A New York Times article questioned Friday why audiences don't flock to see "highbrow" Oscar-oriented films in theaters, suggesting these movies' "depressing" content could be one reason.
Despite audiences returning to theaters after the COVID-19 pandemic, certain Oscar buzz films are still losing millions at the box office.
The Times spoke to film critics and production studios to see why that is. Answers varied, with some blaming streaming services and others claiming that box office results were an outdated model of success.
"Ask 10 different specialty film executives to explain the box office and you will get 10 different answers," Times reporter Brooks Barnes wrote.
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However, one film historian suggested the heavy social messages in these films turned off audiences.
"People like to call it ‘escape,’ but that’s not actually what it is," scholar and author Jeanine Basinger told The Times. "It’s entertainment. It can be a serious topic, by the way. But when films are too introspective, as many of these Oscar ones now are, the audience gets forgotten about," she added.
Basinger said audiences want to enjoy themselves, not to be reminded about all the "things that are wrong."
"Give us a laugh or two in there! When I think about going out to see misery and degradation and racism and all the other things that are wrong with our lives, I’m too depressed to put on my coat," she told the paper.
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Conservative film critic Christian Toto, editor of HollywoodinToto.com, agreed there were a variety of factors to blame ,from "audiences becoming accustomed to seeing first-run films at home to residual pandemic fears."
Audiences not trusting liberal film critics "can't be overlooked, though," he said in comments to Fox News Digital.
"Audiences may not trust film critics as much as they once did. The critical community is not just left-leaning but occasionally activist in its reportage, giving favorable notices to films that align with their worldview. The chasm between the general public and critics is growing in recent years as a result," he said.
Toto agreed that Oscar nominated films are often too "serious and sober" and kill the entertainment factor. But they also don't address "real world" concerns, he said.
"Plus, Oscar-bait films feel like audiences are taking their medicine, not having a spellbinding time at the theater. The subjects are serious and sober, and the issues in play often don't address real-world concerns for the average ticket buyer like inflation and crime rates. Most people don't care about cannibals falling in love, and as a result the recent 'Bones and All' belly flopped in theaters," Toto added.
Politics are also a factor. "Hollywood, in general, has been dismissive of many movie goers for their political views and pandemic opinions. That one-two punch hasn't helped the Tinsel Town brand of late," he concluded.
Last month The New York Times blamed "homophobic" audiences for the poor showing for LGBT romantic comedy "Bros." The movie cost $22 million to make, but only earned $4.8 million its opening weekend, according to The Hollywood Reporter.
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The film's star Billy Eichner warned "homophobic weirdos" to stay away from the film before complaining it tanked at the box office.
Disney's latest "woke" animated film also bombed at the box office, leading critics to argue that when companies "go woke" they "go broke."
"Strange World" featured Disney's first openly LGBTQ+ teenaged character and was a "massive flop" over Thanksgiving weekend.
"That is the worst three-day opening for a Disney animated feature since 2000′s ‘The Emperor’s New Groove,’ which brought in just under $10 million during its debut, according to data from Comscore," CNBC reported.
Liberal late-night host Jimmy Kimmel will host the 95th Academy Awards in March 2023.
