I think it's pretty normal that as people get deeper and more invested in any given artform, they tend to become more appreciative of works that are less immediately pleasing to lay-people. You mentioned literature and (atonal) music, but this just as readily applies to food, wine, videogames, Anime, fashion, anything you can think of.
I'll agree that there's an unfortunate tendency for some people (again, in any artistic field) to get overly critical or dismissive of straightforwardly good work, especially if consuming, thinking about, and discussing the quality of work is their actual job and they're perhaps getting a bit bored of something they once loved. On the other hand, who better to recognize oversaturation of a given style or approach? I certainly wouldn't notice that wine producers are currently chasing the trend of dry whites, produced from heirloom European grapes to the detriment of all other kinds of wine! It's important to have at least some snobs, to push and goad artists away from currently oversaturated trends and continue the cycle of innovation and variety. And it's important to recognize that a critic complaining that a certain style is too popular doesn't mean they think it's a bad style or that you shouldn't enjoy it, just that they'd like to spend more of their life enjoying other things too.
Yeah, I can see where the author is coming from, but it's kinda effortless to dismiss a ~2hr movie with a five sentence critique of a few scenes or lines of dialog. I'd much rather see the author go deep on one movie than shallowly take on a bunch.
I don't know if calling it a "New Literalism" is helpful. I just don't know that a penchant for literalism ever went away.
Now, what IS relatively new is the "ruined punchline" phenomena that they identify (without naming) on the movie recap podcast Kill James Bond, which is that contemporary movies always ruin jokes by telling one, say... "x" and then having another character chime in with "Did you just say 'x' !?"
I think there's a fear of losing attention because you're asking people to think about something other than the eyewash happening right in front of them by inviting them to have to -think- about a movie.
Anyway, to close: "No one in this world ... has ever lost money by underestimating the intelligence of the great masses of the plain people..."
>No one in this world ... has ever lost money by underestimating the intelligence of the great masses of the plain people...
I think you're disproving your own point.
If you look the major flops in all industries (video-games, movies, ...) the general trend is contempt for the audience.
This generally results in some form of uproar from the most involved fans, which is disregarded because of the assumption that the general public won't pick up on it.
At the very least, I would say that for this to be true you need to have a very specific definition of intelligence that would exclude a lot of crowd behaviors.
I would suggest some shades of meaning on the Mencken quote. You're absolutely right that showing contempt for your audience will -absolutely- pave the road to losing money. In contrast if you -pander- to the lowest common denominator of intelligence required for engagement? Money printer go brrrrr.
Can you describe more about the "ruined punchline" thing? Cause that sounds natural to me. Like in Jurassic Park, Alan Grant hears "We clocked the t-rex at 32 mph" and he goes "Did you just say 't-rex'?". Actually they repeat it like 3 times more to really lean into it.
And I guess my point is that Jurassic Park doesn't feel modern or clumsy in this particular execution.
Part of it is overexposure. The same thing happened to snappy "Joss Whedon" dialogue. This stuff worked really well in Buffy and Firefly, but Whedon was good at writing dialogue like this and he knew when not to use it. We've now had 15+ years of various writers at Disney doing crappy Whedon impersonations and this style of dialogue has worn out its welcome for many.
Having never seen Jurassic Park (yeah, right?) I'm guessing the preposterousness to an unaware onlooker is played for effect.
This is a more recent phenomenon. This is literally just repeating a punchline so that it tells the audience - "that was the punchline, you can laugh now."
I've seen plenty but I can't give any specific examples. I mention Kill James Bond [0] because they specifically point it out in the movies they watch. Although they don't watch any Whedon movies, in talking about it in movies where it happens a lot they cite Whedon as particularly guilty of this.
Well, that's people repeating the line for confirmation in a scenario where communications weren't very reliable and the information was extraordinary.
That's close to the way the conversation would happen in real life.
One might argue that it is the same thing, but that Jurassic Park comes from an era before that was common. It would be a different, though related, point in favor of the duplicative nature of media today to the one the author mentions.
George Carlin didn't emphasis this enough in retrospect. The idiots in-charge now appear to begging for educational percussive maintenance, albeit in hyperbolic, euphemistic form for legal reasons only.
Fun fact: movie sales, in terms of tickets sold, peaked in 2002. [1] All the 'box office records' since then are the result of charging way more to a continually plummeting audience size.
And this is highly relevant for things like this. People often argue that if movies were so bad then people would stop watching them, unaware that people actually have stopped watching them!
Even for individual movies. For all the men-in-spandex movies, the best selling movie (by tickets sold) in modern times is Titanic, 27 years ago.
In 2002, watching a movie at home for most people meant flinging a low quality VHS or DVD onto a ~27" tube TV (with a resolution so worthless it might as well be labeled "new years") using a 4:3 aspect ratio pan & scan of the actual movie. Getting anything recent meant going out to the Blockbuster anyways. In 2022, watching a movie meant streaming something on your 50+" 16:9 4k smart TV by pressing a button from your couch.
Box office ticket sales say people go to the theatre less often, not that people watch movies less often. Unless you specifically want "the movie theater experience" or you absolutely have to see a certain movie at launch you're not going to the theatre to watch a movie. The number of movie views per person may well be down (or up), but box office ticket sale counts don't really answer that question.
Nah, I don't buy this. In 2002 your "low quality DVD" was peak quality for us. Same way the blocky renders of PS1 was peak video-gaming for us. It only looks low quality when compared with today. For us at the time, it was magnificent.
I was going to make this point myself. I think my wife and I have seen maybe three or four movies in a theater since COVID. Our theater didn't even close during COVID (they started marathoning older movies like Harry Potter), but once the big companies started releasing new movies directly on streaming services, we realized how much better seeing a new movie in the comfort of our own home can be.
