Sun. Feb 9th, 2025

Why don’t studios make Christmas movies like they used to?<!-- wp:html --><p><a href="https://whatsnew2day.com/">WhatsNew2Day - Latest News And Breaking Headlines</a></p> <div> <p class="paragraph larva // a-font-body-m "> </p><p> Social media users recently marveled that last month marked 20 years since three modern Christmas favorites: New Line’s <em>Elf</em>Universal <em>love in reality</em> and Miramax <em>Bad Santa</em> – all arrive in theaters within a few weeks of each other. Two decades later, you don’t need to feel like a <a target="_blank" href="https://www.youtube.com/watch?v=EwUqlNeF2pg&t=45s" rel="noopener">cotton-headed fools</a> If you’re among those wondering why studios don’t release holiday theatrical offerings like they did before. </p> <p class="paragraph larva // a-font-body-m "> </p><p> Although most Christmas movies don’t tend to go the way of, say, the ’90s <em>Home alone</em>which topped the domestic box office for 12 consecutive weeks, had typically been a staple of the release calendar, with a handful of titles hitting theaters annually, including in the late 2010s. That list includes 2016 theatrical offerings like <em>Almost Christmas</em>, <em>Bad Santa Claus 2</em>, <em>Christmas party in the office</em> and <em>Because the?</em>followed by 2017 <em>daddy’s house 2</em>, <em>A bad moms Christmas</em> and animated film <em>The star</em>; the following year he brought <em>The Nutcracker and the Four Realms</em>, <em>once upon a time deadpool</em> and the animated <em>The Grinch</em>.</p> <p class="paragraph larva // a-font-body-m "> </p><p> But it was around this time, amid the arrival of streaming platforms, that Christmas movies stopped being a theatrical priority for studios. An example is Disney’s Anna Kendrick-Bill Hader feature film. <em>noelle</em>, which the studio had initially scheduled for a theatrical release in 2019 before changing course and releasing it directly to Disney+ that year. Fast forward to 2023, and streaming platforms have become the primary destination for holiday cheer.</p> <p class="paragraph larva // a-font-body-m "> </p><p> This year, Amazon had success with the Eddie Murphy starrer. <em>Candy Cane Lane</em>, which he touted as his most-watched film during its opening weekend. The streamer is said to be looking for more Christmas movie pitches from its creative partners. Also, Netflix <em>Family change</em> and <em>Best Christmas ever!</em> both had solid runs on their Top 10 lists, while television networks like Hallmark continue to thrive with their cottage industry of Christmas-centric rom-coms. </p> <p class="paragraph larva // a-font-body-m "> </p><p> “Studios aren’t going to make Christmas comedies if there are six Christmas comedies on a streaming platform,” said Sony Pictures Motion Picture Group president Sanford Panitch. <em>The Hollywood Reporter</em> at the beginning of this year. “So (our strategy) is partly about finding spaces that are theatrical and not feeling like there’s something that someone can get at home for free.”</p> <p class="paragraph larva // a-font-body-m "> </p><p> A rare exception this year? Oscar contender <em>The remains</em>which was picked up by Focus Features at this year’s Toronto Film Festival, has enjoyed a traditional theatrical run before heading to Peacock next week.</p> <p class="paragraph larva // a-font-body-m "> </p><p> Filmmaker Sean Anders tells <em>THR</em> that your movie <em>Energetic</em>the 2022 update of Apple TV+ <em>A Christmas Carol</em> starring Ryan Reynolds and Will Ferrell, received offers from multiple legacy studios before the package reached the streamer. The film ended up showing in select theaters a week before its streaming debut, which Anders remembers was a top priority of his. “It’s best experienced on a big screen with incredible sound and, most importantly, with other audience members, so I insisted that it be released in theaters,” he says of the musical that returned to theaters last month. </p> <p class="paragraph larva // a-font-body-m "> </p><p> This shift away from Christmas movies coming to theaters may be surprising, given that holiday classics can be a great treat for exhibitors. <em>Elf</em> has become the biggest repertory title of all time for Alamo Drafthouse, whose business for the film is up 20 percent this year over recent years, as moviegoers celebrate its 20th anniversary with animated screenings that include elements interactives and accessories. </p> <p class="paragraph larva // a-font-body-m "> </p><p> John Smith, the network’s senior film programmer, notes that <em>Elf </em>It was initially a modest box office success before growing in the following years. “That’s the case with a number of these, where the value may not be present until years later, as people integrate it into their annual traditions,” says Smith, who also cites <em>National Lampoon’s Christmas Vacation</em>, <em>white Christmas</em> and <em>It’s a wonderful life</em> as consistent artists for the company, along with those of 2006 <em>The holidays</em>, which his team most recently added to the Alamo roster. “For us, that’s why we always try to try one or two new ones, just to see how they work. If Netflix creates a cult film that people will enjoy watching for years to come (as long as they let us stream it as a repertory title, which they often do), we can probably get an audience for it.”</p> <p class="paragraph larva // a-font-body-m "> </p><p> Future holiday seasons may see an increase in theatrical options as some streaming platforms look to capitalize on this interest in enjoying holiday movies as a social outlet. Amazon MGM Studios announced this week that <em>one red</em>, the Christmas-focused action title directed by Jake Kasdan and starring Dwayne Johnson and Chris Evans, will be released in theaters worldwide starting in November 2024 before streaming on Prime Video at a later date. (Given the continued box office success of genre titles, Christmas movies with grittier elements, like 2022’s <em>violent night</em> and this year’s <em>It is a wonderful knife</em> – have also hit theaters, although they’re not exactly family-friendly.)</p> <p class="paragraph larva // a-font-body-m "> </p><p> The prospect of Christmas streaming titles spending more time in theaters would likely please McG, who directed the Netflix body-swap comedy. <em>Family change</em> which takes place at Christmas and stars Jennifer Garner and Ed Helms as parents who switch places with their children. The filmmaker, who envisioned the film as one that could still be enjoyed any time of year, given that the plot does not focus directly on Christmas, acknowledges that studio heads “crunch all the numbers” when deciding what is best for the cinema.</p> <p class="paragraph larva // a-font-body-m "> </p><p> “The producers and I looked at the theatrical landscape and felt that we would resonate with a theatrical release, largely because there was no immediate competition,” McG says of <em>Family change</em>. “Usually in recent years, there are one or two monsters that speak directly to the holiday. We thought, ‘Hey, in the absence of that, what if we did that?’ But respectfully to Netflix, that’s not its core business. “They want people to realize that if you want to enjoy that great Jen Garner movie, you should subscribe.”</p> <p class="paragraph larva // a-font-body-m "> </p><p> Regardless of how people may enjoy Christmas entertainment, there’s no doubt that the genre’s appeal is stronger than ever, which Anders attributes to audiences’ particular need to escape the stress of our trying times. </p> <p class="paragraph larva // a-font-body-m "> </p><p> “Film historians will look back on this era and say, ‘What about eleven thousand Christmas movies produced in a 10-year period?’” Anders jokes. “Then they will connect it to the world events of the time and see a perfect correlation.”</p> </div> <p><a href="https://whatsnew2day.com/why-dont-studios-make-christmas-movies-like-they-used-to/">Why don’t studios make Christmas movies like they used to?</a></p><!-- /wp:html -->

