A recent analysis of cinema since 2020 highlights a growing appetite for "fun" films that prioritize escapism over complex franchise building. From the 1970s San Fernando Valley in Licorice Pizza to the deep space adventures of Project Hail Mary, these films represent a shift toward standalone entertainment.
Why Hollywood's "Building Block" Strategy is Losing to Pure Escapism
The global box office has faced significant volatility following the COVID-19 pandemic, yet a clear trend is emerging in audience behavior. Rather than just consuming content,viewers are seeking out the communal experience of the theater, often through films that offer pure escapism. As the report says, there is a growing tension between the industry's desire to create "building blocks" for cinematic universes and the audience's desire for individual, satisfying stories.
This shift is complicated by a debate over whether "fun" is a disparaging term for lazy blockbusters or a valid description of high-quality entertainment. While cinephiles may sometimes use the word to dismiss franchise films, the current market suggests that audiences are increasingly hungry for movies that function as complete, self-contained experiences rather than mere advertisements for a sequel.
From Paul Thomas Anderson’s 1970s Nostalgia to Linklater’s Espionage
Standalone hits are proving that character-driven stories can still command significant attention. paul Thomas Anderson’s Licorice Pizza uses the 1970s San Fernando Valley as a playground, utilizing the fresh talents of Cooper Hoffman and Alana Haim to create a sincere romantic comedy. The film also features a notable turn from Bradley Cooper as Jon Peters, which the source describes as one of his funniest roles since The Hangover.
Similarly, Richard Linklater’s Hit Man—which deviates from his usual style into espionage dark comedy—features Glen Powell as a professor going undercover as an assassin . The source notes that Hit Man works because it explores the very fundamentals of cinema and audience expectations, proving that genre-bending can still resonate deeply with modern viewers.
How Zendaya and Glen Powell are Filling the Mid-Budget Void
As Hollywood moves more mid-budget comedies to streaming services, certain theatrical releases are stepping in to fill the gap. Luca Guadagnino’s Challengers is a prime example, blending sports drama, erotic thriller, and romantic comedy through the performances of Zendaya, Josh O'Connor, and Mike Faist. This type of craftsmanship stands in contrast to the "doom and gloom" often found in modern science fiction.
Even in the space opera genre, Project Hail Mary, written by Drew Goddard, finds success by focusing on human connection and optimism rather than just existential dread. much like Top Gun: Maverick, which used the character of Maverick to mentor a new generation of pilots including Miles Teller's Rooster, these films rely on strong emotional cores to anchor their larger-than-life scales.
The Question of Whether Dakota Johnson’s 'Splitsville' Signals a Comedy Revival
While films like Top Gun: Maverick have successfully navigated the legacy sequel trap, the future of the standalone comedy remains unverified. Splitsville, starring Dakota Johnson, is cited as a standout for its abusrdist farce and emotional depth, yet it is unclear if such films can find consistent theatrical success in a market dominated by massive spectacles. The source highlights that while Splitsville is one of the most fun films since 2020, the industry's move toward franchise-building continues to threaten the availability of these mid-budget gems.
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