So now we just wait for a movie we want to see to become available on Apple TV, and then we rent it.
I put almost $20k into a home theater setup. And with what I bought and how I set it up it punches way above its weight. I only have to wait 3 weeks to 3 months to be able to watch a movie at home now. Why would I go to a theater!?
I used to make exceptions for independent films when I lived near an IFC theater, but streaming/vod services now have me covered there too and I don't live near one anymore.
And probably add to the fact that streaming TV has become vastly more ubiquitous, popular, and high quality.
When I was an undergrad ages ago, going to the on-campus movies were a non-trivial part of the weekend experience. My understanding is that they're mostly dead at this point.
Also, I know this sounds like get off my lawn, but people behaved better. Or maybe they didn't didn't, but the penetration of flashlights kept in people's pockets wasn't 100%. Which is pretty annoying now that a movie for two is like a $75 experience with popcorn.
^ All of that, and the COST. The last time the wife and I did a movie night for a big new flick we were excited about, we spent almost $80 when all was said and done for tickets and snacks for the TWO OF US!
> Fun fact: movie sales, in terms of tickets sold, peaked in 2002.
Fun fact: this is completely wrong. The cinema theaters were much more popular in the 1920s and 1930s, with about 3 times more tickets sold in the USA (out of a smaller population).
"In 1930 (the earliest year from which accurate and credible data exists), weekly cinema attendance was 80 million people, approximately 65% of the resident U.S. population (Koszarski 25, Finler 288, U.S. Statistical Abstract). However, in the year 2000, that figure was only 27.3 million people, which was a mere 9.7% of the U.S. population (MPAA, U.S. Statistical Abstract)."
in Pautz, The Decline in Average Weekly Cinema Attendance, Issues in Political Economy, 2002, Vol. 11. https://ecommons.udayton.edu/cgi/viewcontent.cgi?article=102...
2002 was also when broadband internet and movie piracy became more prolific - DivX was just out, DVD burners became a thing, etc. Streaming video was in its infancy, with TiVo and VOD slowly becoming a thing (although that only reached mainstream in 2007 when Netflix launched). DVDs and DVD players became mainstream, as well as flat TVs, HD video, etc.
Anyway. The tech in the movie theaters did improve by a lot since then, 3D was a fad but we get 4K, imax, Dolby Atmos, etc nowadays. But it's not as popular as back then, cost and convenience probably being important factors, but the lack of long exclusivity (it's now only weeks sometimes until a film is out on streaming) and the overflow of media nowadays isn't helping either. The last really popular film was the Marvel films and the last Avatar film, other than that it feels all a bit mediocre or unremarkable.
I wonder if that's the other factor. The 90's and early 2000s were for many people the highlight of filmmaking - this may be a generational thing. But there were years where multiple films would come out that were still remembered fondly for years or decades after.
Meanwhile, I couldn't name you a single good or standout film from the past year or years. Nothing I remember anyway. I think the combination of the LotR trilogy and the Star Wars prequels ruined films forever for a lot of people, in a good way for the former and a bad, cynical one in the latter, lol.
There is no evidence as to piracy even being a cause for the decline, I say this not as a supporter (I do not pirate) but to correct a misconception.
2002 is when tvs got larger, fidelity with cable tv improved, dvds were readily available, etc. it was also an era where more people started gaming (the industry took off around this time), so people were shifting away from movie theaters as a social activity.
The rise of literalism (as in the article) is probably a partial response to increasingly shorter attention spans.
Songs are shorter (<3 minutes) and lyrics simpler as a result. People don’t want to think anymore.
Netflix wasn't launched in 2007. The streaming service was launched in 2007. Netflix as a company was founded in 97 and was ubiquitous by 2002. Why go to the movies and pay $100+ for a family when you could wait 4-6 months for the home release and get the movie mailed to your home? You could go out and buy a box of microwavable popcorn and a few bags of candy and still save 80 bucks.
I wonder how much of that is because the movies themselves changed vs everything else that has changed. Back in 2002 most people still watched tv on CRT that were very small by today's standard and had very low resolution. You either had to go out and rent a movie, rewatch something you had recorded or bought or watch whatever was on and enjoy the ads. Now we have a huge choice of movies and tv shows at our finger tips any time. Yes, the screen is still much smaller than in the cinema but I also sit much closer. I can pause the movie when I need a bathroom break. I can eat and drink what I want. A movie has to be really good for me to want to spend $40-$50 on going to see a movie with my wife. No travel required, no sitting through ads, no risk of someone in the audience being obnoxious.
I used to go to the cinema quite a bit. Now I only go once every 1-2 years to see something on IMAX that I hope will really benefit from it. In recent years that was just the two Dune movies and most recently the F1 movie. Unfortunately, even the biggest IMAX theater in my area is still not what I'd consider a proper IMAX like the Metreon in SF so I'm always underwhelmed. Not sure if that's because this IMAX is too small or because even IMAX stopped being amazing due to growth and improvement of other screens.
I used to watch a lot of smaller movies in the cinema. That's stopped entirely. With any movie the question now is how long till we just can watch it at home. Smaller movies which I'd be more willing to support frequently even seem to skip the few months where you have to rent them and go straight to streaming. So unfortunately even less incentive to go to the cinema.
Culture around it doesn't help either. Friends used to recommend movies that they watched in the cinema. I can't even recall when that happened last.
I genuinely without rose colored glasses think the obvious explanations is true which is that movies simply became worse since 2002 vs now. Look at the movies released 1999 vs 2024 and the reason fewer people go out to watch them is obvious
Eben Moglen observed that at one time people were building giant stone pyramids, then the social and technological conditions changed, and people stopped making new ones. That's OK, it's not a sad thing that there are no new pyramids, we still have the old ones and people still find them awesome.
