The Fall Guy to Megalopolis: is 2024 the year of the box-office megaflop?

In Hollywood, the first weekend of May is traditionally seen as the official kick-off of the summer movie season: an auspicious blockbuster date that has, of late, become rather a boring one. topped the box office – and barring two years where the global pandemic threw the mainstream release schedule into disarray – that weekend has been the exclusive domain of Marvel superhero adaptations, through toclaiming the No 1 spot last May.

It comes down to the dreaded letters IP, or intellectual property: the pre-established brands, story worlds and characters on which the vast majority of big-budget studio movies are sold these days, to the detriment of original screenplays and untested ideas.is an adaptation, loosely drawn from an ABC television series that aired from 1981 to 1986. However, the IP in this case has lingered so little in the public imagination that Leitch’s film may as well be an original property.

looked and felt like nothing else at the multiplex; ditto Christopher Nolan’s rather sober three-hour chamber film, which, notwithstanding one spectacular explosion scene, riskily banked on the more arthouse-inclined pitch of men debating strategy and morality in dim rooms. With last year’s actors’ and writers’ strikes having hampered production on a number of much-anticipated titles, 2024 was always expected to be a difficult year. The year’s biggest box office hit so far is a postponed sequel that was supposed to be last year’s autumn saviour:has at least lifted industry spirits by grossing $710m worldwide, approaching double what its predecessor made in 2021 and flying a flag for reasonably grown-up genre cinema with artistic aspirations.

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