Line #8 GenreKiller/Film


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5	!!Animation
6	* Traditional animated American movies have been gradually phased out since the TurnOfTheMillennium, as many of the theatrically-released ones were {{box office bomb}}s. ''WesternAnimation/HomeOnTheRange'', in particular, flopped so hard that it killed Creator/{{Disney}}'s traditional animation department and made them move into [[ComputerGeneratedImages CGI]] starting with ''WesternAnimation/ChickenLittle''. An attempt to move back into traditional animation in the late 2000s/early 2010s with ''WesternAnimation/ThePrincessAndTheFrog'' and ''WesternAnimation/WinnieThePooh2011'' was unsuccessful, as the latter film was written off by the company as a financial disappointment, and led to ten members of the staff in the traditional animation department being handed their walking papers. Traditional animated movies have since been few and far between in theaters, aside from ''WesternAnimation/TheSpongeBobMovieSpongeOutOfWater'', ''WesternAnimation/TeenTitansGoToTheMovies'', ''WesternAnimation/MyLittlePonyTheMovie2017'' and the works of Creator/MichelOcelot. Notably, all of the above were based on TV series; original traditional animated movies are all but extinct... at least, ''fully'' traditional animated; some portions of films such as ''Film/MaryPoppinsReturns'', ''Film/DoraAndTheLostCityOfGold'' and ''Film/SpaceJamANewLegacy'' would see sequences done in traditional animation, and even [[Film/TomAndJerry2021 the 2021 film adaptation of Tom & Jerry]] would see their animation design take influence from the original series while still animating the characters in CGI, suggesting the ''influence'' of traditional animation is not entirely dead (though some series, a particularly recent example being [[WesternAnimation/TheSpongebobMovieSpongeOnTheRun the aforementioned SpongeBob series]], would still see subsequent installments ShiftedToCGI.)
7	* ''Film/CoolWorld'' in 1992 not only put Creator/RalphBakshi's career [[CreatorKiller on ice]], but also froze the idea of more original [[AnimationAgeGhetto adult animated]] movies until ''WesternAnimation/SausageParty'' about a quarter-century later. The only exceptions during this period were ''WesternAnimation/BeavisAndButtHeadDoAmerica'', ''WesternAnimation/SouthParkBiggerLongerAndUncut'', ''WesternAnimation/AquaTeenHungerForceColonMovieFilmForTheaters'', and ''WesternAnimation/TheSimpsonsMovie'', all of which were based on already-successful TV series.
8	* ''WesternAnimation/Shrek1'' basically ended two genres that were popularized by Creator/{{Disney}} in [[MediaNotes/TheRenaissanceAgeOfAnimation the 1990s:]]
9	** After the first film became a roaring success, it would take nearly a decade for non-ironic fairy tale movies, especially ones made by Disney, to be taken seriously again. It didn't help that, in the decade preceding ''Shrek'', Disney had done nothing but blockbuster musicals, mostly with princesses and princes, following the box office underperformance of ''WesternAnimation/TheRescuersDownUnder'' (which Katzenberg oversaw) and some of Disney's staff were losing interest in it at that point themselves, as evidenced by ''WesternAnimation/TheEmperorsNewGroove'' being a full-blown comedy and ''WesternAnimation/AtlantisTheLostEmpire'' being an action-adventure film.
10	** Along with Creator/BlueSkyStudios' ''WesternAnimation/IceAge1'', another hugely successful non-Disney CGI film that was released a year later[[note]]Disney would ironically obtain the rights to that film upon buying Creator/TwentiethCenturyFox (Blue Sky's parent company) in March 2019[[/note]], it wound up being the final nail in the coffin for hand-drawn feature film animation in America, which had been on a slow descent in popularity for the later half of the 90s. Dreamworks would close its 2D animation unit in 2003 and Disney would follow suit a year later, allowing the last few 2D movies they'd produced to die a quick, painless death at the box office so they could jump on the CGI bandwagon as quickly as possible. Despite some concerted efforts to keep the art form alive since then, CGI has remained the standard for all American animated features to this day.
