Within the next 30 days, we’ll be treated to the biker action flick “Torque,” the Owen Wilson comedy “The Big Bounce,” the Ben Stiller-Jennifer Aniston romantic comedy “Along Came Polly” and the Mandy Moore romantic comedy “Chasing Liberty.” Will they all stink? It’s too soon to say–a few of them could be fun–but they sure won’t be storming the Oscars next year. Why is January so often the last place to find great films? Short answer: timing.
During the summer and the winter holidays, all the kids are out of school, so “every night is Saturday night,” says Miramax executive Rick Sands. Come January, the kids are in school, the weather back East isn’t hot and the cineplexes are still full of big-budget Christmas movies vying for dollars and Oscars. So studios have long used January as a dumping ground for cheap films that aren’t likely to earn critical raves. But, Sands says, “over the last couple of years it has gotten better. Younger moviegoers have already seen the top Christmas films, so they’re ready for new product.” Or as one marketing source puts it, “It’s a good time to unload a $20 million to $30 million movie and make a lot of money.”
“Save the Last Dance,” starring Julia Stiles, racked up $27 million its first week-end three years ago, the biggest January opening ever for a new film. Last year’s “Kangaroo Jack” grossed $67 million, and Ashton Kutcher’s “Just Married” earned–well, made–$56 million. Films targeted to black and urban youth have also become increasingly lucrative in January. “Next Friday” scored $57.2 million in 2000, which could bode well for Miramax’s “My Baby’s Daddy” and Warner Bros.’ “Torque,” which stars Ice Cube. “Over time we’ve discovered that it’s a good month for counterprogramming,” says a Warners spokesperson. “I think it’s changed the perception that it’s a dumper month.” So, if you’re a teenager, maybe January isn’t so bad. For everybody else, it could be an ugly winter.
