2015 Oscars: The Buzz And The Biz
Once again, it’s my annual look at this year’s top Academy Awards contenders and how they fared at the Box Office. This was something that once again had to wait until one month after the end of the Oscars to get the full picture. Boy did they have a lot to tell. Once again, all credits for my research to Box Office Mojo.
Before I get into explaining the box office results, I’ll let you all in that Awards Daily showed an interesting graph. It showed how not even $500,000 was spent on a For Your Consideration ad for a Golden Globe win but a win brought in megamillions. It also showed how millions are spent on For Your Consideration ads for the Oscar but the box office draw isn’t even half of what one gets from a Golden Globe win. Something to think about. Especially as we all read on.
When the nominations were announced, two of the eight Best Picture nominees–Mad Max:Fury Road and The Martian— had already grossed over $100 million. That wasn’t the case last year when none of them passed that mark on ‘Nomination Day.’ And that was the Thursday just before American Sniper had its wide release. Actually the eight-set of Best Picture nominees turned in an average of over $75 million. Very impressive.
The film that definitely had its biggest boost since its Best Picture nomination was The Revenant. Between Nomination Day and Awards day, it grossed $116.5 million. A significant boost also came to Room which only grossed $5.2 million before the nominations but $8.2 million between Nomination Day and Awards Day. Films like Spotlight, The Big Short and Brooklyn didn’t double their grosses after their nominations like The Revenant and Room did but their Oscar nominations did give them a good added boost. The Big Short received an additional 423.9 million: more than 50% more than before its nominations. Brooklyn also showed a bigger-than-50% increase in its box office results after their nominations. Spotlight also had an increase but it was just slightly over $10 million.
The only three movies that didn’t see a significant boost after their Oscar nominations were Mad Max: Fury Road, Bridge of Spies and The Martian because they had already neared completion of their box office run with their totals as impressive as they would get. Actually Mad Max: Fury Road wasn’t re-released after its Oscar nominations.
Now Awards Day came and three of the eight Best Picture winners had grossed over $100 million. However the Best Picture winner was a film that was one of the lowest-grossing of the eight nominees: Spotlight. It didn’t even have $40 million grossed by Awards Night. Ever since it’s only grossed an additional $5.2 million and it’s highly unlikely it will hit $50 million. This makes it the second year in a row the Best Picture winner failed to gross $50 million and the third year in a row it fails to gross $100 million. This is a bit of a surprise since I said to myself months earlier: “One more Best Picture winner that fails to gross $100 million and I’m done with Oscar tracking.”
Actually those were temporary feeling as despite Spotlight‘s low gross, it was a film that gave something to admire. However it does point some interesting stats. This will make it the fourth Best Picture winner of the 2010’s that didn’t gross $100 million and there’s still four more years left. The naughts, the decade before the 2010’s, only had three that failed to do so as did the 90’s. You’d figure that the title of Best Picture Winner’ would be a draw to the box office but now it appears less than ever. This shows an interesting detail about how the Academy is in terms of voting for Best Picture. In the past, it was almost always a Hollywood picture. Then things changed with the 1996 Oscars when Jerry Maguire was the only one of the five Best Picture nominees done by a major Hollywood studio to receive a Best Picture nomination. All of the other four nominees including winner The English Patient were independent films.
Since then, the independent films have been winning the Academy over. This has led to a bigger gap than ever between blockbuster films and critical darlings. It has definitely become evident over these last ten years. It’s a bit of a downer for me because I’d really like to see good cinema do well at the box office deep down inside. However it’s becoming more fact. I read an article from Awards Daily which talked about how independent films and films of critical renown don’t so well nowadays at the box office. In the past, you had the movie box office which gave a first run and second run of movies before it even hit video. Now we have such a wide variety of media methods like Netflix and Shomi. It seems like if you want to bring people to the movies, you have to have what it takes to do it. Moviegoers are now choosier as they can decide whether a movie is worth seeing in a cinema or worth waiting for it on Netflix. That would often mean big special effects and often theatre things like showing them in 3D or AVX or in D-Box seats. You mostly won’t get that with the films that win the biggest critical renown. That could have a lot to do with the Best Picture winner constantly grossing lower and lower. For the record, the last Best Picture winner that grossed $100 million+ is 2012’s Argo.
The box office may not have been friendly to Spotlight but it was friendly to the eight Best Picture winners as a whole. The eight have grossed a combined total of $803.8 million– just over $100 million per film for the first time since 2012– an all of them have grossed over $10 million. Spotlight wasn’t the only nominee to bag some extra money after the Oscars. The Revenant took an extra $11.4 million, The Big Short gained an extra $1.6 million, Brooklyn grossed an extra $1.5 million and Room grabbed an extra $1.2 million. Overall The Revenant and Room were the two with the biggest boosts from the Oscar buzz.
The box office results of this year’s nominees told a lot about moviegoers and their choices this year. The winner told lots about the Academy and how they’ve changed as far as voting for Best Picture. Next year should tell more.