With fewer event movies crowding out cinemas and cultural conversation, is there an opportunity for more original movies to shine this year? Al Horner investigates

Forty-five years ago, a giant mechanical shark named Bruce attacked a New England resort town, leaving not only a trail of victims in his wake, but a new type of cinema. Steven Spielbergs Jaws was the first so-called event movie a phrase coined to describe how the film had become a must-see sensation, taking a shark-size bite out of the zeitgeist and becoming an important moment in the cultural calendar. The film recalibrated the profit potential of the Hollywood hit, as film historian Thomas Schatz once put it, ushering in an age in which a movie could be more than just a movie: it could become a cultural phenomenon too, generating hundreds of millions in revenue thanks to feverish word of mouth. Ever since, there have been blockbusters, then there have been event movies: please-see films versus must-see movies, the type youd need to live under a rock to ignore.
Last year we reached peak event movie. Avengers: Endgame drew 22 films of extravagant superhero action to an epic conclusion in April. Star Wars: The Rise of Skywalker brought the Skywalker saga full circle in December. Todd Phillipss controversial Joker divided opinion but dominated pop-culture discourse, becoming a £1bn-grossing hit. The long-awaited Frozen 2, The Lion King remake and Toy Story 4 returned audiences to beloved worlds that had gone unvisited in years, becoming $1bn smashes themselves. These titles were massive culminations of years (and in some cases decades) of fandom and cherished storytelling. The result was a monstrous £32.7bn spent at multiplexes around the world last year.
Youd be forgiven for thinking 2020 looks a little slight in comparison. There are big and enthralling-looking movies coming out this year: Tenet, the twisty new spy thriller from Christopher Nolan, and Bond movie No Time to Die, out in April, are both eagerly awaited. DC fans have Birds of Prey, Margot Robbies candy-coated Suicide Squad spin-off, and Wonder Woman 1984, out in June, to look forward to. Sony has two supervillain spectacles in the offing (Venom 2 and Jared Letos Morbius), while Marvel starts building its next phase of films in March with Black Widow, a long-overdue origin story for Scarlett Johannsons ex-assassin character from the Avengers. That will be followed in November by the introduction of cosmic MCU newbies The Eternals, boasting what might be Marvels starriest ever cast (Angelina Jolie, Kit Harington, Richard Madden, Salma Hayek).
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1/19 Queen & Slim
An intoxicating and romantic drama about lovers on the run, Queen & Slim marks the first feature film from Melina Matsoukas, the director responsible for music videos including Beyoncés Formation. Daniel Kaluuya and Jodie Turner-Smith are the unlikely couple thrust together on a go-nowhere blind date, only for tragedy to transform them into folk heroes roaming across the USA searching for shelter. Its a spellbinding debut. (Adam White) Released 31 January
2/19 Parasite
Guaranteed to be one of the major players in next years Oscars, Bong Joon-hos Parasite works better the less you know about it. What you should know is that it is a devilishly inventive deconstruction of class, brimming with energy, dark humour and nervous tension. (Adam White) Released 7 February
3/19 The Invisible Man
Rising from the ashes of the aborted Universal Monsters multiverse, which was due to star Johnny Depp and Tom Cruise, this rebooted Invisible Man uses the iconic branding to tell the smaller and far more intriguing story of a woman on the run from her invisible ex. Elisabeth Moss is the domestic violence survivor convinced that her supposedly dead boyfriend has merely mastered the art of invisibility. Leigh Whannell, who directed 2018s wonderfully inventive sci-fi thriller Upgrade, is behind the camera. (Adam White) Released 28 February
4/19 A Quiet Place: Part II
A Quiet Place would surely have been better off as a standalone film, but the financial success of writer-director John Krasinskis B-movie-style horror tale put paid to that. This isnt to say theres no more story to tell. In fact, Krasinski made no secret of the fact he had a whole universe he could one day explore, and sure enough, joining returning stars Emily Blunt, Millicent Thomas and Noah Jupe (so brilliant in Honey Boy) are new additions in the form of Cillian Murphy and Djimon Honsou. (Jacob Stolworthy) Released 20 March
5/19 No Time to Die
