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2024, a year in cinema defined by high highs and devastating lows and though that isn't necessarily unusual for any given 12 month production cycle , the year’s film scene provides an interesting contrast in what audiences deem ‘worthy’ versus critical analysis that seeks deeper meaning within the movie structure as several big projects fell way shorter of their desired results from pre production studio set goals and other indie movies flew completely under the radar with little hype but often provided incredible results both critically as well as in their long lasting message to those audiences that happen to catch that during distribution or on long runs of screenings. Therefore, to make better sense of such chaotic mix we shall look specifically towards the general patterns for 2024 through careful observation of various titles; and examine them against a background of critical reception versus mainstream viewership.
This year’s "worst movies” selection can provide insights regarding core flaws both on how ideas get approached during production, as well as their ultimate goal or intent with various selections coming from multiple categories and varying budgets; most of which often include a great number of highly recognizable faces that all struggled due to how some studios attempted different experimental paths which in the end delivered rather subpar final results. A recurring pattern, however, seems to often point to various studio production houses as most common offenders since often those that carry some unique artistic merit seem too easily overlooked which clearly gives further emphasis that there might be some lack of clear vision behind larger project goals by some high budget production entities. From ‘absurdist’ attempts in "Poolman", a "Joker" rip off “Dogman”, or an aggressively tedious political satire "Rumours" all these, clearly have little to no redeeming value or intent beyond their initial setup concept failing all major objectives .
Many production team elements often tend to completely over look some very fundamental details in making any project good by taking various basic concepts without fully comprehending their prior contextual value to deliver what may end up feeling an incomplete or generic story by lacking a sense of self-awareness that does show clear signs in how they fail when analyzed by other viewpoints. This also shows there might be a gap between intention, message or theme of those types of production properties versus how general audiences perceive their goals due to several production related factors. Several titles seem like an exercise to 'check boxes' from pre-set templates ( from previous known titles ) rather than genuinely try something different.
What makes 2024 such an interesting study is precisely from how some high performing financial properties that seem designed from specific existing production templates are completely hated by long time movie reviewers . Ronald Reagan’s Biopic “Reagan” may have been seen by several individuals who may simply be seeking 'comfort zone’ viewing experience that are often designed with easy storylines and feel good undertones but most serious reviewers immediately recognize this to be ‘propaganda’ for specific viewpoints that disregard well documented facts in favor of ‘ feel good movie tropes’ that are common in old tv production cycles that often require nothing from their viewers except complete lack of engagement on plot line elements (and that requires viewers to turn of brain). Other properties with similar reception include various poorly crafted Superhero related properties that had all long running high performing franchises but all came to some crashing stop as various recent titles underperformed even by studio standards as general audience started showing clear preference for other types of productions with unique takes in specific genres.
In general, critical viewpoints usually focus more on deeper details that explore the underlying narrative, character consistency, ethical implications, creative value and original storytelling while larger mainstream audiences tend to lean in familiar comfort zones that rarely require more from them besides showing off previously seen themes, or stories. That said and, by carefully looking onto that long list, this seems to highlight what seems a slow gradual change with general viewers finally leaning towards something slightly different, as some highly predictable generic content start showing an extreme drop at viewing numbers and its perhaps too early to track how, if, that long term trend will change going forward.
Examining what those low rated movies have in common there's always something about lack of ambition beyond ‘ making some money quickly’ or a strong degree of indifference that seems visible in character design or dialogue (or often very illogical storyline that makes the end results feels a lot cheaper for those that look beyond surface) also the use of previously known tropes from old stories or formats with minimum effort. Many also heavily rely on Nostalgia where they play into existing past trends to target very specific demographic groups by giving them what they are already familiar with rather than present something fresh or with unique approaches in established categories as some often create stories with very cheap undertones and do all their effort seem very superficial while neglecting critical or key ethical points, for easy financial return or even cheap praise. The same issues arise often when a specific film project seems entirely unwilling to improve or grow beyond its first established format often making long runs more predictable than engaging.
In short, these projects do appear mostly focused on pre-made set demographic viewpoints while all are being sold as something new without an intention of delivering said promised innovation with a clear focus in pre established viewerships, to repeat what is familiar rather than attempt to reach more wider demographic reach and all that ultimately undermines creative goals and long lasting audience connection.
2024 with this high contrast between what fails critically vs financial revenue does seem to reveal an important aspect about our current market: that studios seem unwilling to take on many 'risks' or explore truly creative ventures for what seems as the risk assessment on ' guaranteed ROI', with all that data on hand what appears that the common 'risk assessment strategy' tends to favor playing it ‘safe’ by using all existing data on proven formats that often does create what many will call 'low creative results' due to its inability or even unwillingness to go far outside already explored templates and it will become more and more common over upcoming years.
However it also seems to signify that a long time audience’s preference ( by skipping many properties completely or waiting for discounted releases) for this generic set production style are also diminishing which has now clearly made space for unique formats and genres that do tend to achieve the highest critical review from audience that do connect to that particular storytelling style that, despite always performing less in 'high box-office’ format can quickly develop a stronger loyal base or followers that keeps those ideas alive longer even through non high profit settings .
2024’s film market will undoubtedly be one defined by its many glaring differences on both public viewing preference as well as what critics see of actual worth. From the bottom ranked cinematic productions all through the long tail distribution of independent creators, we can grasp this critical understanding. Most studios still aim towards a specific ‘target market’ but if a movie shows value and heart then it will reach wider than anyone thought as viewers respond accordingly and some studios often use past data on predictable ways to connect with all of that as these type of productions constantly fail when looking onto long run views whereas the reverse approach of smaller ( or previously unknown ) properties achieve far more consistent positive recognition which does hint some future changes on the overall production scale.
All movie preferences aren’t strictly about the ‘story' but in how it intends to deliver all those values that connect with the wider demographic reach rather than be limited by it ( whether by choice or some level of studio imposed pressure) And whilst both camps ( critics versus audience) will keep disagreeing over the years ( for various and long running production formats) if there’s one clear and evident trend for 2024 it would simply be this : that if a property feels honest it will be recognized more often than others , that's the trend with new viewers and with very long time hard core cinema fans. It will be intriguing to track how that might evolve as time moves forward with future cinematic productions in the years that come.