"The absence of big-screen comedies, once an almost weekly occurrence, has become such a widely complained-about issue that the rare novelty of one actually being made has turned into a marketing tool. Last month's remake of The Naked Gun employed a campaign that directly addressed this problem, with an ad that played like a PSA about such a lack and why supporting one was of societal importance (the plea only mildly worked, with the film finishing with decent, but not quite decent enough, box office)."
"A raft of recent green lights suggests that Hollywood is finally realising the demand is more than misty-eyed nostalgia but there's still a certain unfair pressure on the few that are coming out to prove the genre's commercial viability (Adam Sandler's giant Netflix numbers for Happy Gilmore 2 just served to show where audiences have learned to expect their comedies to be)."
Big-screen comedies have become rare, turning any new theatrical laugh film into a marketing novelty. Recent promotion for The Naked Gun remake and festival commentary highlight a hunger for communal laughter and a desire from creators like Aziz Ansari to make theatrical comedies. Hollywood has begun approving comedies again, but those few releases face disproportionate pressure to prove the genre's commercial viability. Streaming successes have shifted audience expectations. Good Fortune aims to revive theatrical comedy and examine America's growing class divide, yet trades potential laughs for premise; Ansari's observational, wry sensibility suited television does not easily map onto broad belly-laugh comedy.
Read at www.theguardian.com
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