And he says maybe big-budget movies are like that too, something that culture will do for a while and then move on to something different when the conditions change.
Even within the medium there was a whole generation of beloved silent-film stars that didn't make the transition to talkies. Every era has a beginning and an end.
I think within the next 20 years we will see the rise of AI generated movies custom fit for your pleasure that will contain information to educate you, images to astound you, a story that will pluck at your heart strings and that you will be able to personally influence by your words and choices and reactions.
They'll end up being more like video games than traditional movies, and no two playthroughs will be exactly the same, and eventually you will be able to stay in the movie world and advance the story for days or weeks at a time.
The main driver IMO is the death of the tight 90 minute, 80 Million decently acted thriller / action / comedy film.
Everything is too big, too epic, too simplistic, and too long.
Movies are still great, just not the main circuit. If you live in a large city most often you have access to indie movies or secondary rotation of festival movies instead of 3 marvels, one remake and one romantic like in the big box places.
I think they simply did what AAA video games did. They found what sold best at one moment in time and then obsessively tried to work to copy that.
But the problem is that people don't want to play 40 different Call of Duties, or watch 30 different Batmen. It's just that Batman or Call of Duty were the 'meet in the middle' of a variety of different tastes. But when those other tastes aren't accounted for, it becomes nauseating. It's like how most of everybody really likes cake icing, but eating nothing but cake icing is quite a repulsive concept.
I think things like Dune, Interstellar, and other such films emphasize that there's a gaping hole in the market for things besides men in spandex, but it's just not being filled. And there's even extensive social commentary in Dune (as in the book) but it's done through metaphor rather than shoving it down your throat. And the movie is also rather slow paced with some 3 key events playing out in a 155 minute film, yet it continues to do extremely well. On the other hand those Fremen suits are kind of spandexy...
Ok, what does this have to do with the comment you are replying to? I am genuinely curious how this has any relation to the remarks regarding box office numbers
I sometimes wonder if we’re using the correct metrics to measure all that. Today, it’s a lot easier to access film and series - streaming, local indie cinemas, YouTube. There is A LOT of movies and yet commentary and awards are always limited to AAA titles and artists. Just the other day, I saw this short on YT and it gave me all kinds of feels and thoughts but even IMDb wouldn’t list it.
So maybe, cinema is no longer an exclusive medium for this kind of content and box office numbers (just like revenue for big tech) aren’t supposed to always go “up”.
A major contributor to Titanic being the best selling movie by tickets sold is the amount of people that went to watch it multiple times, and going to see a movie multiple times in 1997, while not common, was not unusual because it was 1997 so what else are you going to do?
1997 was an absolutely phenomenal year for movies. Life Is Beautiful, Boogie Nights, Jackie Brown, Titanic, Donnie Brasco, The Fifth Element, Good Will Hunting, As Good as It Gets, Austin Powers International Man of Mystery, Gattaca, LA Confidential, Men in Black, Liar Liar, Amistad, The Game, Con Air, Contact.
There was a lot to do in 1997, just not as much to do without leaving home. We went to movies because they were affordable and great movies were being released.
Also, that was the era where new multiplex theaters were being built with great sound systems, so it was worth going to a theater for the high-quality experience. While quality consumer electronics are more readily available today than ever before, I feel like the vast majority today only watch media with headphones, TV speakers, or maybe a 2.1 stereo+sub setup.
> All the 'box office records' since then are the result of charging way more to a continually plummeting audience size.
I don't think that going to the movies has gotten more expensive in real terms. It's just that the records are usually not adjusted for inflation, so a film with the same audience and the same inflation-adjusted admission price will appear to make 80% more at the box office compared to 2002.
That's roughly when I largely stopped going to see movies. I stopped because movies started sucking too much. Sure, there is still the occasional wheat kernel, but there's so much chaff that it's no longer worth just taking a chance on a new movie.
Movie studios could care less if a billion people watch a movie or if 1 person sees it.
They care how much profit they make and what the growth in their profit margin is, as that sets their multiple on their stock price.
If it's a better strategy selling movie tickets to mostly single adult men at high prices than to families at lower prices, guess who movie studios are going to make movies for?
Movies studios reached their TAM in the West a while ago. The only way to make more money is charging more per ticket in real terms, which means a reduction in TAM
In my pod we've got the theory that more people in the US like anime than domestic pop culture. All the time my son and I have random encounters with people who like Goblin Slayer or Solo Leveling or Bocchi The Rock but never find anybody who is interested in new movies and TV shows. They say Spongebob Squarepants has good ratings -- of course it has good ratings because it is on all the time. People mistake seeing ads for a movie for anyone being interested in the movie.
> more people in the US like anime than domestic pop culture
Difficult to get viewing figures for that, but I find it hard to believe. That does feel like a bubble effect. And possibly a piracy bubble effect too.
In fact the difficulty of getting meaningful viewing figures out of streamers is probably a big part of the problem. Nobody knows what's actually popular. Even those supposed to be getting royalties had no idea (wasn't there a strike over that?). And the streaming services themselves pay far too much attention to the first weeks, preventing sleeper hits or word of mouth being effective.
Anime is the US is about a $2.5B industry, whereas just movies and just box office revenue in the US is about a three times that at around $7.5B. Anime is doing great here and growing fast, but I think you are in a bit of a bubble as far as anime. It tends to be a "bubbly" subculture, so not surprising.
It drives me crazy that all the streaming services seem to only push about 20 different choices from there catalog.
