Could IMAX help save the theatrical comedy movie?

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Could IMAX help save the theatrical comedy movie?

As a lifelong cinephile who has spent countless hours in the dimly-lit halls of movie theaters, I can wholeheartedly say that the idea of comedy movies gracing the grandeur of IMAX screens is not just a tantalizing prospect, but a necessary evolution for the genre.

In a nutshell, no film genre completely fades away. A single hit movie can revive what appears to be a defunct movie category. For example, musical movies were thought to be obsolete before the release of “Chicago” in 2002, and family films seemed unlikely after COVID closed theaters, but look at “Minions: The Rise of Gru” and “It Ends with Us”. These films brought back musicals, family dramas, and romantic dramas respectively. Audiences don’t typically seek out genres that are currently popular at the cinema. Instead, they look for captivating narratives, striking visuals, and compelling stories. The form these elements take (whether it’s in a drama, comedy, or documentary) doesn’t usually matter to them.

The comedy film will eventually come back to cinemas, given the right circumstances. One hit movie could rekindle interest in this genre, as if we’ve stepped back into 2009. However, it’s clear that theatrical comedies need a boost, particularly in the eyes of studio bosses deciding which films get funding. To make these films more enticing for today’s audience, perhaps they should try innovative approaches like filming in IMAX format. This wouldn’t only bring forthcoming comedies in line with current cinema trends, but it would also address the visual flaws that have plagued modern comedy films.

American comedies often struggle with unique challenges that other genres seldom encounter. For instance, studios rarely release these films in cinemas nowadays. It’s challenging to assess their suitability for the big screen when companies like Warner Bros. and Disney/20th Century Studios refuse to showcase them there. The genre’s lack of corporate interest significantly hinders attempts to restore its former prominence.

Currently, many American comedies fail to be seen as daring by their primary audience, young adults. Critics often blame this issue on “wokeness” or “cancel culture,” but the real cause is the conventional nature of mainstream studio comedies. Today’s 18-35-year-olds find humor in adult-themed stand-up comedy, surreal social media posts like Dril tweets, and unconventional shows like “I Think You Should Leave.”

The most significant issue with contemporary comedy films is undeniably their visual aspects. While exceptions can be found, such as the outstanding cinematography in “Bottoms,” the richly detailed imagery in “Barb and Star Go To Vista Del Mar,” and the countless striking images in “Barbie,” many low-budget indie comedies like “Hundreds of Beavers,” “Slut in a Good Way,” “Palm Springs,” and “Red Rocket” maintain visual appeal through their impressive camerawork and production design. Conversely, the majority of studio comedy films today, including “Tag,” “Bros,” “Stuber,” “Unfrosted,” “Anyone but You,” “Jackpot!”, and numerous others, suffer from dull visuals that are often overly bright, taking away from the overall experience. Even those intended for the big screen, like “Strays,” appear more akin to TV shows than cinematic masterpieces.

Even back in 2005, a disposable Martin Lawrence comedy like Rebound was shot on Kodak 35mm film. If you saw a Rebound commercial, it was immediately easy to discern it as “a movie” compared to a CBS comedy. Try and watch the trailer for Unfrosted and figure out how it looks any different than a long-forgotten Netflix/NBC/Hulu sitcom. With this problem, comedy movies get especially lost in the “content” slush pile dominating pop culture.

As a lifelong movie enthusiast who has spent countless hours in both small, independent cinemas and sprawling multiplexes, I firmly believe that there is still a place for comedy films on the big screen. Over the years, I have witnessed how streaming platforms have become the go-to destination for comedies, but I can’t help but feel that something essential gets lost in the transition from the silver screen to the small screen.

Historical patterns indicate that this idea might hold some weight. The resurgence of horror movies in the mid-2010s can be attributed in part to their return to being filmed like traditional movies. Following the success of Paranormal Activity in 2009, almost every horror movie was a found-footage production, characterized by shaky camerawork and informal visuals. However, films such as It Follows, The Babadook, and Get Out challenged this trend with more deliberate and intricate cinematography. For instance, the opening scene of Get Out uses a wide shot and continuous imagery to unsettlingly portray Andre Hayworth’s (LaKeith Stanfield) abduction. Additionally, broader framing in It Follows effectively conveyed the relentless nature of the main antagonist, who was always lurking, following, and stalking, even if only present in the film’s corners.

After horror films started being filmed like traditional ones once more, the public found the genre more appealing. Similarly, improving mainstream studio comedies could lead to a comeback for the genre. Given the poor performance of comedy movies at the box office and their limited presence in theaters, it’s crucial to take additional steps to make these films must-see events. Since audiences are flocking to IMAX features, presenting comedies in IMAX format could significantly contribute to the revival of this genre.

