The customary excuse: There arent any new grown up movies around.
Both shared a demanding theme for the holiday season.
The characters in Noah BaumbachsWhite Noiseare obsessed about death.
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Damien ChazellesBabylonis about the death of the silent film era.
Five years ago, Oscar members felt apologetic if theyd seenRomaonly once, given the relentless pressure from Netflix.
Oscar wins forTop Gun: Maverickwould surely power TV ratings.
Mariana Treviño and Tom Hanks in ‘A Man Called Otto’Columbia Pictures
Festival audiences this year might prefer to applaud sleeper hits likeEverything Everywhere Al at Once.
Why dont the studios find anotherTerms of Endearmentwith Shirley MacLaine or Jack Nicholson?
asks one film producer.
It stirred emotion, not alienation.
Ticket to Paradiseis also cited as a welcome intruder; the George Clooney-Julia Roberts dramedy grossed $167 worldwide.
Its based on a relentlessly effervescent rom-com original by Ol Parker and David Pipski.
Certainly, films likeWhite NoiseandBabylonpose formidable challenges to audiences.
This sort of loyalty held firm in Hollywoods golden era, when its habit audience faithfully supported mainstream releases.
Could it happen again at a moment when filmgoers are re-assessing their expectations?