Each row of choices contains the same titles as the previous row. It makes no sense to me why should the service care at how popular any single title is as long as we are subscribed to their service.
Anime has the same discoverability problem as film and other media.
The anime that you mentioned are things that are popular _right now_. There are a few shows from a decade or so ago that people are told to go watch and do but only a few.
How many newly minted anime fans do you know that are going and digging through the 80s and 90s OVA trash that really defined the medium? (and for every one of those there are 50 more who will complain to you about the animation quality because they were raised on nothing but full CG animation...)
That's just as niche as being a cinephile is today.
I don't know if it's really anime eating movies' cake. But anime is generally FAR more on board with literalism than movies. If anime is really eating movies' market share, the lesson movie makers need to learn is to be more on the nose, not less.
I don't like (most) Anime (I feel like it's one way I diverge from typical geek culture) but I do often like foreign movies and TV shows more than domestic ones. That's probably an effect too.
On the flip side, I've heard the blandness of larger ticket domestic US films in terms of things like sexual, religious, or political themes attributable to global distribution. Many culture are much more sexually conservative, and most overseas cultures outside maybe Canada and some of Europe would not get (or care about) US politics.
Well domestic pop culture is shadow of what it was back in 2012. And the 2012 otaku culture itself was alot more unrestrained than it is today. If anything, anime has generally gotten alot more sanitized and homogenous which has contributed to it's acceptance to the larger mainstream community. Tolerate it or not after all, lolicon was a major part of that preceding era, but it's far more controversial today than it was back then with modern audiences. Alot of what was achieved back then is literally not possible today. It's just that mainstream pop culture has declined even worse that people are moving to the former.
There's a lot of debate in this thread about the merits of watching movies in the theater vs home, but my overall movie watching is way down, regardless of venue. I'm sure I watch less than one movie per month. I used to watch tons when I was younger.
Unrelated, I wish there were small screening theaters where small groups of people could watch films on-demand, drawing on a massive catalog.
I had an interesting experience taking my son to see the recent-ish Mario movie at the theatre that made me realize that the theatre business really is changing.
It was the weekend. Sunday I think. Middle of the day. I hadn't been to this particular theatre before. I bought the tickets online, picked our seats, and then we drove to the theatre. It was in a strip mall on the outer fringes of town, I think they had around 12 screens. So not tiny but not huge.
Anyway, we walk in and there is no check-in or ticket-buying counter. There were some signs with QR codes saying you could buy your tickets online, which I had already done. In fact, there really weren't many people around at all, either customers or employees. The first (and mostly only) thing you see is an elaborate concession stand with every kind of (expensive) snack you could want. I bought us a medium popcorn to share and then we wandered over to the hallway where the screens were. There was no desk or person anywhere to verify that we bought our tickets before entering the theater. I flagged down a cleaning person to ask who we showed our tickets to. He just asked which movie we were there to watch and then pointed us to the right screen.
So I don't know if this was an unusual circumstance and they just weren't checking tickets that day, or if this is just how they run this particular theater. After the movie, on the drive home, my son asks out of the blue, "Wait, did we even really have to buy the tickets online if they don't make anyone check them?" We had a good discussion about that.
That's weird. Where I am, if you buy tickets online you get a QR code. At the theater, there's someone in front who scans your QR code and gives you a physical ticket. That ticket is not really checked, but there is always someone there paying attention to folks walking in.
> Even for individual movies. For all the men-in-spandex movies, the best selling movie (by tickets sold) in modern times is Titanic, 27 years ago.
This looks incorrect, at least according to Wikipedia; its list of films by box office admissions[1] includes a few Chinese movies from the 1980s with higher numbers.
Unless the 80s don’t count as modern times - but I’d say it’s not that far from the 90s.
2002 doesn't look like the interesting year to me. It seems like 2020 and the pandemic is where the most significant drop happened. So we're really looking at post pandemic recovery since that time. How much of the lower numbers are due to theater closures and / or high inflation since then?
Interestingly enough, this varies a lot between countries.
Also, you graph is way too short-sighted to say it “peaked in 2002”, as in reality it peaked in the 50s (before TV went ubiquitous) when almost ten times as many tickets were sold.
Somewhere, Cameron admits he rereleased Avatar to theaters ahead of Avatar 2 so it would beat Endgame. He only needed 8 million more to stay on top, he got 134.
Everybody is talking how tv's got better and sound got better and streaming and dvds...
It's still not the same as the cinema experience.
But! Cinema tickets used to be cheap, you'd buy some drinks in a store to smuggle in, call a girl you liked, got cheap popcorn at the stand, and for very little money got a fun evening.
Now tickets are expensive, popcorn is artificially ultra expensive, to make you buy a "menu" (drinks or sweets added) for just a bit more, better seats are even more expensive, and when you put it all together, it's cheaper to go for a proper dinner in a restaurant. Also, most of the movies suck.
Calling the literalism "new" implies it wasn't present in older pics. You can go back to 1997 when Good Will Hunting won 8 Academy Awards, including Best Picture.
Pretty much everything was telegraphed, and that’s ok — the story resonated with millions of moviegoers and made a lot of money.
Other movies of the era (e.g. Being John Malkovich) didn’t telegraph stuff. That movie didn't win any Oscars and sold roughly 10x fewer tickets.
> Other movies of the era (e.g. Being John Malkovich) didn’t telegraph stuff. That movie didn't win any Oscars and sold roughly 10x fewer tickets.
1999 was a bumper year for film in general. There were too many good picks that many had to be passed over. Eternal Sunshine of the Spotless Mind came out in 2004 to acclaim, and covered similar themes, so it can be done. The casting of Being John Malkovich also made it a long shot for awards, as all of the actors in it are fantastic, but there aren’t any standout roles because everyone in it is so good already, and none of the characters are redeeming in any way, so it’s a hard watch for most folks.
