How Can the Movie Industry Thrive Again? Simple: Make 100 Movies a Year That People Want to See

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Sometimes it feels like when you’re dealing with challenges, perhaps multiple ones, and they all become entangled, leaving you feeling overwhelmed and immobilized, as if there’s no way forward. It can seem that hope is slipping away or has already vanished, but then one day, you suddenly find yourself realizing…it might be time to seek counseling or therapy.

The movie industry needs therapy.

To succeed, it clearly requires numerous elements, foremost among them being successful films and a steady stream of them. In essence, isn’t that the crux of the matter? However, given that we do still produce successful films and audiences who attend cinemas to make them happen, it’s worth pondering why a stronger industry – one that consistently produces more hits than it does currently, akin to the frequency in the ’90s and ’00s – seems increasingly elusive.

Here’s where therapy steps in. During your initial therapy sessions, you typically share the burdens that have accumulated to such an extent that they appear impossible to overcome. For the film industry, let’s rewind and examine the recurring reasons for failure that might be playing on repeat in our minds.

In this version, I’ve tried to make the language more conversational and easier to understand, while maintaining the original meaning.

1. The pandemic significantly altered the business landscape, leading many individuals to prefer staying indoors rather than visiting movie theaters.
2. Streaming services, which gained popularity during the pandemic, became the main reason people chose to stay at home.
3. The traditional movie theater experience is often disappointing due to factors like distractions from cellphones, excessive trailers, and overpriced concessions. Despite efforts to enhance it, these improvements have not fundamentally changed the experience.
4. Modern youth are less interested in movies compared to platforms like TikTok; they might find watching TikTok videos just as appealing.

It seems we’re all on the same page. Yet, the idea of retreating to our beds might be tempting. However, the answer could very well be within our reach instead.

A significant number of films are unveiled annually, with most failing to make a substantial impact. However, some do manage to succeed. Despite the shift in viewing habits and the rise of streaming platforms, blockbuster cinema continues to be a vital part of the film industry, even experiencing growth in certain aspects. It’s essential to note that the popularity of Marvel films doesn’t equate to the decline of the movie industry as a whole. Furthermore, it’s undeniable that the production costs for many movies need to be reduced.

However, a therapist might argue that it’s essential for the industry to primarily consider and rectify its errors while also envisioning a clear concept of success. Here’s what I believe that entails: producing approximately 100 movies each year that resonate with viewers. This goal is achievable, folks.

Reflecting on the movie industry’s prosperous era in the ’80s and ’90s, it’s worth noting that only around 100 films were released annually. This diverse collection of movies included a variety of genres. In our current times, I estimate that approximately 50 to 60 movies manage to resonate with viewers each year. The majority are large-scale blockbusters; however, there is still a modest number of dramas and comedies intended for adult audiences. Movies such as “A Complete Unknown”, “Anyone but You”, “Challengers”, “It Ends With Us”, “Conclave”, and “The Best Christmas Pageant Ever” from last year fall into this category. It would be beneficial to have more of these thought-provoking films in our cinematic landscape.

As a movie enthusiast, I couldn’t agree more! What he’s hinting at is the revival of the mid-budget film, tailored for mature audiences – a genre that hasn’t entirely disappeared (just take a look at the list of films I mentioned earlier), but has certainly lost some limelight. “Anyone but You” was a blockbuster hit, yet surprisingly, no other studio romantic comedies followed suit after its release.

The reason for this, in part, is that the mindset once known as the “blockbuster approach” has grown more pervasive. To clarify, this mindset implies that in the upper echelons of decision-making, it’s considered weak or unwise to produce films with moderate success – those that score singles and doubles are deemed insignificant. This mentality is increasingly contributing to the decline of the industry.

In modern times, the movie industry consists of numerous competitive entities, and the competition can often feel metaphorically ruthless. The goal is to thrive while making others struggle. However, this wasn’t always the case. Historically, the film industry operated more like a scenario where high tides lift all boats. Today, it’s crucial for the industry to shift its mindset and collaborate to tackle the colossal challenge posed by streaming platforms. Streaming services are dominating in an overpowering way that seems unnecessary.

I can’t help but reflect on the films that bypassed the big screen for streaming platforms, movies that could have contributed significantly to our movie-watching culture. For instance, “Glass Onion: A Knives Out Mystery” and “Bridget Jones: Mad About the Boy,” which were popular in Europe and North America respectively but only available on Netflix and Peacock. Or consider the alluring and intriguing undercover romantic thriller “Hit Man” starring Glen Powell, or the heartwarming dramas like “Flora & Son,” the captivating biopic “Super/Man: The Christopher Reeve Story,” and even Adam Sandler’s upcoming sequel “The Waterboy 2.” I wonder if these films would have struggled in theaters as much as you seem to suggest.

You might’ve observed that the majority of films I mentioned earlier are not typically associated with award seasons. These used to be a significant part of commercial cinema, but now they hold less significance. While there are instances where awards films can still become successful (like “A Complete Unknown” or “Poor Things”), it’s fantastic when it happens, and they could potentially be included in the list. However, the movies I’m referring to primarily belong to the category of middlebrow commercial entertainment – the kind that Hollywood once marketed openly to audiences and still could. What we need is a collection of 100 such films annually that resonate with viewers. But for this to happen, we require an industry that’s committed to producing and showcasing these films, rather than one that seems to have lost faith in itself.

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2025-04-12 22:19