It’s officially listed as a drama/romance by Google.
The taxonomy of genre is just a tool, it’s used as long as it’s useful.
So discussing films often involves comparing them, and like/unalike is part of that. Genre is useful there.
But something like ‘Titanic’ is a disaster movie, and action film, a love story and a period drama, all in one. No doubt it’s Venn diagram includes other genres too.
So we use the ones that fit the conversation. It’s not like a law of nature.
In domestic box office, Black Panther has passed TITANIC to become the #3 movie of all time.
It has no chance to catch #2 but still…that is pretty good.
At the school dance we went to a couple of weeks ago most kids went as Batman, followed by Spider-Man and Superman. The next one was Black Panther.
There were also two unfortunate souls dressed as Flash who I hope were forced to do so by tragically uncool parents.
A Quiet Place opened to $50M domestic, making it Paramount’s highest opener since Star Trek Beyond in July 2016, on a $17M budget.
The second year in a row a comedian from TV directed a low budget horror film that was a huge success.
And the movies weren’t trying to be “funny”.
Eh, Get Out was pretty funny. And was nominated in Musical/Comedy at the Golden Globes.
Outside of Rod and his interactions, I wouldn’t describe it as comedic at all. It’s a horror film with a comic relief character to relieve tension. Nominating it in the comedy category was more about feeling the need to recognize the film, but essentially relegating it to the “genre, therefore not important” category - see also: The Martian.
Nominating it in the Musical/Comedy section is the typical Golden Globes view that only very serious non genre material can be included under drama. They put ‘The Martian’ in there before, because it’s in space and all that.
(There are funny bits in both to be fair but then again most films that aren’t the deepest of tragedies have funny bits in them).
Oh, I don’t think Get Out’s a comedy. I just disagree with the idea that it’s not trying to be funny.
All good horror has splashes of the comedic.
Deadline have published a list of, what they think, are the most profitable movies of last year;
- Star Wars: The Last Jedi (DIS/Lucasfilm) – $417.5M
- Beauty and the Beast (DIS) – $414.7M
- Despicable Me 3 (Illumination/UNI) – $366.2M
- Jumanji: Welcome to the Jungle (SONY) – $305.7M
- It (New Line/WB) – $293.7M
- Wonder Woman (WB/DC) – $252.9M
- Spider-Man: Homecoming (SONY/Marvel) – $200.1M
- Thor: Ragnarok (DIS/Marvel) – $174.2M
- Guardians of the Galaxy Vol. 2 (DIS/Marvel) – $154.7M
- Get Out (UNI/Blumhouse) – $124.3M
And the biggest bombs;
- King Arthur: Legend of the Sword (WB/Village Roadshow) – ($153.2M)
- Monster Trucks (PAR) – ($123.1M)
- The Promise (Survival Pictures/Open Road) – ($102.1M)
- The Great Wall (Legendary/UNI) – ($74.5M)
- Geostorm (WB/Skydance) – ($71.6M)
According to Wikipedia, the entire budget for The Promise came from a single person: https://en.wikipedia.org/wiki/The_Promise_(2016_film)#Production
The entire budget was donated by American businessman of Armenian origin Kirk Kerkorian.
He died in 2015.
The losses on this one were cushioned by the fact that the film was a very personal project of Armenian mogul Kirk Kerkorian, who absorbed much of the loss posthumously.
Not adjusting for inflation, but still.
Justice may have broken even or made a little profit, but in terms of lost potential, it is probably a stronger failure than any of the big bombs.
Not just that, it essentially bombed a whole series of franchises and threw the future of a studio up in the air.
Nobody anywhere, fans or studios or film press predicted Wonder Woman solo would make more money.
It’s a very average film, I took the kids to see it and they’ve never spoken about it since (unlike pretty much every other movie I take them to). That kind of sums it up.