While Daniel Craigs Bond tenure has been marked by severe whiplash in terms of quality, there remains something incredibly exciting about the arrival of a new 007 movie. No Time to Die, Craigs final outing as the super-spy, also boasts an intoxicating array of talent on and off screen, from Cary Fukunaga on directorial duties, to a script co-written by Phoebe Waller-Bridge and cast newcomers including Ana de Armas, Rami Malek and Lashana Lynch. (Adam White) Released 3 April
6/19 Antebellum
Little is known about the plot for Antebellum, the feature film debut of artists and music video directors Gerard Bush and Christopher Renz. But the thriller’s trailer is a visual feast, with Janelle Monáe appearing to be caught between the present day and the horrors of a 19th century plantation. From producer Jordan Peele, director of Get Out and Us, it also features Jena Malone, Gabourey Sidibe and Kiersey Clemons. (Adam White)
Released 24 April
7/19 The Woman in the Window
An adaptation of the pulpy bestseller (which itself was engulfed in mystery when a New Yorker feature claimed its author, AJ Finn, had extensively lied about his personal life and history), The Woman in the Window puts Amy Adams centre stage for the first time since 2018s Sharp Objects. Shes an agoraphobic psychologist convinced she has witnessed a murder across the street from her apartment. Julianne Moore, Gary Oldman and Brian Tyree Henry co-star. (Adam White) Released 15 May
8/19 Candyman
Watchmen star Yahya Abdul-Mateen III continues his incredible ascent with the starring role in this remake. Produced by the ubiquitous Jordan Peele, the new Candyman revives the hook-handed killer originated in 1992s genuinely terrifying Bernard Rose film, but with a black and female director and predominantly black cast which ought to mean the frustratingly ambiguous racial themes of the original can finally be given their due. (Adam White) Released 12 June
9/19 Wonder Woman 1984
The sequel to 2017s mega successful Wonder Woman is a rare thing: a DC film worthy of excitement. The first outing saw Patty Jenkins become the highest-grossing woman director in cinema history, and shes looking to beat her own record with a follow-up centred on the Amazon princesss battle against a villain named Cheetah (Kristen Wiig in her superhero film debut). That Jenkins describes it as a grand tentpole like they use to make in the 1980s is reason alone to mark its release on your 2020 calendar. (Jacob Stolworthy) Released 5 June
10/19 Soul
Soul is a curious new Pixar film that appears to emulate the philosophical wonder of Inside Out with the lived-in cultural exploration of Coco. Jamie Foxx is a struggling musician who finally gets his big break, only to experience a freak accident that propels him into a mysterious netherworld in which souls are imbued with talents and passions, before being implanted in newborn babies. It looks gorgeous, is potentially insane, and is co-written by Tina Fey. (Adam White) Released 17 July
11/19 Tenet
Hours after the first reviews of both Star Wars: The Rise of Skywalker and Cats took over social media, Warner Bros dropped the trailer for Tenet, Christopher Nolans top secret espionage thriller. Its fair to say plenty of sunshine was stolen and for good reason. Tenet marks Nolans return to the mind-melting thrills of Inception and, while the plot remains unknown, it seems to focus on a team of heroes who must rewind time to prevent the outbreak of war. Sign us up. (Jacob Stolworthy) Released 17 July
12/19 Top Gun: Maverick
Tom Cruise is taking a (short) break from carrying out impossible missions in 2020. Instead, hell return to the cockpit for a sequel to the daddy of all Eighties films, Top Gun. Therell surely be an element of teach new dogs old tricks in the Joseph Kosinski-directed film as Pete Maverick Mitchell mentors a new generation of US Navy fighter pilots. Were hopeful the result will wait for it take our breath away. (Jacob Stolworthy) Released 17 July
13/19 Barb and Star Go to Vista Del Mar
Its not the Bridesmaids sequel everyone begged for nearly a decade ago, but Barb and Star is its spiritual follow-up at least. Kristen Wiig and Annie Mumulo, the women behind the 2011 smash, write and star in this new comedy, playing two best friends who venture out of their small Midwestern community for the very first time. They soon get mixed up in a villainous plot to kill an entire town, while Jamie Dornan and Damon Wayans Jr also star. (Adam White) Released 24 July
14/19 The Many Saints of Newark
Whether you like it or not, a film prequel based on The Sopranos is being released in 2020. The presence of David Chase, the HBO shows creator, goes a long way to abate any concerns fans might have, and itll at least be a fine chance to explore the mobsterss family history. The film is expected to focus on Dickie Moltisanti, the father of Christopher, whose memory loomed large over the series. (Jacob Stolworthy) Released 5 September
