The 2024 Box Office Awards
The first annual recognition of the movies that inspired meaningful moviegoing excitement.
The Gist
The Golden Globes introduced a box office award, several years after the Oscars tried something similar.
It sounds silly, but there is a way to recognize the movies that inspired moviegoing excitement this year.
So I gave it a try.
When the Golden Globes announced its nominees last week, it included the very silly “Cinematic and Box Office Achievement.” This is the second year that the Globes have honored a movie for…something.
The Globes have never exactly clarified what the award is for; the nominees this year reflect some of 2024’s biggest movies — “Inside Out 2,” “Deadpool and Wolverine,” “Wicked,” etc — but not “Moana 2,” “Despeicable Me 4,” or “Dune: Part Two.” Nor does it include some of the year’s best box-office stories, like “The Substance” and “Longlegs.” These are movies that aren’t going to top the overall charts this year, but they far exceeded the expectations for what they are. Instead, some other nominees included “Gladiator II,” “Twisters,” and “Beetlejuice Beetlejuice”; the former is doing fine business, but would be a much bigger success if not for its massive production budget, and the others really flailed in overseas markets.
So it’s unclear how the Globes award this “honor” and what it symbolizes. But it did get me thinking. I do think there is room to recognize box-office achievement beyond just, you know, the money. The Oscars attempted to introduce a “Popular Oscar” a few years ago, but after outcry it was quickly scrapped. That doesn’t mean it didn’t have merit; it was just sloppily announced, and at the time seemed like an act of desperation to include more “mainstream” films in the ceremony.
This year, though, offered a bevy of inspiring box-office stories. The overall box office itself is one of them; after a terrible start to the summer, things really ramped up in June with “Inside Out 2” and then “Deadpool and Wolverine.” And following a dire late-summer and fall, holiday business has been booming with “Wicked,” “Moana 2,” and now “Sonic 3.” Analysts now think that the domestic total could get close to last year’s, which seemed unthinkable a few months ago.
With that, I present the first annual Traverse “Box Office Awards,” nominated and picked by me (maybe in the future I will seek reader input). These won’t always reflect the “biggest” movies of the year (just as the Oscars don’t always reflect the “best” movies). But I tried to find ways to recognize movies that succeeded against impossible odds, and talent that showed an unwavering support for film exhibition.
Let’s get started:
Achievement in Event Release or Re-Release Awards a non-traditional theatrical release or a release for a previously distributed film.
The Chosen
Coraline 15th Anniversary
Interstellar 10th Anniversary Imax Release*
The Nightmare Before Christmas 25th Anniversary
Star Wars: The Phantom Menace 25th Anniversary
This year was a banner year for theatrical re-releases, and the latest one, “Interstellar” in Imax, takes the cake. Showings immediately sold out and dates were added. The re-release ultimately grossed $12 million (remember, that’s only in Imax!), pushing the movie’s lifetime domestic total past $200 million.
Comeback IP, Brand, or Genre of the Year Awards a film that revitalized audience excitement for a dormant or struggling IP, brand, or genre.
Alien: Romulus (Alien)
Beetlejuice Beetlejuice (Beetlejuice)
Inside Out 2 (Pixar)*
Kung Fu Panda 4 (Kung Fu Panda)
Longlegs (horror)
Arguably no movie brand needed a theatrical comeback more than Pixar. After three pandemic-era releases went straight to Disney+, “Lightyear” was supposed to be the roaring comeback the studio needed. When it flopped in 2022 with $226 million worldwide — one of the worst-performing Pixar releases — things looked dire. Now, “Inside Out 2” is the year’s biggest movie, with $1.7 billion worldwide. I’m not sure even Disney expected those kinds of numbers. While Pixar still needs to prove itself with original features in the post-pandemic market, “Inside Out 2” is a welcome success story.
Comeback Talent of the Year Awards a filmmaker or performer that experienced a career revival.
Tim Burton (Beetlejuice Beetlejuice)
Demi Moore (The Substance)*
Will Smith (Bad Boys: Ride or Die)
After THE SLAP, Will Smith’s career was on thin ice. But “Bad Boys: Ride or Die,” which grossed over $400 million globally, suggested he is still a bona fide movie star if paired with the right IP. And after a string of commercial and critical misses (not counting “Wednesday,” a TV series), Tim Burton was in desperate need of a hit. All he had to do was let the juice loose.