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12	!!Live-Action
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17	%%Roughly organized in chronological order, using the first Genre Killer for a genre as the baseline.
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22	* In 1928, there was a double-header of Genre Killers so extreme that it took out ''the entire Canadian film industry''. The federally-funded Creator/NationalFilmBoardOfCanada was founded in 1939 in an attempt to revive it, but only in The70s with cultural sponsorship projects from UsefulNotes/PierreTrudeau's government did independent Canadian cinema begin to reemerge.
23	** The first Genre-Killer was the 1928 Canadian film ''[[https://en.wikipedia.org/wiki/Carry_on,_Sergeant!_(1928_film) Carry on, Sergeant!]]''[[note]]No relation to [[Film/CarryOnSergeant the 1958 British film]] of the same name[[/note]], a UsefulNotes/WorldWarI silent epic about [[UsefulNotes/CanucksWithChinooks Canadian soldiers]] in the trenches of France. Thanks to its TroubledProduction, soaring budget (about half a million dollars, as large as comparable Hollywood films like ''Film/TheJazzSinger''), controversial subject matter (an affair between a soldier and a French prostitute), the fact it was a silent film when [[MediaNotes/RiseOfTheTalkies talkies were ascendant]], and attendant box-office failure, it destroyed Canada's largest independent film studio and made Canadian financiers extremely leery of financing similar big-budget efforts, playing a huge role in reducing Canada's native film industry to an outpost of Hollywood.
24	** The other one was the [[https://en.wikipedia.org/wiki/Cinematograph_Films_Act_1927 Cinematograph Films Act of 1927]] (which came into force the following year), a law in the United Kingdom that placed a quota on foreign films in order to protect British film studios. Canada dodged the quota by technically being a part of UsefulNotes/TheBritishEmpire, but rather than nurturing and protecting the local film industry, it instead caused Hollywood studios to set up Canadian subsidiaries that vacuumed up [[OnlySoManyCanadianActors the small pool of local talent]] for the production of "quota quickies", cheap and often wretched films made for the British market to get around the quota. The scourge of the quota quickies also affected the UK itself, but owing to a larger market and greater distance from the US, their film industry recovered in far less time. While later scholarship [[http://www.screenonline.org.uk/film/id/1361819/ reevaluated]] the quota quickies as the birth of the British BMovie, a way for aspiring filmmakers to get their foot in the door with low-budget flicks, the Cinematograph Films Act of 1927 is still seen as a textbook case of short-sighted legislation having precisely the opposite effect than what was intended.
25	* Pearl Harbor (and UsefulNotes/WorldWarII in general) killed the space travel serial; it's believed to be the reason why the SequelHook towards the end of ''Flash Gordon Conquers the Universe'' was never followed up on. The fact that the attack took place a mere three years after the infamous ''Literature/WarOfTheWorlds'' radio broadcast doesn't appear to have helped matters, either.
26	* The Platform/ThreeDMovie genre was killed three times over the course of several decades:
27	** The first culprit was ''The Moonlighters'', a forgettable Warner Western starring Barbara Stanwyck and Fred [=MacMurray=], in 1953. It didn't help that it had to compete against ''Film/TheRobe'', a flat classic in [=CinemaScope=], during its run. The film did the least damage to the genre, though, as it only took ''Theatre/KissMeKate'' later that same year to put 3-D back on the map and keep the Golden Age 3-D Craze going.
28	** The second culprit was ''Phantom of the Rue Morgue'' the following year, which was just as mediocre as, if not more so than, ''Moonlighters'' was. Its accomplice was ''The Mad Magician'', a cheap ''Film/{{House of Wax\|1953}}'' clone involving stage magic instead of a wax museum, which did well at the box office but earned a sorry reputation. This time, though, the "Golden Age 3-D Craze" went out not with a whimper, but with a bang: the last classic '50s 3-D film, ''Film/RevengeOfTheCreature'', capped off this craze with a successful 3-D run, which still wasn't enough to save the craze.
