What are the Worst Hollywood Action Movies

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Soderbergh derives the economic crisis from a cultural one. In his opinion, the feeling for what constitutes "cinema" in contrast to "film", for an art form that takes up social trends and discussions in a unique way and reflects them in narrative form, is lost. Most of the audience, he believes, only wants what film originally developed from and what Hollywood currently offers for the most part: the fairground attraction, the spectacle.

This culturally pessimistic part of Soderbergh's speech - money counts more than art - is not new. Even in their golden era of the thirties and forties, the stripes of the dream factory were supposed to get people out of their everyday lives and entertain them in an undemanding but effective manner. However, while the big studio moguls also viewed film as a business back then, they also admired and valued the artists. They ran their studios on their own terms, they followed their instincts and discovered new talent.

Today Hollywood's big film factories are part of huge media conglomerates and have to contribute their part to the group’s sales. The products from California have to bring in their money in Los Angeles as well as in Shanghai, Novosibirsk and Hamburg. This is the only way for the studios to compensate for the high losses they have been making in the home entertainment sector since the mid-2000s, like another Cassandra Ruferin, the producer Lynda Obst (Sleepless in Seattle) in her book Sleepless In Hollywood: Tales From The New Abnormal In The Movie Business writes. The DVD market collapsed completely at that time. To compensate, Hollywood turned its focus more and more to foreign markets. Just a few years ago, box office income from abroad made up 20 percent of total box office income; today it is 80 percent. example John Carter - Between the Worlds, one of the worst flops of 2012. The film cost $ 250 million. In the USA he only grossed 73 million, in the rest of the world almost 210 million. So cultural identity only bothers with blockbusters. These are products for global markets.

So is Hollywood really on the verge of extinction? Will the summer of flops be followed by implosion? Hardly that. Despite Spielberg's scenario, the previous box-office result is ten percent higher than in 2012. This is also due to blockbuster hits, for which the formula still works, Iron man 3 about (global grossing: $ 407 million), in animated films such as Dispicable Me 2, of expensive 3-D surcharges and cheaply produced shocks like The conjuring, which has already grossed almost 100 million at a production cost of $ 20 million.

New event films are already planned

Whether and when Hollywood will return to its old strengths and produce more exciting genre films again is in the stars. The new event films are already planned or are even being shot for the next few years.

However, there is no reason to be pessimistic about culture. Nobody needs Sony, Fox or Warner for good US films. The proportion of independent films has doubled compared to ten years ago. And they work at the box office too. Paul Thomas Andersons The Master about. Or Andrew Dominiks Killing Them Softly. Kathryn Bigelows Zero Dark Thirty. Derek Cianfrances The Place Beyond The Pines.

Young filmmakers are also working out new distribution channels. Streaming is the new magic word. Nicolas Winding Refn, director of Only God Forgives, says: "The challenge today is to make films that work on both smartphones and in the stadium. I find that very encouraging." Doesn't sound like he's scared of Spielberg's disaster scenario.