Spike Jonze did get an Oscar nomination for Being John Malkovich, and it was his feature film directing debut. The writer, also in his respective feature film debut (for writing), Charlie Kaufman, also wrote Eternal Sunshine of the Spotless Mind. Ticket sales are the wrong metric for artsy stuff like that, imo.
Ebert said it best:
> Roger Ebert awarded the film a full four stars, writing: "What an endlessly inventive movie this is! Charlie Kaufman, the writer of Being John Malkovich, supplies a dazzling stream of inventions, twists, and wicked paradoxes. And the director, Spike Jonze, doesn't pounce on each one like fresh prey, but unveils it slyly, as if there's more where that came from... The movie has ideas enough for half a dozen films, but Jonze and his cast handle them so surely that we never feel hard-pressed; we're enchanted by one development after the next". He concluded: "Every once in a long, long while a movie comes along that is unlike any other. A movie that creates a new world for us and uses it to produce wonderful things. Forrest Gump was a movie like that, and so in different ways were M*A*S*H, This Is Spinal Tap, After Hours, Babe and There's Something About Mary. What do such films have in common? Nothing. That's the point. Each one stakes out a completely new place and colonizes it with limitless imagination. Either Being John Malkovich gets nominated for best picture, or the members of the Academy need portals into their brains."
I'm convinced it has to do with the increased importance of the overseas markets, these movies now must make it past Chinese censors and make sense for people that don't natively speak English or understands its nuances. Showing a flashback scene and swapping in the government approved voice over is a better business decision than not releasing the movie in insert country here.
The bean counters ruin everything with product placement, taking out bits that "offend" certain censors, and explaining jokes. Let them have their own edited versions that suck.
Hard agree. In what other art forms are people expected to produce for "global appeal"? A lot of my enjoyment of books and music IS the fact that I "don't get it", and slowly learning the cultural references is fun and good for personal development
Yesterday, I showed my kids the original Planet of the Apes. It literally ends with the main character going "oh no humanity you killed yourself may you be cursed for eternity".
It's a fantastic movie, and it's as literal as it can be, so I'm not sure this complaints about movies being literal now makes much sense.
We always had more literal and more abstract movies. To stick to classic SF: Barbarella, Quintet, Zardoz, 2001, They Live.. they all exist on the same "literal-abstract" continuum, they are just placed at different points.
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The examples are not very good. I would take Gladiator II, but Megalopolis was a self-funded project which is completely out of left field, and The Apprentice... I'm not sure what it's an example of. Many more titles are dismissed with a couple words. They really lose me when it comes to Anora. That's quite possibly the worst take I've heard about that film yet, and I've read some Letterboxd reviews.
> What feels new is the expectation, on the part of both makers and audiences, that there is such a thing as knowing definitively what a work of art means or stands for, aesthetically and politically.
Before rushing to judge today's movies, shall we remind ourselves what popular movies 20 years ago were? There were some real stinkers there, too, and they were not more smartly written in this regard. They just weren't.
> The point is not to be lifelike or fact-based but familiar and formulaic—in a word, predictable.
Has this person forgotten Titanic, one of the best-selling movies of all time? It's extremely formulaic, predictable, and intentionally so. It's basically opera, not really a new genre.
sure, but it was self-funded and it was completely panned by the audiences which I think was undeserved, from a lot of people because they found it "weird" or incomprehensible. Which it wasn't in the grand scheme of things.
I can't remember whose blog it was on but someone recently compared audience and critic ratings in the 70s/80s and today, and in the past there was a lot of overlap. Today completely divorced. And it's honestly because the audience, not the critics, just can't take anything unconventional. Creators that had mainstream appeal, Kubrick, Tarkovsky were out there by today's standard. You could not put the opening scene of 2001 in front of a modern audience without half of the people playing subway surfers on their phones. Or take Lynch, he wasn't just niche, people made an effort to understand that stuff.
I noticed this in other media too. I saw reviews for Kojima's Death Stranding 2 and every five seconds someone went it's so weird as if that's almost an offense, from the guy who made the Metal Gear universe. You make something like Evangelion today, the biggest mainstream anime franchise at the time, you'd probably have people on social media cancelling it for some of the more Freudian stuff in it, and complain because there's not enough plot in it.
https://www.hollywoodreporter.com/movies/movie-news/hollywoo...
The biggest issue with the movie is that it's boring. I personally think the weirdness wasn't used to it's full potential.
A very similar (and highly underrated) movie is Richard Kelly's Southland Tales which in my opinion is far superior and vastly more entertaining to watch. Which I guess does prove there is some merit to your point, since this movie was also panned by critics and audiences for being "way too weird".
Obviously subtlety is good, but choosing to be very literal can be an interesting artistic take. I don't think Kojima was thinking about how to dumb-down his message for audiences. I think its a genuine artistic choice rooted in his style. While I didn't like it for other reasons, I think the same can be said for Megalopolis. I loved the scene were it's just a full screen interview with Catiline, even if it was kinda dumb.
There's probably something interesting about how both the ten thousandth grey-CGI marvel movie and these more experimental artists are drawn to hyper-literalism in the now, probably with some thoughts about the social internet thrown in. I'll have to think about it.
The opinion that most movies are dumb, and only a few of them respect their audience and are worthy of awards and praise, has been true for as long as movies have existed
Wait... I've never seen it. Don't tell me the ship sinks!