But Demi Moore returned to the big screen with her first major leading role in a movie in years (which is sparking talk of her first Oscar nomination) for “The Substance,” a body-horror flick that grossed nearly $80 million and cost under $20 million to make.
Achievement in Film Marketing Awards a film’s promotional campaign that utilized unique platforms and tactics.
Deadpool and Wolverine*
Longlegs
Terrifier 3
Twisters
Wicked
Normally I don’t think the most marketing necessarily means the best, which would disqualify “Deadpool and Wolverine” and “Wicked.” But in the case of the former, Disney successfully convinced the public to come out in droves for the MCU’s first R-rated movie, and brands to partner with a character mainly known for dick jokes and sexual innuendo. So props to them.
But shout out to the “Longlegs” campaign, which carefully teased Nicolas Cage’s character, and the “Terrifier 3” team, which pulled it all off on a $500,000 marketing budget. This year was hit-or-miss for horror, but the hits really hit.
Special Box Office Achievement (micro-to-small budget) Awards a film that showed commercial success off of a production budget below $20 million.
Longlegs
The Substance
Terrifier 3*
“Terrifier 3” is one of the coolest box-office stories of the year. Capitalizing on the first two movies’ cult following, this third outing grossed nearly six times what the second one did ($80 million), all with a half-a-million marketing budget.
Special Box Office Achievement (small-to-medium budget) Awards a film that showed commercial success off of a production budget anywhere from $20 million to $50 million.
The Beekeeper
Civil War
It Ends With Us*
“Civil War” came close to topping “Everything Everywhere All at Once” as A24’s biggest movie, an impressive feat given its subject matter (during a polarizing election year no less). And you may not remember David Ayer’s “The Beekeeper,” but it grossed over $150 million worldwide.
But “It Ends With Us,” based on the hit book, is one of the more fascinating box-office stories of the year. Given its material, its genre (an adult romantic drama), and everything we now know about what went on behind the scenes, it’s a minor miracle this movie grossed as much as it did (over $350 million globally).
Special Box Office Achievement (medium-to-big budget) Awards a film that showed commercial success off of a production budget between $50 million and $100 million.
Alien: Romulus
Bob Marley: One Love
The Wild Robot*
“Romulus” revived the “Alien” franchise, outperforming its predecessor “Alien: Covenant.” And “One Love” did surprisingly well, making close to $100 million domestic. But “The Wild Robot” is the definition of a word-of-mouth hit, showcasing why theaters are the best distribution method for movies that want to actually make money and get people talking. After opening with $35 million domestic, it went on to gross $143 million ($325 million worldwide).
Special Box Office Achievement (big budget) Awards a film that showed commercial success off of a production budget above $100 million.
Dune: Part Two
Inside Out 2*
Wicked
“Dune” and “Wicked” were nice bookends to the year for the movie business, but sandwiched between them was “Inside Out 2,” an indisputable blockbuster that marked the start of a real turnaround at this year’s box office.
Achievement in Box Office Outside of North America Awards a film that earned the vast majority of its box office from international markets.
Alien: Romulus
Gladiator II
Godzilla x Kong: The New Empire
The Substance*
Venom: The Last Dance
There’s something to be said for a movie that entices the rest of the world to see it; the film business can’t just survive on North America. That’s why “The Substance” is so compelling here, earning nearly 80% of its total from international markets, including an impressive $10 million in Mexico and $5 million in the U.K.
It’s worth noting, though, that while the third “Venom” movie will be the lowest-grossing of the trilogy, it still earned more internationally than its predecessor (U.S. business was lackluster).
The Long Legs Award Awards a film that showed impressive consistency at the box office after its opening weekend.
Despicable Me 4
Longlegs*
Inside Out 2
Wicked
The Wild Robot
No, I’m not just giving this to “Longlegs” so that I can name the award after its inaugural winner. Sure, other movies had stronger holds at the box office week-to-week, namely animated family films. But that’s why it’s even more impressive that “Longlegs” was so consistent during its theatrical run. It broke the norms of its genre (other horror movies had weaker legs) thanks to that aforementioned marketing campaign that inspired “you have to see Nic Cage” word-of-mouth (and a lot of day-of, or walk-up, business), even if the movie itself was divisive. It ultimately became Neon’s highest-grossing movie domestically.
