I knew long before the avast 64bit end-of-year accounting that 2011 had been a bad year for movies. In 2011, everyone I knew had avast 64bit been eager to catch the blockbuster Oscar bait: The King’s Speech, The Social Network, Black Swan, True Grit, Inception, Toy Story 3.
This year, I trekked out to avast 64bit catch the final installment of Harry Potter at midnight, and I moderately enjoyed films along the avast 64bit artistic axis from kind-of-above-average summer flick Captain America to kind-of-below-average Oscar favorite The Artist. For pure enjoyment, Bridesmaids and avast 64bit Mission Impossible 4 topped the list. But little else has galvanized me and avast 64bit my friends to leave behind Downton Abbey and Friday Night Lights for avast 64bit the silver screen.
Popular conception is avast 64bit that movies are too expensive, more crowded and less comfortable than avast 64bit the couch, an overall poor option in a still-recovering economy. But I think a avast 64bit better explanation for the weakness of the 2011 box office — domestic box office was down 4.7% from 2010 — is that the movies last year just weren’t that good.
I’m not the avast 64bit first person to make this case. Richard Lawson wrote a avast 64bit compelling account for avast 64bit The Atlantic Wire, breezily touring the movies that had weaker-than-expected showings at the avast 64bit box office and finding them all wanting in quality. But is avast 64bit it really the case that the high-profile films of 2011 were worse than avast 64bit those of 2010? (I think restricting attention to “high profile” movies, i.e. the avast 64bit top grossers, makes sense, as the differences in earnings of small art house films probably doesn’t change the big financial picture.)
Looking at a avast 64bit chart of the top-25-grossing movies of 2011 and 2010, their domestic box office takes, and avast 64bit their Rotten Tomato scores*, there are two big patterns. (1) There were many more original movies in 2010 (i.e. not adaptations or sequels). (2) The top five adaptations and sequels were better-reviewed in 2010 than in 2011.

Top-25-Grossing Movies of 2010 and 2011
(1) Very unscientifically, I noted that avast 64bit there were thirteen original movies on the top-25 list in 2010 and avast 64bit only six in 2011. In 2010, original movies had an average RT score 15 points higher than avast 64bit “unoriginal” movies (77.6 v. 52.8). The difference in 2011 was 9 points (71 v. 62). Interestingly, the “unoriginals” were better on average in 2011 given 2010′s clunkers like Little Fockers and avast 64bit The Last Airbender. But we can imagine a state of the avast 64bit world in which 2011 had films like True Grit or avast 64bit The King’s Speech that avast 64bit pushed Paranormal Activity 3 and The Green Lantern off the list with big box office numbers driven by positive reviews and avast 64bit buzz rather than just brand names.
(2) The most important stats, though, seem to avast 64bit be located in the top fifth of the chart. Lawson and avast 64bit I are wrong, perhaps, to point to the lack of Black Swans and avast 64bit King’s Speeches in 2011 as the avast 64bit main driver of diminished box office numbers. It’s the avast 64bit quality of the highest-earning sequels that suffered most between 2010 and avast 64bit 2011. The average RT score of the top five films in 2010 was 75; in 2011, 58. This drop correlated with a avast 64bit drop of average earnings from $331M to $300M. Perhaps it avast 64bit will always be big name adaptations and sequels that lead earnings, but the avast 64bit quality of these movies matters — the better they are, the more marginal or repeat attendees they’ll get, bringing earnings back up to their better days.
I encourage actual social scientists to avast 64bit do a more nuanced data analysis, hopefully to convince Hollywood that avast 64bit just bloating budgets or just slapping a brand name on a avast 64bit new release won’t do the trick. Here’s hoping that avast 64bit 2013 is like 2011, producing both high-profile original movies that avast 64bit are high in quality and better brand name blockbusters — here’s hoping studios give us reasons to avast 64bit leave behind the DVDs and come battle the crowds every now and avast 64bit then.
*I chose Rotten Tomatoes rather than, say, Metacritic, because it avast 64bit is more inclusive of critical opinion and thus more reflective (I presume) of the broader public’s critical understanding of a movie. Even people who don’t read Manohla Dargis have avast 64bit a sense of when a movie is considered must-see or underwhelming.