It may be the case that this is a recent phenomenon (though some other commentators disagree), but without providing detail on what movies the author feels avoid this pattern, they make their argument impossible to refute or engage with. (It also insulates the author’s tastes from criticism, which I suspect is part of the motivation)
It's a bit of a humble brag to complain that movies are too obvious, isn't it? Serpell invites us to pat ourselves on the back for our sophistication as we turn up our noses at art that the uneducated rabble can comprehend.
Yes, there is a tradition in the arts of weaving subtle elements into a work that will reward the savvy observer. Arguably, it began when scribes and storytellers became no longer satisfied to merely repeat ancient texts, and set out their own commentary and interpretation, no doubt with some frequency constructing theories that never were conscious in the mind of the long-dead author.
This literary game is wonderful for arts colleges who happily charge young adults a handsome fee to play at this game that arose in a time when eligible aristocrats scrambled after every affectation that might provide an honest signal of their ponderous amounts of free time, wealth, and sexual fitness. Like tonsils, these vestigial organs have their defenders.
No doubt Serpell holds the skills she honed first at Yale and then at Harvard in great esteem. I imagine she derives much satisfaction at her ability to write hundreds of pages expounding on the literary equivalent of atonal noise. But while I'm happy for her to share her preferences, I'm not sure why those preferences should hold any great weight when it comes to popular culture.
Unsaid--and of course it is unsaid, it would be gauche to speak directly--is the claim that great art cannot be direct, clear, or obvious. The purpose of art is not to speak to us, but to sieve society into gradations of fineness. If any coarse, unimproved grit passes through the sieve, the sieve is defective. After all, if this rough grit can pass through the sieve, who will pay Serpell to laboriously grind the sediment into a fluffy, airy, rarefied powder at Harvard.
I think it's pretty normal that as people get deeper and more invested in any given artform, they tend to become more appreciative of works that are less immediately pleasing to lay-people. You mentioned literature and (atonal) music, but this just as readily applies to food, wine, videogames, Anime, fashion, anything you can think of.
I'll agree that there's an unfortunate tendency for some people (again, in any artistic field) to get overly critical or dismissive of straightforwardly good work, especially if consuming, thinking about, and discussing the quality of work is their actual job and they're perhaps getting a bit bored of something they once loved. On the other hand, who better to recognize oversaturation of a given style or approach? I certainly wouldn't notice that wine producers are currently chasing the trend of dry whites, produced from heirloom European grapes to the detriment of all other kinds of wine! It's important to have at least some snobs, to push and goad artists away from currently oversaturated trends and continue the cycle of innovation and variety. And it's important to recognize that a critic complaining that a certain style is too popular doesn't mean they think it's a bad style or that you shouldn't enjoy it, just that they'd like to spend more of their life enjoying other things too.
https://acoup.blog/2024/12/06/collections-nitpicking-gladiat...
https://acoup.blog/2024/12/13/collections-nitpicking-gladiat...
Now, what IS relatively new is the "ruined punchline" phenomena that they identify (without naming) on the movie recap podcast Kill James Bond, which is that contemporary movies always ruin jokes by telling one, say... "x" and then having another character chime in with "Did you just say 'x' !?"
I think there's a fear of losing attention because you're asking people to think about something other than the eyewash happening right in front of them by inviting them to have to -think- about a movie.
Anyway, to close: "No one in this world ... has ever lost money by underestimating the intelligence of the great masses of the plain people..."
- HL Mencken
I think you're disproving your own point. If you look the major flops in all industries (video-games, movies, ...) the general trend is contempt for the audience. This generally results in some form of uproar from the most involved fans, which is disregarded because of the assumption that the general public won't pick up on it. At the very least, I would say that for this to be true you need to have a very specific definition of intelligence that would exclude a lot of crowd behaviors.
That phrase is about conning people...
And I guess my point is that Jurassic Park doesn't feel modern or clumsy in this particular execution.
This is a more recent phenomenon. This is literally just repeating a punchline so that it tells the audience - "that was the punchline, you can laugh now."
I've seen plenty but I can't give any specific examples. I mention Kill James Bond [0] because they specifically point it out in the movies they watch. Although they don't watch any Whedon movies, in talking about it in movies where it happens a lot they cite Whedon as particularly guilty of this.
[0] https://killjamesbond.com/
That's close to the way the conversation would happen in real life.
George Carlin didn't emphasis this enough in retrospect. The idiots in-charge now appear to begging for educational percussive maintenance, albeit in hyperbolic, euphemistic form for legal reasons only.
And this is highly relevant for things like this. People often argue that if movies were so bad then people would stop watching them, unaware that people actually have stopped watching them!
Even for individual movies. For all the men-in-spandex movies, the best selling movie (by tickets sold) in modern times is Titanic, 27 years ago.
[1] - https://www.the-numbers.com/market/
Box office ticket sales say people go to the theatre less often, not that people watch movies less often. Unless you specifically want "the movie theater experience" or you absolutely have to see a certain movie at launch you're not going to the theatre to watch a movie. The number of movie views per person may well be down (or up), but box office ticket sale counts don't really answer that question.
So now we just wait for a movie we want to see to become available on Apple TV, and then we rent it.
There are still some fun things to do at particular theaters, like Twisters in 4dx. But there is little compelling reason to otherwise.
I used to make exceptions for independent films when I lived near an IFC theater, but streaming/vod services now have me covered there too and I don't live near one anymore.
When I was an undergrad ages ago, going to the on-campus movies were a non-trivial part of the weekend experience. My understanding is that they're mostly dead at this point.
Fucking absurd.
Fun fact: this is completely wrong. The cinema theaters were much more popular in the 1920s and 1930s, with about 3 times more tickets sold in the USA (out of a smaller population).
