Although the nominal earnings chart is dominated by films adapted from pre-existing properties and sequels, it is headed by Avatar, which is an original work.
Star Wars is also represented in the nominal earnings chart with five films, while the Harry Potter, Jurassic Park and Pirates of the Caribbean franchises feature prominently. Other Marvel Comics adaptations have also had success with the Spider-Man and X-Men properties, while films based on Batman and Superman from DC Comics have generally performed well. The most successful superhero film, Avengers: Endgame, is also the second-highest-grossing film on the nominal earnings chart, and there are four films in total based on the Avengers comic books charting in the top twenty. There is strong interest in the superhero genre, with ten films in the Marvel Cinematic Universe featuring among the nominal top-earners. Traditionally, war films, musicals, and historical dramas have been the most popular genres, but franchise films have been among the best performers of the 21st century.
All charts are ranked by international theatrical box-office performance where possible, excluding income derived from home video, broadcasting rights, and merchandise. Included on the list are charts of the top box-office earners (ranked by both the nominal and real value of their revenue), a chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series. However, theatrical box office earnings are the primary metric for trade publications in assessing the success of a film, mostly because of the availability of the data compared to sales figures for home video and broadcast rights, but also because of historical practice. If you ask me, more thought and planning went into the fancy opening credits sequence than with the rest of the movie.Gone with the Wind held the record of highest-grossing film for twenty-five years and, adjusted for inflation, has earned more than any other film.įilms generate income from several revenue streams, including theatrical exhibition, home video, television broadcast rights, and merchandising. (For example, think about the way Gooding's character kills the second person on the list.) Gooding is simply unconvincing as a ruthless hit-man, and Hauser has to somehow make his stupid and spineless character sympathetic, which sees far beyond his abilities. The screenplay has a number of other problems, with some decisions by the hero to be so idiotic that I was groaning out loud, and some implausibilities by others that make no sense when you think about them closely.
The police in this movie don't come across as dumb as they do in other B movies, and the movie did interest me enough to wonder how the situation would be wrapped up in the end - though honestly, it wasn't worth the wait. For a low budget direct-to-DVD project, the production values are okay, though there are signs of cost-cutting throughout (such as a number of close-ups and very few wide shots). In fairness, this project isn't as bad as some of his other turkeys. has accepted his downfall to direct-to-DVD movies, because he doesn't seem to be trying to pick good projects anymore, including this one. I've come to the conclusion that Cuba Gooding Jr.
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