15/19 Last Night in Soho
Edgar Wright is adding psychological horror to his filmmaking repertoire with Last Night in Soho, a neon-soaked thrill ride starring quite the ensemble (Anya Taylor-Joy, Matt Smith, Diana Rigg). The intriguing plot focuses on a young girl for whom time falls apart after shes somehow transported to the 1960s. It sounds like a cult hit in waiting. (Jacob Stolworthy) Released 18 September
16/19 Everybodys Talking About Jamie
The feel-good West End smash is transformed into a feel-good movie, with Richard E Grant, Sarah Lancashire and Sharon Horgan leading the story of a teenage boy who overcomes insecurity by embracing drag. Newcomer Max Harwood portrays the title character. (Adam White) Released 21 October
17/19 The Eternals
Regardless of whether youre a keen follower of the Marvel Cinematic Universe or not, The Eternals should pique your interest. Sure, it may be spearheading a brand new phase of Marvel franchises there really is no end to the studios box office stronghold but it features what has to be one of the most eclectic casts ever seen in a superhero film: Angelina Jolie, Kit Harington, Kumail Nanjiani, Brian Tyree Henry and Salma Hayek. Colour us intrigued. (Jacob Stolworthy) Released 6 November
18/19 Dune
A remake of David Lynchs Dune would ordinarily cause our eyeballs to rattle around our sockets, but not when Denis Villeneuves in the directors chair. So committed to his vision is Warner Bros that they ignored the fact his breathtaking Blade Runner sequel flopped and handed him the keys to a fresh adaptation of Herbert Ross novel. He did direct Prisoners, Enemy and Arrival, after all. Timothée Chalamet and Zendaya head up the cast. (Jacob Stolworthy) Released 18 December
19/19 West Side Story
Long in the works, Steven Spielbergs West Side Story looks set to be a festive smash this time next year. Speculated to be closer in spirit to the original Stephen Sondheim musical than the iconic 1961 film, this new version casts Ansel Elgort as Tony and newcomer Rachel Zegler as Maria the latter, incredibly, beat out more than 30,000 candidates for the role, after submitting an audition video via Twitter. (Adam White)
Released 18 December
1/19 Queen & Slim
An intoxicating and romantic drama about lovers on the run, Queen & Slim marks the first feature film from Melina Matsoukas, the director responsible for music videos including Beyoncés Formation. Daniel Kaluuya and Jodie Turner-Smith are the unlikely couple thrust together on a go-nowhere blind date, only for tragedy to transform them into folk heroes roaming across the USA searching for shelter. Its a spellbinding debut. (Adam White) Released 31 January
2/19 Parasite
Guaranteed to be one of the major players in next years Oscars, Bong Joon-hos Parasite works better the less you know about it. What you should know is that it is a devilishly inventive deconstruction of class, brimming with energy, dark humour and nervous tension. (Adam White) Released 7 February
3/19 The Invisible Man
Rising from the ashes of the aborted Universal Monsters multiverse, which was due to star Johnny Depp and Tom Cruise, this rebooted Invisible Man uses the iconic branding to tell the smaller and far more intriguing story of a woman on the run from her invisible ex. Elisabeth Moss is the domestic violence survivor convinced that her supposedly dead boyfriend has merely mastered the art of invisibility. Leigh Whannell, who directed 2018s wonderfully inventive sci-fi thriller Upgrade, is behind the camera. (Adam White) Released 28 February
4/19 A Quiet Place: Part II
A Quiet Place would surely have been better off as a standalone film, but the financial success of writer-director John Krasinskis B-movie-style horror tale put paid to that. This isnt to say theres no more story to tell. In fact, Krasinski made no secret of the fact he had a whole universe he could one day explore, and sure enough, joining returning stars Emily Blunt, Millicent Thomas and Noah Jupe (so brilliant in Honey Boy) are new additions in the form of Cillian Murphy and Djimon Honsou. (Jacob Stolworthy) Released 20 March
5/19 No Time to Die
While Daniel Craigs Bond tenure has been marked by severe whiplash in terms of quality, there remains something incredibly exciting about the arrival of a new 007 movie. No Time to Die, Craigs final outing as the super-spy, also boasts an intoxicating array of talent on and off screen, from Cary Fukunaga on directorial duties, to a script co-written by Phoebe Waller-Bridge and cast newcomers including Ana de Armas, Rami Malek and Lashana Lynch. (Adam White) Released 3 April