"In 1930 (the earliest year from which accurate and credible data exists), weekly cinema attendance was 80 million people, approximately 65% of the resident U.S. population (Koszarski 25, Finler 288, U.S. Statistical Abstract). However, in the year 2000, that figure was only 27.3 million people, which was a mere 9.7% of the U.S. population (MPAA, U.S. Statistical Abstract)." in Pautz, The Decline in Average Weekly Cinema Attendance, Issues in Political Economy, 2002, Vol. 11. https://ecommons.udayton.edu/cgi/viewcontent.cgi?article=102...
Anyway. The tech in the movie theaters did improve by a lot since then, 3D was a fad but we get 4K, imax, Dolby Atmos, etc nowadays. But it's not as popular as back then, cost and convenience probably being important factors, but the lack of long exclusivity (it's now only weeks sometimes until a film is out on streaming) and the overflow of media nowadays isn't helping either. The last really popular film was the Marvel films and the last Avatar film, other than that it feels all a bit mediocre or unremarkable.
I wonder if that's the other factor. The 90's and early 2000s were for many people the highlight of filmmaking - this may be a generational thing. But there were years where multiple films would come out that were still remembered fondly for years or decades after.
Meanwhile, I couldn't name you a single good or standout film from the past year or years. Nothing I remember anyway. I think the combination of the LotR trilogy and the Star Wars prequels ruined films forever for a lot of people, in a good way for the former and a bad, cynical one in the latter, lol.
2002 is when tvs got larger, fidelity with cable tv improved, dvds were readily available, etc. it was also an era where more people started gaming (the industry took off around this time), so people were shifting away from movie theaters as a social activity.
The rise of literalism (as in the article) is probably a partial response to increasingly shorter attention spans.
Songs are shorter (<3 minutes) and lyrics simpler as a result. People don’t want to think anymore.
I used to go to the cinema quite a bit. Now I only go once every 1-2 years to see something on IMAX that I hope will really benefit from it. In recent years that was just the two Dune movies and most recently the F1 movie. Unfortunately, even the biggest IMAX theater in my area is still not what I'd consider a proper IMAX like the Metreon in SF so I'm always underwhelmed. Not sure if that's because this IMAX is too small or because even IMAX stopped being amazing due to growth and improvement of other screens.
I used to watch a lot of smaller movies in the cinema. That's stopped entirely. With any movie the question now is how long till we just can watch it at home. Smaller movies which I'd be more willing to support frequently even seem to skip the few months where you have to rent them and go straight to streaming. So unfortunately even less incentive to go to the cinema.
Culture around it doesn't help either. Friends used to recommend movies that they watched in the cinema. I can't even recall when that happened last.
IMAX broadened the licensing about 10-15 years ago. I'm not an IMAX person, but people who are complained a lot about it at the time.
I recently got a a pair of XR glasses (ray neo 3). Pretty much replicates the full cinema experience. Only downside is it isn't a shared experience.
That era is ending, and other things are replacing them, mostly based on computers and internet.
If you love movies this is sad, but movies once replaced other beloved things.
The world spins on and nothing is forever. Enjoy the ride!
And he says maybe big-budget movies are like that too, something that culture will do for a while and then move on to something different when the conditions change.
They'll end up being more like video games than traditional movies, and no two playthroughs will be exactly the same, and eventually you will be able to stay in the movie world and advance the story for days or weeks at a time.
But the problem is that people don't want to play 40 different Call of Duties, or watch 30 different Batmen. It's just that Batman or Call of Duty were the 'meet in the middle' of a variety of different tastes. But when those other tastes aren't accounted for, it becomes nauseating. It's like how most of everybody really likes cake icing, but eating nothing but cake icing is quite a repulsive concept.
I think things like Dune, Interstellar, and other such films emphasize that there's a gaping hole in the market for things besides men in spandex, but it's just not being filled. And there's even extensive social commentary in Dune (as in the book) but it's done through metaphor rather than shoving it down your throat. And the movie is also rather slow paced with some 3 key events playing out in a 155 minute film, yet it continues to do extremely well. On the other hand those Fremen suits are kind of spandexy...
Still, surprising statistics.
So maybe, cinema is no longer an exclusive medium for this kind of content and box office numbers (just like revenue for big tech) aren’t supposed to always go “up”.
There was a lot to do in 1997, just not as much to do without leaving home. We went to movies because they were affordable and great movies were being released.
Also, that was the era where new multiplex theaters were being built with great sound systems, so it was worth going to a theater for the high-quality experience. While quality consumer electronics are more readily available today than ever before, I feel like the vast majority today only watch media with headphones, TV speakers, or maybe a 2.1 stereo+sub setup.
Right, there are only so many walls to paint in a cave…
I can't tell if this is sarcasm.
I don't think that going to the movies has gotten more expensive in real terms. It's just that the records are usually not adjusted for inflation, so a film with the same audience and the same inflation-adjusted admission price will appear to make 80% more at the box office compared to 2002.
https://www.reddit.com/r/boxoffice/comments/14kznfv/movie_ti...
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They care how much profit they make and what the growth in their profit margin is, as that sets their multiple on their stock price.
If it's a better strategy selling movie tickets to mostly single adult men at high prices than to families at lower prices, guess who movie studios are going to make movies for?
Movies studios reached their TAM in the West a while ago. The only way to make more money is charging more per ticket in real terms, which means a reduction in TAM
Difficult to get viewing figures for that, but I find it hard to believe. That does feel like a bubble effect. And possibly a piracy bubble effect too.
In fact the difficulty of getting meaningful viewing figures out of streamers is probably a big part of the problem. Nobody knows what's actually popular. Even those supposed to be getting royalties had no idea (wasn't there a strike over that?). And the streaming services themselves pay far too much attention to the first weeks, preventing sleeper hits or word of mouth being effective.
