A little more than 11 years ago I wrote a piece about how three or four well-reviewed, high-toned, emotionally engaging films didn’t appear, from my November ’05 perspective, to be on their way to attracting what seemed to me like just commercial desserts.
As it turned out two films that I mentioned — Craig Brewer‘s Hustle & Flow (which ended up making $22 million and change) and Curtis Hanson‘s In Her Shoes ($32 million) — did reasonably okay, or at least enough so that no one called them shortfallers. But they didn’t really connect, or not like they should have. You should’ve been there when Hustle & Flow first played at Sundance — it was huge. And when In Her Shoes played the ’05 Toronto Film Festival…wow.
But everything falls away in the end. Who out there has streamed Hustle & Flow or In Her Shoes over the last decade? Even I haven’t, and I can’t really explain why, not even to myself. Hanson died last September, and whatever happened to Brewer? His last feature was a 2011 Footloose remake. Everything disintegrates, particles exploding into space.
Posted on 11.2.05:
An impassioned, extremely well-made film with a sincere emotional current (i.e., one that actually makes you feel something with an application of professional finesse rather than hokey button-pushing) opens after being acclaimed by critics or film festival audiences or both…and what happens?
The public doesn’t respond with much enthusiasm. The movie opens in third or fourth or fifth place, or it opens okay but not as strongly as it should have, and then it’s dead by the second or third weekend, if not sooner.