6/19 Antebellum
Little is known about the plot for Antebellum, the feature film debut of artists and music video directors Gerard Bush and Christopher Renz. But the thriller’s trailer is a visual feast, with Janelle Monáe appearing to be caught between the present day and the horrors of a 19th century plantation. From producer Jordan Peele, director of Get Out and Us, it also features Jena Malone, Gabourey Sidibe and Kiersey Clemons. (Adam White)
Released 24 April
7/19 The Woman in the Window
An adaptation of the pulpy bestseller (which itself was engulfed in mystery when a New Yorker feature claimed its author, AJ Finn, had extensively lied about his personal life and history), The Woman in the Window puts Amy Adams centre stage for the first time since 2018s Sharp Objects. Shes an agoraphobic psychologist convinced she has witnessed a murder across the street from her apartment. Julianne Moore, Gary Oldman and Brian Tyree Henry co-star. (Adam White) Released 15 May
8/19 Candyman
Watchmen star Yahya Abdul-Mateen III continues his incredible ascent with the starring role in this remake. Produced by the ubiquitous Jordan Peele, the new Candyman revives the hook-handed killer originated in 1992s genuinely terrifying Bernard Rose film, but with a black and female director and predominantly black cast which ought to mean the frustratingly ambiguous racial themes of the original can finally be given their due. (Adam White) Released 12 June
9/19 Wonder Woman 1984
The sequel to 2017s mega successful Wonder Woman is a rare thing: a DC film worthy of excitement. The first outing saw Patty Jenkins become the highest-grossing woman director in cinema history, and shes looking to beat her own record with a follow-up centred on the Amazon princesss battle against a villain named Cheetah (Kristen Wiig in her superhero film debut). That Jenkins describes it as a grand tentpole like they use to make in the 1980s is reason alone to mark its release on your 2020 calendar. (Jacob Stolworthy) Released 5 June
10/19 Soul
Soul is a curious new Pixar film that appears to emulate the philosophical wonder of Inside Out with the lived-in cultural exploration of Coco. Jamie Foxx is a struggling musician who finally gets his big break, only to experience a freak accident that propels him into a mysterious netherworld in which souls are imbued with talents and passions, before being implanted in newborn babies. It looks gorgeous, is potentially insane, and is co-written by Tina Fey. (Adam White) Released 17 July
11/19 Tenet
Hours after the first reviews of both Star Wars: The Rise of Skywalker and Cats took over social media, Warner Bros dropped the trailer for Tenet, Christopher Nolans top secret espionage thriller. Its fair to say plenty of sunshine was stolen and for good reason. Tenet marks Nolans return to the mind-melting thrills of Inception and, while the plot remains unknown, it seems to focus on a team of heroes who must rewind time to prevent the outbreak of war. Sign us up. (Jacob Stolworthy) Released 17 July
12/19 Top Gun: Maverick
Tom Cruise is taking a (short) break from carrying out impossible missions in 2020. Instead, hell return to the cockpit for a sequel to the daddy of all Eighties films, Top Gun. Therell surely be an element of teach new dogs old tricks in the Joseph Kosinski-directed film as Pete Maverick Mitchell mentors a new generation of US Navy fighter pilots. Were hopeful the result will wait for it take our breath away. (Jacob Stolworthy) Released 17 July
13/19 Barb and Star Go to Vista Del Mar
Its not the Bridesmaids sequel everyone begged for nearly a decade ago, but Barb and Star is its spiritual follow-up at least. Kristen Wiig and Annie Mumulo, the women behind the 2011 smash, write and star in this new comedy, playing two best friends who venture out of their small Midwestern community for the very first time. They soon get mixed up in a villainous plot to kill an entire town, while Jamie Dornan and Damon Wayans Jr also star. (Adam White) Released 24 July
14/19 The Many Saints of Newark
Whether you like it or not, a film prequel based on The Sopranos is being released in 2020. The presence of David Chase, the HBO shows creator, goes a long way to abate any concerns fans might have, and itll at least be a fine chance to explore the mobsterss family history. The film is expected to focus on Dickie Moltisanti, the father of Christopher, whose memory loomed large over the series. (Jacob Stolworthy) Released 5 September
15/19 Last Night in Soho