It drives me crazy that all the streaming services seem to only push about 20 different choices from there catalog.
Each row of choices contains the same titles as the previous row. It makes no sense to me why should the service care at how popular any single title is as long as we are subscribed to their service.
They are hampering discoverability.
The anime that you mentioned are things that are popular _right now_. There are a few shows from a decade or so ago that people are told to go watch and do but only a few.
How many newly minted anime fans do you know that are going and digging through the 80s and 90s OVA trash that really defined the medium? (and for every one of those there are 50 more who will complain to you about the animation quality because they were raised on nothing but full CG animation...)
That's just as niche as being a cinephile is today.
On the flip side, I've heard the blandness of larger ticket domestic US films in terms of things like sexual, religious, or political themes attributable to global distribution. Many culture are much more sexually conservative, and most overseas cultures outside maybe Canada and some of Europe would not get (or care about) US politics.
Unrelated, I wish there were small screening theaters where small groups of people could watch films on-demand, drawing on a massive catalog.
It was the weekend. Sunday I think. Middle of the day. I hadn't been to this particular theatre before. I bought the tickets online, picked our seats, and then we drove to the theatre. It was in a strip mall on the outer fringes of town, I think they had around 12 screens. So not tiny but not huge.
Anyway, we walk in and there is no check-in or ticket-buying counter. There were some signs with QR codes saying you could buy your tickets online, which I had already done. In fact, there really weren't many people around at all, either customers or employees. The first (and mostly only) thing you see is an elaborate concession stand with every kind of (expensive) snack you could want. I bought us a medium popcorn to share and then we wandered over to the hallway where the screens were. There was no desk or person anywhere to verify that we bought our tickets before entering the theater. I flagged down a cleaning person to ask who we showed our tickets to. He just asked which movie we were there to watch and then pointed us to the right screen.
So I don't know if this was an unusual circumstance and they just weren't checking tickets that day, or if this is just how they run this particular theater. After the movie, on the drive home, my son asks out of the blue, "Wait, did we even really have to buy the tickets online if they don't make anyone check them?" We had a good discussion about that.
This looks incorrect, at least according to Wikipedia; its list of films by box office admissions[1] includes a few Chinese movies from the 1980s with higher numbers.
Unless the 80s don’t count as modern times - but I’d say it’s not that far from the 90s.
[1]: https://en.m.wikipedia.org/wiki/List_of_films_by_box_office_...
Also, you graph is way too short-sighted to say it “peaked in 2002”, as in reality it peaked in the 50s (before TV went ubiquitous) when almost ten times as many tickets were sold.
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I’m really looking forward to the Space Balls sequel. I have hopes that one will be good.
It's still not the same as the cinema experience.
But! Cinema tickets used to be cheap, you'd buy some drinks in a store to smuggle in, call a girl you liked, got cheap popcorn at the stand, and for very little money got a fun evening.
Now tickets are expensive, popcorn is artificially ultra expensive, to make you buy a "menu" (drinks or sweets added) for just a bit more, better seats are even more expensive, and when you put it all together, it's cheaper to go for a proper dinner in a restaurant. Also, most of the movies suck.
Pretty much everything was telegraphed, and that’s ok — the story resonated with millions of moviegoers and made a lot of money.
Other movies of the era (e.g. Being John Malkovich) didn’t telegraph stuff. That movie didn't win any Oscars and sold roughly 10x fewer tickets.
1999 was a bumper year for film in general. There were too many good picks that many had to be passed over. Eternal Sunshine of the Spotless Mind came out in 2004 to acclaim, and covered similar themes, so it can be done. The casting of Being John Malkovich also made it a long shot for awards, as all of the actors in it are fantastic, but there aren’t any standout roles because everyone in it is so good already, and none of the characters are redeeming in any way, so it’s a hard watch for most folks.
Spike Jonze did get an Oscar nomination for Being John Malkovich, and it was his feature film directing debut. The writer, also in his respective feature film debut (for writing), Charlie Kaufman, also wrote Eternal Sunshine of the Spotless Mind. Ticket sales are the wrong metric for artsy stuff like that, imo.
Ebert said it best:
> Roger Ebert awarded the film a full four stars, writing: "What an endlessly inventive movie this is! Charlie Kaufman, the writer of Being John Malkovich, supplies a dazzling stream of inventions, twists, and wicked paradoxes. And the director, Spike Jonze, doesn't pounce on each one like fresh prey, but unveils it slyly, as if there's more where that came from... The movie has ideas enough for half a dozen films, but Jonze and his cast handle them so surely that we never feel hard-pressed; we're enchanted by one development after the next". He concluded: "Every once in a long, long while a movie comes along that is unlike any other. A movie that creates a new world for us and uses it to produce wonderful things. Forrest Gump was a movie like that, and so in different ways were M*A*S*H, This Is Spinal Tap, After Hours, Babe and There's Something About Mary. What do such films have in common? Nothing. That's the point. Each one stakes out a completely new place and colonizes it with limitless imagination. Either Being John Malkovich gets nominated for best picture, or the members of the Academy need portals into their brains."
https://en.wikipedia.org/wiki/Being_John_Malkovich
Unrelated movie trailer https://www.youtube.com/watch?v=kRqxyqjpOHs
And the second example makes it harder by referencing a bell and an exchange
It's a fantastic movie, and it's as literal as it can be, so I'm not sure this complaints about movies being literal now makes much sense.
We always had more literal and more abstract movies. To stick to classic SF: Barbarella, Quintet, Zardoz, 2001, They Live.. they all exist on the same "literal-abstract" continuum, they are just placed at different points.