The Oscar bounce — the uptick in attendance when any particular movie lands Academy Awards nominations — once was the cart placed before the horse of movie productions.
That is, producers and studios routinely attached stars and directors to scripts merely in hopes of assembling a movie that would land awards attention, which in turn would lead to boffo box office, in Variety-speak.
As it turns out, the Oscar bounce is practically as obsolete as the payphone.
So says Los Angeles Times writer Patrick Goldstein, in a piece published today.
“The Academy Awards’ best picture nominees were announced Jan. 22, an event quickly commemorated by a blitzkrieg of expensive full-page ads in the trades, the New York Times and my newspaper, designed to use the cachet of a best picture nomination to nudge reluctant moviegoers into the theaters,” Goldstein writes.
“But at the time when the rest of the movie business is booming, the best picture nominees–with the obvious exception of the crowd-pleasing Slumdog Millionaire–are doing a slow fade. Only one of the five best picture nominees, The Reader, has made more of its overall box-office take after it earned a best picture nod.”
Downside for viewers, long term: Some high-quality productions, which might only have been given the green light because of their potential for grabbing Oscar attention, will now stay in development hell.
Upside for viewers, short term (as in this season): Oscar prospects have lengthened the on-screen life of an impressive group of films far more worthwhile than such February releases as the turgid The International and the execrable Friday the 13th.
So … see the good stuff while you still can.
Click here to read the rest of Goldstein’s story.