It’s not essential that every comedy film uses the IMAX format (for instance, Barbie didn’t rely on it for a blockbuster opening), but considering the format for specific comedies could benefit both artists and viewers. Surprisingly, the idea of sending comedy movies to IMAX isn’t as absurd as it might seem. In fact, back in the 1950s, several comedy films were presented in the CinemaScope aspect ratio. Movies like “Desk Set” starring Katharine Hepburn and Spencer Tracy, “How to Marry a Millionaire”, and “It’s a Dog’s Life”, among others, were part of this trend.

CinemaScope and IMAX are not the same, but these vintage comedy films show that Hollywood once employed elaborate filming techniques for comedies just as grandly as they did for epics. It’s been proven that cinematography tools meant for epic movies can be utilized in smaller-scale comedies too. Just like Jacques Tati’s acclaimed work, Playtime, with its intricate and detailed visuals, deserves to be seen on the big screen as much as a movie like Borderlands!

When it comes to IMAX, it’s not just reserved for the big-budget films like Christopher Nolan’s epics, superhero movies, or nature documentaries. Since approximately 2013, there’s been a new movie gracing IMAX theaters almost every weekend. While many of these are indeed massive blockbusters with plenty of action and destruction, not all of them fit that mold. Smaller-scale productions like “Focus”, “Fifty Shades of Grey”, “Killers of the Flower Moon”, “The Finest Hours”, “10 Cloverfield Lane”, “Jigsaw”, “Parasite”, and “Dear Evan Hansen” (to name a few) have also been screened on IMAX.

In China, a number of popular comedies have been premiering in IMAX cinemas. Movies like “My People, My Homeland”, “Only Fools Rush In”, “Nice View”, and “YOLO” (to name a few) have all hit Chinese IMAX theaters recently. It seems that people are eager to watch these films on these big screens. Couldn’t American moviegoers be just as excited to see movies like “Game Night”, “Spy”, or ideally, “Hundreds of Beavers” on their IMAX screens? If a musical like “Dear Evan Hansen” can make it to IMAX, why not comedy films too?

To put it simply, what stood out most was that the film, titled Oppenheimer, broke the mold of typical IMAX movies by not primarily focusing on action sequences. Instead, it offered a more grounded and realistic portrayal, as told by Christopher Nolan’s signature epic style. The movie didn’t feature computer-generated characters or extensive hand-to-hand combat scenes, like those found in previous Nolan productions such as Inception and Tenet. Instead, it focused on dialogues between people in interrogation rooms or during Senate hearings. Interestingly, given its focus on dialogue rather than action, some might have thought that this film wouldn’t translate well to the grand IMAX screen. However, both the producers of the movie and the heads of IMAX acknowledged that it was still a fitting choice for the big screen format.

A multitude flocked to watch Oppenheimer, even at my Cinemark IMAX 70mm screening in Dallas (one of the rare IMAX 70mm screenings in Texas). People were willing to travel across state borders just to catch this film in this specific format! It’s not that people were drawn to Oppenheimer in IMAX because it was more compact than Inception. Instead, the fame of director Christopher Nolan and the historical significance of J. Robert Oppenheimer attracted the audience. Interestingly, the smaller scale of Oppenheimer, compared to a film like Avatar: The Way of Water, didn’t discourage people from purchasing costly IMAX tickets.

Oppenheimer showed that a variety of films can thrive on IMAX screens, not just action blockbusters with frequent fight sequences. Following Nolan’s movie, it redefined the criteria for IMAX-worthy productions. So, what’s coming up next? What other movies might surprisingly shine in this premium format? The possibilities are vast and could even encompass comedies. If you screen a comedy film in an IMAX theater or better yet, shoot it using IMAX technology, audiences might respond just as they did for Oppenheimer, Focus, Fifty Shades of Grey, and other unconventional IMAX titles. You’d be providing viewers with an experience they can’t get from Netflix’s comedy movie selection. Additionally, you’d be offering filmmakers innovative tools that would unlock new realms of unique comedic possibilities. Who knows what fresh, hilarious jokes could blossom on the expansive IMAX screen!

It would be delightful if Hollywood could add more grandeur and flair to their comedy films once again, making them feel more like movies and less like everyday sitcoms. Showcasing some comedies in IMAX theaters could be an essential part of revitalizing this genre’s cinematic impact. Perhaps it’s time to contemplate ideas that were once considered impossible, such as presenting comedy films on IMAX screens. As a treat for me, maybe Hundreds of Beavers could have a special one-night screening in an IMAX theater. Imagine how hilarious its witty jokes would look on such a large scale!

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2024-08-18 19:15