I called this one months ago. America is tired of HollyWEIRD shoving Liberalism into our faces on the big screen.
This summer has been as dry as the Sahara for Hollywood. While the international market has remained solid for American movie exports, domestic box office is down dramatically, according to the Hollywood Reporter:
By the time Labor Day weekend wraps, summer box-office revenue in North America will end up being down nearly 16 percent over last year, the steepest decline in modern times and eclipsing the 14.6 percent dip in 2014. It will also be the first time since 2006 that summer didn’t clear $4 billion.
Why? First, because the movies stink. Here’s list of the major studio releases this summer: Transformers: The Last Night; The Mummy; Pirates of the Caribbean: Dead Men Tell No Tales; King Arthur: Legend Of The Sword; The Dark Tower; Valerian And The City Of A Thousand Planets; Baywatch; Rough Night. The only successful summer films were Guardians of the Galaxy: Volume 2, Wonder Woman, Despicable Me 3, Boss Baby, Spider-Man: Homecoming, and Dunkirk.
Notice anything about this catalog of titles? There’s perhaps one adult movie among them. No longer is the movie industry seeking to put out entertainment for adults. Instead, to justify higher ticket prices, they put out tentpole after tentpole, sequel after sequel.
Moreover, they rely on the lowest common denominator when it comes to material, which is why every other film is a comic book movie. Adults watch those films; teens watch those films; even kids will watch those films. But there is one oddity to this logic: Hollywood seems reluctant to greenlight films that would target the lowest common denominator among Americans: patriotic films. It takes legendary directors like Clint Eastwood to get American Sniper produced and distributed; modern masters like Christopher Nolan have to put their reputations on the line in order to do pro-Western films like Dunkirk.
Most of that has to do with the growth of the international market — there seems to be a reluctance to produce films with an overtly pro-America message out of fear that foreigners won’t watch it. American Sniper earned nearly $200 million in foreign box office, but Pirates of the Caribbean: Dead Men Tell No Tales earned $691 million globally. Why make the former when you can make the latter?
But that doesn’t answer a key question: is lack of patriotic content the chicken or the egg? Did Hollywood stop making patriotic fare because they valued the foreign box office, or did they stop making patriotic fare, and domestic receipts went down, leading to higher foreign box office as a percentage of the total gross?
Here’s the bottom line: Hollywood isn’t making movies for Americans anymore. They’re making movies for overseas audiences. And whereas Hollywood used to export American values, it now exports international values to an international audience.