29	** A second craze, the "Spectacular 3-D Craze", was ended nearly thirty years later by ''Film/SpacehunterAdventuresInTheForbiddenZone'', a 1983 flop with a budget similar to the highly successful ''Franchise/StarWars'', with accomplices including ''Film/TheManWhoWasntThere1983'', ''Film/MetalstormTheDestructionOfJaredSyn'', and ''Film/Amityville3D''.
30	** Since the massive success of ''Film/{{Avatar}}'' in 2009, there have been numerous false alarms about the "Digital 3-D Craze" dying, brought about by the likes of ''WesternAnimation/BattleForTerra'', ''Film/{{Clash of the Titans\|2010}}'', ''Film/TheLastAirbender'', ''Film/TheNutcrackerIn3D'', and ''Film/ConanTheBarbarian2011''. Despite all the rumors of the dying craze, though, it was kept afloat by 3D theatrical re-releases of several classic movies, including a couple of Disney animated features and a few Pixar movies. That said, studios have more of a vested interest in keeping 3-D around this time -- 3-D movies are much harder to [[DigitalPiracyIsEvil pirate]], a feature that the industry appreciates very much. Additionally, digital technology greatly reduced the costs of producing 3-D movies.
31	** ...''But then'' [[http://www.hollywoodreporter.com/thr-esq/disney-loses-court-battle-3d-642458 3-D movies once again were put in grave danger of going the way of the dinosaur]], this time no thanks to a court ruling stating that 3-D film as a whole could not be patented, as Disney had intended to by suing Real-D. As a result, Disney lost interest in 3-D outside of Marvel-related and animated productions, resulting in a nosedive in the number of stereoscopic releases beginning in 2014. In addition, 3D-TV (which was once considered to become commonplace by 2015) became too impractical and not worth the cost, Disney's abandonment of 3D home video making matters worse, and TV manufacturers eventually shifted towards larger formats and 4K.
32	** On the other side of the coin, ''Film/TheWizardOfOz'' and ''Film/{{Gravity}}'' were so successful in their post-converted versions, that they managed to kill native 3D live-action films. Before they were released, most 3D films were filmed with 3D cameras. Afterward, very few use 3D cameras, with the latest being ''Film/GeminiMan''.
33	** Time will tell if the ''Avatar'' sequels, starting with ''[[Film/AvatarTheWayOfWater The Way of Water]]'', will revive the format.
34	* ''Yolanda and the Thief'' was a 1945 BoxOfficeBomb that killed the idea of doing a FantasticComedy as a musical after ''Film/TheWizardOfOz'''s success. ''Film/OneTouchOfVenus'' followed a few years later and was a success, but it also downplayed the fantasy elements.
35	* ''Film/BlackNarcissus'' killed the genre of films where white protagonists find the meaning of life in {{UsefulNotes/Asia}} - by deconstructing the imperialist and colonialist attitudes, while having the white characters driven out of the environment by being unable to adjust to their new surroundings. Other films featuring white characters in Asia or {{UsefulNotes/Africa}} would be straight-up adventures or incorporate the CultureClash into the story.
36	* 1957 saw the release of ''Band of Angels'' and ''Raintree County'', both widely derided as ''Film/GoneWithTheWind'' clones. ''Band of Angels'' even had Creator/ClarkGable as the male lead. Their failure at the box office ensured they would mark the end of the "EpicMovie about a SouthernBelle during UsefulNotes/TheAmericanCivilWar" genre.
37	* ''Film/ImitationOfLife1959'' killed off the 'tragic mulatto' films featuring mixed-race characters who would end up suffering because they couldn't fit into either the white world or the black world. ''Imitation of Life'' basically deconstructed the genre by focusing on the mother of such a character, highlighting how awful she was treated by her daughter trying to pass for white and having the daughter's attempts to pass making her life even worse - [[spoiler: only accepting her heritage after her mother's tragic death]]. Changing social values meant that the previous narratives (such as ''I Passed For White'', which was released the following year and flopped) became unpalatable.
38	* Many film historians consider ''Film/{{Psycho}}'' to be the movie that killed FilmNoir, as the purpose of the first hour or so is to continuously set up and subvert the tropes of that genre.