Edgar Wright is adding psychological horror to his filmmaking repertoire with Last Night in Soho, a neon-soaked thrill ride starring quite the ensemble (Anya Taylor-Joy, Matt Smith, Diana Rigg). The intriguing plot focuses on a young girl for whom time falls apart after shes somehow transported to the 1960s. It sounds like a cult hit in waiting. (Jacob Stolworthy) Released 18 September
16/19 Everybodys Talking About Jamie
The feel-good West End smash is transformed into a feel-good movie, with Richard E Grant, Sarah Lancashire and Sharon Horgan leading the story of a teenage boy who overcomes insecurity by embracing drag. Newcomer Max Harwood portrays the title character. (Adam White) Released 21 October
17/19 The Eternals
Regardless of whether youre a keen follower of the Marvel Cinematic Universe or not, The Eternals should pique your interest. Sure, it may be spearheading a brand new phase of Marvel franchises there really is no end to the studios box office stronghold but it features what has to be one of the most eclectic casts ever seen in a superhero film: Angelina Jolie, Kit Harington, Kumail Nanjiani, Brian Tyree Henry and Salma Hayek. Colour us intrigued. (Jacob Stolworthy) Released 6 November
18/19 Dune
A remake of David Lynchs Dune would ordinarily cause our eyeballs to rattle around our sockets, but not when Denis Villeneuves in the directors chair. So committed to his vision is Warner Bros that they ignored the fact his breathtaking Blade Runner sequel flopped and handed him the keys to a fresh adaptation of Herbert Ross novel. He did direct Prisoners, Enemy and Arrival, after all. Timothée Chalamet and Zendaya head up the cast. (Jacob Stolworthy) Released 18 December
19/19 West Side Story
Long in the works, Steven Spielbergs West Side Story looks set to be a festive smash this time next year. Speculated to be closer in spirit to the original Stephen Sondheim musical than the iconic 1961 film, this new version casts Ansel Elgort as Tony and newcomer Rachel Zegler as Maria the latter, incredibly, beat out more than 30,000 candidates for the role, after submitting an audition video via Twitter. (Adam White)
Released 18 December
All of these movies could prove critical and commercial hits. The same goes for horror sequels A Quiet Place: Part II, Halloween Kills and the The Conjuring 3. But do any of them carry the same weight of expectation as a new Star Wars or Avengers outing, or even a Jurassic World movie? With the possible exception of Daniel Craigs final turn in the 007 tux, probably not. Does buzz surround any of these imminent titles the way audiences were talking excitedly about Todd Phillipss ultra-dark Joker this time last year? Not really. While a high proportion of these movies could prove mind-blowing pieces of entertainment that captivate audiences and exceed expectations, the way that Deadpool and Wonder Woman have in previous years, sources suggest that studio executives are not expecting 2020s crop of blockbusters to reach the dizzying commercial heights they did in 2019.
Where does this leave the year ahead in movies? Is 2020 destined to be somewhat tame in comparison to the event-movie overload of 2019? And whisper it could that in fact be a good thing for the current state of cinema?
Last year was a great year for event movies, but a bad year for blockbusters. As The Independents Adam White noted last month, there was a time when £100m budget extravaganzas such as Dark Phoenix, Godzilla: King of the Monsters and The Lego Movie 2 were a sure thing comfortably dependable properties that could be dressed up with a new lick of paint or a couple of new faces and cinemagoers would flock to them regardless. But their widespread rejection spoke to a tricky new status quo for Hollywood, where successful movies dont guarantee equally successful sequels, stars arent enough to woo punters, and almost everything that is popular is also transient. The disappointing box-office returns on releases like Men in Black: International, Terminator: Dark Fate, Bumblebee, Hellboy and Charlies Angels, in a time of streaming services and prestige television offering entertainment at home, underlined how brand recognition and big-name stars were no longer enough to lure people out of the house. Movies now must have high-stakes, meme-generating, agenda-setting cultural talking points to stand any chance of getting viewers out in great numbers.
Olivia Wildes critically acclaimed but commercially underwhelming Booksmart was a perfect example of this new paradigm. It had great reviews but audiences didnt feel like they had to see it at the cinema, says BBC Radio 1 film critic Ali Plumb. Prices are going up. People are strapped for cash. There was a sense I think that they could wait and watch it at home, which they couldnt do with something like Endgame.