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Social media users recently marveled that last month marked 20 years since three modern Christmas favorites: New Line’s ElfUniversal love in reality and Miramax Bad Santa – all arrive in theaters within a few weeks of each other. Two decades later, you don’t need to feel like a cotton-headed fools If you’re among those wondering why studios don’t release holiday theatrical offerings like they did before.

Although most Christmas movies don’t tend to go the way of, say, the ’90s Home alonewhich topped the domestic box office for 12 consecutive weeks, had typically been a staple of the release calendar, with a handful of titles hitting theaters annually, including in the late 2010s. That list includes 2016 theatrical offerings like Almost Christmas, Bad Santa Claus 2, Christmas party in the office and Because the?followed by 2017 daddy’s house 2, A bad moms Christmas and animated film The star; the following year he brought The Nutcracker and the Four Realms, once upon a time deadpool and the animated The Grinch.

But it was around this time, amid the arrival of streaming platforms, that Christmas movies stopped being a theatrical priority for studios. An example is Disney’s Anna Kendrick-Bill Hader feature film. noelle, which the studio had initially scheduled for a theatrical release in 2019 before changing course and releasing it directly to Disney+ that year. Fast forward to 2023, and streaming platforms have become the primary destination for holiday cheer.

This year, Amazon had success with the Eddie Murphy starrer. Candy Cane Lane, which he touted as his most-watched film during its opening weekend. The streamer is said to be looking for more Christmas movie pitches from its creative partners. Also, Netflix Family change and Best Christmas ever! both had solid runs on their Top 10 lists, while television networks like Hallmark continue to thrive with their cottage industry of Christmas-centric rom-coms.

“Studios aren’t going to make Christmas comedies if there are six Christmas comedies on a streaming platform,” said Sony Pictures Motion Picture Group president Sanford Panitch. The Hollywood Reporter at the beginning of this year. “So (our strategy) is partly about finding spaces that are theatrical and not feeling like there’s something that someone can get at home for free.”

A rare exception this year? Oscar contender The remainswhich was picked up by Focus Features at this year’s Toronto Film Festival, has enjoyed a traditional theatrical run before heading to Peacock next week.

Filmmaker Sean Anders tells THR that your movie Energeticthe 2022 update of Apple TV+ A Christmas Carol starring Ryan Reynolds and Will Ferrell, received offers from multiple legacy studios before the package reached the streamer. The film ended up showing in select theaters a week before its streaming debut, which Anders remembers was a top priority of his. “It’s best experienced on a big screen with incredible sound and, most importantly, with other audience members, so I insisted that it be released in theaters,” he says of the musical that returned to theaters last month.

This shift away from Christmas movies coming to theaters may be surprising, given that holiday classics can be a great treat for exhibitors. Elf has become the biggest repertory title of all time for Alamo Drafthouse, whose business for the film is up 20 percent this year over recent years, as moviegoers celebrate its 20th anniversary with animated screenings that include elements interactives and accessories.

John Smith, the network’s senior film programmer, notes that Elf It was initially a modest box office success before growing in the following years. “That’s the case with a number of these, where the value may not be present until years later, as people integrate it into their annual traditions,” says Smith, who also cites National Lampoon’s Christmas Vacation, white Christmas and It’s a wonderful life as consistent artists for the company, along with those of 2006 The holidays, which his team most recently added to the Alamo roster. “For us, that’s why we always try to try one or two new ones, just to see how they work. If Netflix creates a cult film that people will enjoy watching for years to come (as long as they let us stream it as a repertory title, which they often do), we can probably get an audience for it.”

Future holiday seasons may see an increase in theatrical options as some streaming platforms look to capitalize on this interest in enjoying holiday movies as a social outlet. Amazon MGM Studios announced this week that one red, the Christmas-focused action title directed by Jake Kasdan and starring Dwayne Johnson and Chris Evans, will be released in theaters worldwide starting in November 2024 before streaming on Prime Video at a later date. (Given the continued box office success of genre titles, Christmas movies with grittier elements, like 2022’s violent night and this year’s It is a wonderful knife – have also hit theaters, although they’re not exactly family-friendly.)

The prospect of Christmas streaming titles spending more time in theaters would likely please McG, who directed the Netflix body-swap comedy. Family change which takes place at Christmas and stars Jennifer Garner and Ed Helms as parents who switch places with their children. The filmmaker, who envisioned the film as one that could still be enjoyed any time of year, given that the plot does not focus directly on Christmas, acknowledges that studio heads “crunch all the numbers” when deciding what is best for the cinema.

“The producers and I looked at the theatrical landscape and felt that we would resonate with a theatrical release, largely because there was no immediate competition,” McG says of Family change. “Usually in recent years, there are one or two monsters that speak directly to the holiday. We thought, ‘Hey, in the absence of that, what if we did that?’ But respectfully to Netflix, that’s not its core business. “They want people to realize that if you want to enjoy that great Jen Garner movie, you should subscribe.”

Regardless of how people may enjoy Christmas entertainment, there’s no doubt that the genre’s appeal is stronger than ever, which Anders attributes to audiences’ particular need to escape the stress of our trying times.

“Film historians will look back on this era and say, ‘What about eleven thousand Christmas movies produced in a 10-year period?’” Anders jokes. “Then they will connect it to the world events of the time and see a perfect correlation.”

Why don’t studios make Christmas movies like they used to?

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