Think of how many incredibly bad cop/buddy movies that came out during the 80’s.
And I think Zebra is on spot with the global opening of movies. We used to have to wait six months up to a year for American movies to reach theatres here. The “overseas” market usually brings in more money than the US domestic market, at least for blockbuster movies and the appeal has to be pretty generic to go down in Ankara, Kiev, Singapore and Helsinki. Another factor is dubbing. In most countries, movies are dubbed and that costs money. The films are distributed by subsidiaries of the mother companies, so the cost of dubbing hits the original distributor. Less dialogue means less costs.
Another factor is that we’re now getting moviemakers that grew up with VCRs. I think the forerunner here is Tarrantino, who clearly OD’d on b-movies as he grew up. Sometimes, in some scenes, he can revert the input and produce art, but mostly he fails. Earlier generations got their inspirations as youths from other media. The kids of the 40’s (Spielberg, Lucas) grew up on Saturday afternon matinees, and it shows in their moviemaking, in about the same way that the music of Lennon /McCartney shows that they grew up without listening to pop music.
Superhero movies are easy to make, because there are already visuals, almost like storyboards, and with a little luck, enough recognition in the characters to create a buzz. It’s also highly visual and action driven, as compared to character driven, which takes a longer time to establish and is more suitable for tv series, if we’re talking visual media.
Hollywood is an industry, trying to get a return for investment. It’s not about art, it never was and never will be. Sometimes an artist might get an opening in that industry and get the chance to create art, but it’s a rare thing. A little more often we get people who manage to create entertainment.
Sturgeon’s law at work. As always. Be happy that it means that the crap won’t survive.