Booksmart was acclaimed but didnt fare so well at the box office (Annapurna Pictures)
Hollywoods response to the rise of services like Netflix and Amazon Prime Video, not to mention the launch of additional services from Disney, HBO and Apple, all offering big-budget original content, has been to amp up the number of films positioned as event movies. The way Rise of Skywalker was marketed was so telling, says one source, who asked to remain anonymous. After [2018 Star Wars standalone movie] Solo bombed at the box office, every single piece of advertising for this one made a ton of noise about it being the final chapter in the Skywalker saga the conclusion of a 40-year-old story. They werent confident enough in the Star Wars brand name anymore to just trust audiences would want to return to that universe, those characters their marketing raised the stakes even further. It wasnt marketed as just another episode, it had to be bigger than that.
Now, Hollywood has come to the end of cycles of some of these reliable event-movie brands, with many studios hitting the reset button on franchises in 2020. Star Wars will take a break from cinemas, with plans for future films yet to be firmed up. After the deaths of beloved characters, and the conclusion of contracts with some of its A-list stars, the Marvel Cinematic Universe will ring in the new decade by introducing new characters, with The Eternals, Shang-Chi and Blade incoming. Next year is a bit more business as usual as far as event movies are concerned: The Matrix 4, Jurassic World 3, Avatar 2 and Matt Reevess The Batman are just some of the heavy hitters destined to challenge the box office records set in 2019. In the meantime, 2020 looks like a bit of a fallow year.
There could be an advantage to this. In 1999, 17 of the 25 top-grossing movies of the year at the US box office were based on original concepts and characters, rather than existing franchises. By 2009, that number had been slashed to 11. Looking at 2019s box office figures, you have to scroll all the way down to 12th to find a film thats neither a sequel, an adaptation nor a reboot (Jordan Peeles Us). Of the 25 top-grossing movies in America last year, only Us, Once Upon a Time in Hollywood and Knives Out could be classified as original. Its a terrible time to try and get an original idea made into a movie, one well known director recently complained to me, off the record.
Daniel Craig and Lakeith Stanfield in Knives Out (Lionsgate)
The relative lack of event movies this year offers a chance to rectify that. I think theres more original storytelling on offer this year, says Louise Tutt, deputy editor of trade publications Screen International and Screen Daily. To produce and make a film is expensive, and distributors need to spend at least the same amount again on marketing and distribution. Add to this how hard it is now to get audiences into cinemas to watch films other than the big event movies, due to the boom in high-end television and platforms such as YouTube and TikTok among younger audiences, and its obvious why the commercial side of the industry is always going to opt for the known quantities as better business opportunities. Cinemas follow this philosophy too: why schedule a showing of Uncut Gems on a screen that could be showing Star Wars? In years full of event movies, its harder for the decreasing number of smaller, original movies that are being created, to be seen.
With fewer event movies crowding out cinemas and cultural conversation, is there an opportunity for more original movies to shine in 2020? Yes, in theory, says Tutt. I have high hopes for [Bong Joon-hos acclaimed drama] Parasite, especially if it can win a Bafta or an Oscar or two, as I suspect it might. She adds that, in terms of original IP [intellectual propety], theres none bigger than Christopher Nolans Tenet, coming from Warner Bros. I expect this will be huge.
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Radio 1s Plumb is a bit more cautious. There are so many factors that determine if a movie becomes a hit, he explains. Is the movie high quality? Is there intrigue around it? Does it have a gimmick? Is a guaranteed seat-filling star in it? Theres also a good amount of luck required. Is it released on a rainy weekend, in which people are happy to sit inside a cinema and watch a film? Is it released on such a rainy weekend that no one wants to leave the house? These factors dont disappear simply because of the absence of event movies. A movie like Booksmart wouldnt necessarily be a success if it was released in 2020, instead of having gone up against Disneys live-action Aladdin last year. One thing seems certain though: if more original movies were to prove successful this year, more would be commissioned. A cinematic landscape with more Knives Outs amid all the superhero sequels can only be a healthy thing.
Perhaps this year will see original movies strike back. Movies like Edgar Wrights Last Night In Soho, Wes Andersons The French Dispatch and Kelly Reichardts First Cow are unlikely to take the place of event films, but with more room in cinemas and in discourse to flourish, they may just land with more impact, proving to Hollywoods top dogs that theres still an appetite for original narratives as well as franchise spectacles. Or perhaps audiences will stay away, causing Hollywood to double down on its current emphasis on event movies, and well eventually come full circle. A rebooted Jaws Cinematic Universe anyone? Dont rule it out.