Inception was not a brand, which is why nobody with a marketing background is too eager to go find the next Inception—although ironically, any studio in town would eagerly green-light Inception 2. On the other hand, as you read this, the person who gave the go-ahead to Fast Five, the (I hate to prejudge, but...) utterly unnecessary fifth installment in the Vin Diesel–Paul Walker epic The Fast and the Furious, is sleeping soundly right now, possibly even at his desk. On June 10, 2011, he will bestow on several thousand screens a product that people have already purchased four times before. How can it miss?Now go read the whole thing.
Of course, it can miss; can't-miss movies miss all the time. But when a movie that everyone agrees is pre-sold falls on its face, the dullness of the idea itself never gets the blame. Because the idea that familiarity might actually work against a movie, were it to take hold in Hollywood, would be so annihilating to the studio ecosystem that it would have to be rebuilt from the ground up. Give the people what they don't know they want yet is a recipe for more terror than Hollywood can accommodate.
And while that bland assembly-line ethos hasn't affected the small handful of terrific American movies that reach screens every year, it's been absolutely devastating for the stuff in the middle—that whole tier of movies that used to reside in quality somewhere below, say, There Will Be Blood but well north of Tyler Perry's Why Did I Get Married Too? It's your run-of-the-mill hey-what's-playing-tonight movie—the kind of film about which you should be able to say, "That was nothing special, but it was okay"—that has suffered most from Hollywood's collective inattention/indifference to the basic virtues of story development. If films like The Bounty Hunter and Prince of Persia: The Sands of Time define the new "okay," then the system is, not to put too fine a point on it, in very deep shit.
[H/T to @JamilSmith.]
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