Michael
Bay once said “I make movies for thirteen year old boys, and I make
no apology for that.” This may seem to some like a valid defence
for his woeful filmography, but my instantaneous reaction was that
Michael Bay has contempt for thirteen year old boys. It cannot be a
coincidence that the only two films he's made which are even
watchable (Bad Boys and The Rock) are not
aimed at thirteen year old boys. Moreover, do thirteen year
old boys really even want movies that are aimed at them? I doubt it.
This
summer the crisis that has been threatening Hollywood for the past
decade appears to have finally boiled over (please note that, for
reasons of length and reader patience, this article intends to
exclusively discuss mainstream American cinema). Audience figures so
far for 2013 are down, way down, after a season of extraordinarily
tired and tiresome blockbusters. Analysts have begun to call it the
“summer of doom”. The blame has been put, basically, on the
internet – not just online piracy but also the wide variety of
alternatives to cinema which are now available to modern teenagers,
from social networking to Youtube, and on reduced consumer spending
power as a result of the great recession. Though this may have some
validity, I suspect it is only part of the issue.
People
will only turn to alternatives to cinema if they see those
alternatives as better than cinema. This is where I believe the true
problem lies. For almost twenty years now Hollywood has focussed
relentlessly on the youth audience. The logic was sound. Teenagers
and tweenagers made up the largest proportion of the audience, so it
made sense to maximise your potential audience by ensuring that your
films were not given age ratings that restricted that audience's
ability to see movies. The inception in the 1980s of the 12A/PG13
certificates offered the opportunity to do just that – audiences of
any ages could go see the films, yet these movies would be, in
theory, not so neutered as to alienate an adult and older teenage
audience.
There is
nothing wrong with this. 12A/PG13 is a perfect fit for many types of
movies – in particular comic book movies. 12A is certainly exactly
the right rating for a Bond movie, and it allowed Star Wars to
go far darker than ever would have been thought possible when the
first movie was released in 1977 (it was also far shitter than anyone
thought possible in '77 but that's a different matter). The problem
arose when the 12A certificate became mandatory for all decent sized
films – regardless of the film's suitability for that rating. When
Die Hard and Terminator movies are being watered down
to 12A (remember that the original movies were both rated 18 when
first released in the UK) something has gone seriously awry.
Though in
the short term aiming movies at the widest possible audience seems
like a smart move, I believe that falling cinema audiences are, at
least in part, the inevitable long term consequence of this approach.
As a child of the 90s my friends and I were all cineastes. Go round
the playground of my (admittedly all male) High School in the mid 90s
and ask the kids what their favourite movies were, and they would
reel off a list of 18 certificate movies – Terminator,
Aliens, Die Hard, Robocop, Total Recall –
that they should never have legally been allowed to see. A huge part
of the experience of childhood is learning about the adult world,
often illicitly, whilst parents and social authority figures attempt
to stem the tide in a battle they know they're losing – that in
fact they have to lose because the gradual losing of that
battle is how children become adults. Furthermore, we knew that there
were films in existence that even adults weren't allowed to see. This
was a time when Natural Born Killers, A Clockwork Orange,
Evil Dead, The Texas Chainsaw Massacre and many other were
unavailable in the UK. When we were able to get imported copies of
these movies we devoured them, because their very illicitness made
them attractive.
In
today's society children have access to things way beyond what was
available in 1995; things which are infinitely more shocking than
anything Paul Verhoeven ever came up with. The internet has
transformed our society in ways that we are still coming to terms
with, and yet at a time when a click of a button can take children to
the most extreme material movies are offering them nothing but safe,
unthreatening, bland, inoffensive generotainment. When I was a kid we
watched movies we weren't supposed to in order to see things we
weren't supposed to see. Today's kids don't have any movies
they're not supposed to see, so they go elsewhere for their naughty
kicks. Sure, studios didn't make much money in the 90s from my love
of 15 and 18 certificate movies, but they made a truckload of cash
from me in the longer term through a) the love of cinema those movies
instilled in me and b) the fact that I've now bought most of them
three times, first on video, then DVD and Blu Ray.
With that
in mind, is it any wonder that movies have started to seem less
interesting to kids of today? Recent audience figures show that
adults are now going to the cinema more than teenagers. I would
suggest that is because adults are the only people who remember when
movies were still exciting. However adult audiences are also down
significantly from their peak, probably partly because no movies are
actually aimed at adults any more. Movies used to be the premiere
entertainment art form. Now they've been overtaken by television and
video games.
As
audiences dwindle the problem compounds itself. Studios play it safer
and safer, pumping out sequels, reboots and remakes as if there were
only 20 IPs in existence. As the movies get ever less interesting the
audience dwindles further and the cycle continues inexorably.
Fortunately,
there are signs now that times may be changing. Last year's
Prometheus was the first R Rated blockbuster I can think of
for almost a decade. In two days Elysium, Neill Blomkamp's
follow up to District 9, will be released in the States with
an R rating (the BBFC have classified it 15 in the UK). The British
independent movies Dredd and Kick Ass both went for an
R rating, and though Dredd flopped Kick Ass 2 is out next
week, again with an R rating. David Twohy and Vin Diesel have opted
to self fund Riddick, the
second sequel to Pitch Black, to avoid the studio imposed 12A
neutering of the franchise that scuppered the first sequel,
Chronicles of Riddick.
I
will go to see these movies, regardless of reviews, because I want
these films to be successful. I want to remind Studios that there is
an audience out there for this stuff, and that they were making more
money when they made films for adults, because a film aimed at
everyone satisfies no-one. I really don't want to walk into a cinema
in 2023 and have to choose between X-Men 15, the latest Spiderman
Reboot and Batman versus Superman versus Green Arrow versus Catwoman.
Most of all, I really, really don't want to not be able to go to the
cinema at all in 2023 because the audience has dwindled to the point
that cinema itself is not viable.
Vote
with your wallets people, it's the truest form of democracy we have.