39	* ''Film/TheWorldOfSuzieWong'' arguably killed the MightyWhiteyAndMellowYellow plot being played for {{Melodrama}} - illustrating how impossible it would be for two people of different races to be together - by turning it into a romantic comedy, acknowledging the underlying racism and sexism in such a pairing (and having the male lead overcome it in favor of love), presenting a white rival as the RomanticFalseLead who never had a chance, and having the Asian woman played by an actual Asian actress (Creator/NancyKwan in this case) as opposed to a white actress in {{Yellowface}}. It shares this in common with ''{{Film/Sayonara}}'', which also cast Asian actresses as the Asian love interests (although had a Japanese man played by a Mexican) - and both films ended with the couples happily getting together, showing that people of different races being portrayed as StarCrossedLovers wouldn't cut it anymore. MediaNotes/TheHaysCode's restriction on interracial couples had also been repealed a couple of years earlier.
40	* Shakespeare film adaptations have always zigzagged between being surprise hits or commercial failures. But the Laurence Olivier film ''{{Film/Hamlet 1948}}'' and Orson Welles's ''{{Theatre/Macbeth}}'' were financial successes, and Franco Zeffirelli made the genre bankable with his versions of ''Theatre/TheTamingOfTheShrew'' and ''Film/RomeoAndJuliet1968''. However, the commercial failure of Creator/RomanPolanski's ''Film/{{Macbeth\|1971}}'' in 1971 put an end to the perceived commercial viability of Shakespeare films.
41	* The disastrous box office failures of ''Film/{{Cleopatra}}'' in 1963 and ''Film/TheFallOfTheRomanEmpire'' in 1964 killed the SwordAndSandal epic for over three decades, though the genre would somewhat survive on television with a few examples standing out such as ''Series/IClaudius'' and ''Series/{{Masada}}''. It wasn't until 2000 that the genre was [[PopularityPolynomial revived]] with ''Film/{{Gladiator}}''. There have been a number of Roman and Greek-era action films in the ensuing years with various degrees of success.
42	* ''Film/TheGreatestStoryEverTold'', a 1965 AllStarCast production of Jesus' life that received mixed reviews and bombed at the box office, was the beginning of the end for the mainstream success of the religious epic. Changes in film censorship (in the era of the Hays Code, religious epics were notorious for taking advantage of their unimpeachable message to push the envelope in terms of sex and violence) and the general politicization of artistic work with religious themes have further removed religious epics from the standard menu of film genres. When modern examples do appear, however, they're often big hits due to being perceived as novel.
43	* The triple-threat of ''Film/DoctorDolittle'', ''Theatre/{{Camelot}}'', and ''Film/HelloDolly'' between 1967 and 1969 knocked out the "big Hollywood musical", and dealt a deathblow to the common "roadshow" practice as well. ''Film/LostHorizon'' was the final nail in the coffin, flopping so badly it was often sarcastically named "Lost Investment." Musicals as a genre still survive, but prior to this, they were seen as chart-topping audience-appeal blockbusters and routinely received massive budgets and promotions. The next really successful musical was ''Film/{{Cabaret}}'', which was a very different animal (more than a few people have called it "the musical for people who hate them") and a lot of its successors have followed suit.
44	* The60s saw a very specific trend of films about teenagers partying on the beach, popularized by ''Film/BeachParty'' and AIP's subsequent sequels featuring Frankie Avalon and Creator/AnnetteFunicello. Other studios attempted to cash in, but ''Film/DontMakeWaves'', ''It's a Bikini World'' and most infamously ''Catalina Caper'' were spectacular failures that confirmed the trend had died down. AIP's own ''The Ghost in the Invisible Bikini'' had killed their series, and the studio switched to films about outlaw racing instead.
45	* The epic romance largely disappeared after ''Film/RyansDaughter'' and ''Film/NicholasAndAlexandra'' flopped in the [[The70s early '70s]]. While occasional epics cropped up through The80s and The90s (eg. ''Film/OutOfAfrica'', ''Film/{{Titanic\|1997}}''), they are now typically one-off events rather than the box office staple they once were.