Movie Star of the Year Awards a performer that inspired moviegoing excitement both on and off screen.
Timothee Chalamet (A Complete Unknown; Dune: Part Two; Wonka)*
Lupita Nyong’o (A Quiet Place: Day One; The Wild Robot)
Glen Powell (Anyone But You; Twisters)
Ryan Reynolds (Deadpool and Wolverine)
Zendaya (Dune: Part Two; Challengers)
Glen Powell rode into 2024 on the success of “Anyone But You,” a late-2023 release that grossed over $220 million worldwide (it’s a romantic comedy!). He followed that up with “Twisters” over the summer. Nyong’o starred in two box-office hits this year, and “Challengers” probably would not have made it close to $100 million globally without Zendaya.
But it’s hard not to think of Chalamet when you think of the next generation of movie stars. “Wonka,” released in December 2023, was a surprise hit; in fact, it’s the 25th biggest movie of this year domestically if you look at pure calendar grosses. He followed that up with “Dune: Part Two” and is capping off his stellar year with “A Complete Unknown.”
Filmmaker of the Year Awards a director that inspired moviegoing excitement both on and off screen.
Tim Burton (Beetlejuice Beetlejuice)
Jon M Chu (Wicked)*
Jeff Fowler (Sonic the Hedgehog 3)
Shawn Levy (Deadpool and Wolverine)
Denis Villeneuve (Dune: Part Two)
Do you know Jeff Fowler? Do you know he’s made three “Sonic the Hedgehog” movies that have all been box-office hits? I had to give him a special shout out after realizing one guy has made all of those movies. But Chu has grown to become a reliable hitmaker, from “Crazy Rich Asians” to “Wicked.” He’ll probably be able to do whatever he wants now.
Distributor of the Year Awards a film studio that showed a special commitment to the theatrical experience.
Cineverse (Terrifier 3)
Mubi (The Substance)
Neon (Anora, Longlegs)
Universal Pictures* (Despicable Me 4; Kung Fu Panda 4; Twisters; Wicked; The Wild Robot)
Walt Disney Studios (Alien: Romulus; Deadpool and Wolverine; Moana 2; Inside Out 2)
Yes, Disney had a hell of a year, with the top two highest-grossing movies and, as of this writing, the highest market share of box office among the studios. But Universal didn’t release the top two movies and still came pretty damn close to topping Disney overall, thanks to a wide array of movies, from animated family hits to “Wicked.” Universal got a lot of shit this year for its early PVOD releases, but it’s been doing that since 2020, and it has had little impact on the box office.
Side note: I have to give props to Mubi, though, for taking a chance on “The Substance” and shepherding it into a hit after Universal originally made it, but then shopped it to other distributors.
Movie of the Year Awards the film with the most-compelling box-office story of the year and contributed meaningful business to the theatrical industry.
Inside Out 2*
It Ends With Us
Longlegs
The Substance
Terrifier 3
Yeah, yeah, I know. I started this by saying these awards wouldn’t necessarily recognize the biggest movies of the year, which seems redundant. But “Inside Out 2” is pretty undeniable. Perhaps no movie in 2024 had more riding on it than this one after Pixar’s abysmal pandemic years, and it defied all expectations; most probably figured it would be a hit, but not the eighth biggest movie of all time. Maybe this movie has even sparked renewed interest in Pixar beyond its sequels; the first test will be with 2025’s “Elio.”
There you have it: the first annual “Box Office Awards” (working title). Keep any disagreements civilized in the comments below. Merry Christmas, Happy Hanukkah, and Happy Holidays to all.
Beyond the Traverse
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💥 Another Bloomberg report on how Crunchyroll is feeling anxiety over Netflix’s anime moves.
ICYMI: My deep dive into the factors leading an anime boom, including Netflix’s push into the genre.
💰 Barbara Broccoli is feuding with Amazon over the future of James Bond: “These people are fucking idiots.”
🧱 Does Lego have an IP problem? Fast Company thinks so.