46	** ''Titanic'' was ''also'' an example of killing off a specific subject matter by making what came to be considered the ''definitive'' film on the subject. While many films regarding the Titanic had been made previously, Creator/JamesCameron's film became the highest-grossing film of all time - a position it held for a solid decade before being usurped by [[Film/{{Avatar}} another Cameron film]] - meant that, save for some Italian animated knockoffs (WesternAnimation/TheLegendOfTheTitanic and WesternAnimation/TitanicTheLegendGoesOn) in its immediate aftermath, nobody ever touched the subject again except for the specific purposes of parodying the 1997 film.
47	** ''Film/PearlHarbor'' tried to replicate ''Titanic'''s success by chronicling another overly long, fictional forbidden romance against a historical disaster with a huge toll, but was panned by audiences who found both elements unengaging and poorly implemented. This failure likely aborted the film adaptation of Robert Harris' novel ''Pompeii'', which was obviously following the ''Titanic'' formula. Ironically, a ''{{Film/Pompeii}}'' film ''not'' based on Harris' story was finally done in 2014... but it copied more from ''{{Film/Gladiator}}'' than ''Titanic'', committed the mistakes of ''Pearl Harbor'' all over again, and turned into a predictable dud.
48	* In 1973, the roaring success of the ''Film/BattlesWithoutHonorAndHumanity'' series sparked the SubGenre of ''jitsuroku eiga'' ("[[RippedFromTheHeadlines true account]] movies"), films based on real-life accounts of ''{{yakuza}}'' and other CrimeFiction accounts which were very popular in the '70s (and, to a lesser extent, DirectToVideo 2000s movies)... And all but killed the '60s ''ninkyo eiga'' genre, movies starring anti-heroic yet chivalrous ''yakuza'', which looked downright naïve at best and dishonest at worst compared to the gritty ''jitsuroku'' films, which were already showing signs of weariness (after, ironically, serving as a reinvigoration to the slumping '50s ''{{jidaigeki}}'' movies). That said, Creator/ToeiCompany was the main studio behind both genres, so it was more of a ToneShift than a real economic loss.
49	* The failure of ''Film/TheWiz'' in 1978 caused studios to give up on movies with mostly black casts for some time, outside of [[UncleTomFoolery comedies]], black cop/white cop pairings, and "urban" dramas. However, the 1988 Creator/EddieMurphy comedy ''Film/ComingToAmerica'' helped bring back films with mostly black casts, and the smash success of Creator/TylerPerry's films and ''Film/{{Black Panther\|2018}}'' have helped Hollywood take more note of the African-American movie dollar in the more modern day.
50	* Before ''The Wiz'', black-casted movies had been dealt a mortal blow by the demise of {{Blaxploitation}}. Ironically, it wasn't the failure of a film in that subgenre that killed it as it was the ''success'' of a film with an all-white cast from a different genre: ''Film/TheExorcist''. When Hollywood saw that black audiences were going out of their way to see it, to theaters in white neighborhoods[[note]]much to the consternation of some residents of, and businesses in, those neighborhoods[[/note]] and in the process passing up blaxploitation movies on screens closer to home, they both made sure ''The Exorcist'' was booked into theaters in black neighborhoods and concluded there was no longer any financial reason to make blaxploitation films; further entries in the genre after 1974 were largely made independently.
51	* The "porno chic" movement of The70s came to a screeching halt with the critical failure and [[OvershadowedByControversy overwhelming controversy]] of 1979's ''Film/{{Caligula}}''. Known more for its incredibly heated production, characterized by constant infighting between writer Creator/GoreVidal, co-director Tinto Brass, and producer Bob Guccione of ''Penthouse'' magazine, the film was chastised as being directionless and exploitative due to the immense CreativeDifferences between Gore (who wanted to make a film that strongly focused on homosexuality in a time when mainstream LGBT acceptance was still painfully low), Brass (who wanted to make a political satire), and Guccione (who ordered rewrites to remove Gore's homosexual elements and wanted to make a PornWithPlot film that paid homage to the campiness of 1950s historical epics). Creator/RogerEbert infamously [[ScrewThisImOuttaHere walked out when he saw the film]]-- one of the ''only'' times in his career that he did so-- and slammed it as "sickening, utterly worthless, shameful trash." While the film was a commercial success and was eventually VindicatedByHistory with the help of recuts that reoriented the film closer to Brass' vision, the combination of the sheer vitriol directed towards it and the emerging conservative revolution in the Anglosphere put the kibosh on the mainstream fashionability of pornographic films.
52	* The ''Poliziotteschi'', gritty Italian crime films in the vein of ''Film/DirtyHarry'' and ''Film/{{Bullitt}}'', had their heyday in TheSeventies, reflecting [[UsefulNotes/RepublicanItaly Italy's]] "[[AudienceAlienatingEra Years of Lead]]" (a time of political violence from both Marxist and neo-fascist groups) and the wider fortunes of the [[ItalianFilms Italian film industry]] of the time. But by the end of the decade, the genre was slumping in popularity. One of the genre's key scriptwriters, Dardano Sacchetti, [[CreatorBacklash had grown dismayed]] by what he felt were the [[PoliceBrutality fascistic undertones]] of the genre, and helped [[{{Deconstruction}} undermine the genre from within]] by steering it towards self-parody and eventually outright comedy.
53	* ''Film/{{Jaws}}'' effectively killed [[NoBudget low-budgeted]] summer [[BMovie bubblegum movies]] as it [[MediaNotes/TheBlockbusterAgeOfHollywood showed]] that it was possible to create a SummerBlockbuster ''and'' make big dollars at the box office. Now, it is rare to get a [[DumpMonths throwaway movie]] in the summer... or at least, the ''start'' of the summer, as the middle/end of August and the start of September would see a similar reputation as a Dump Month, particularly in the 2010s, due to studios exhausting their summer tentpoles and the children who'd be more likely to see said blockbusters returning to school.
54	* The 1970s saw many [[{{Britcom}} British TV sitcoms]] adapted into [[TheMovie feature films]], including ''Series/{{Porridge}}'', ''Film/AreYouBeingServed'', a pair of ''Series/SteptoeAndSon'' films, and a trilogy of ''Series/OnTheBuses'' films (''Film/OnTheBuses'', ''Film/MutinyOnTheBuses'', and ''Film/HolidayOnTheBuses''). But by the end of the decade, the genre was exhausting itself, and the death knell is generally regarded as having been sounded by the critical and commercial failure of the 1980 film spinoff of ''Series/GeorgeAndMildred'', which critic Julian Upton, writing in 2002, described as "one of the worst films ever made in Britain ... so strikingly bad, it seems to have been assembled with a genuine contempt for its audience." The film threw aside everything that had made the television series popular in favor of a bizarre plot about the title couple celebrating their anniversary at a posh hotel and George somehow being mistaken for a hitman.[[note]] As if to add insult to injury and/or put the final nail in the coffin (no pun intended), actress Creator/YoothaJoyce, who played Mildred, died of liver failure just before the film's release, making it her last screen appearance.[[/note]] It wasn't until 1997's ''Film/{{Bean}}'' that the idea of adapting a British comedy series for the big screen would be revisited.
55	* Though TheWestern was already struggling before due to a variety of circumstances for about a decade, the point cited by most film geeks and historians as the ultimate bullet in the genre's head was ''Film/HeavensGate'' in 1980. That film was such a BoxOfficeBomb that it [[CreatorKiller killed its studio and its director's career]], and Hollywood became very reluctant to release big-budget Western films for several years afterward. Even successful {{reconstruction}} films like ''Film/{{Silverado}}'' couldn't jump-start the genre back to its original prominence. While Westerns are still fairly common, they have never returned from their virtual omnipresence of yesteryear. It's also telling that most modern examples [[NewOldWest subvert some aspect of the genre]], as the straight western is still basically dead.
56	** The subgenre of "White Hat/Black Hat" or "Moral" westerns - which dominated the first couple of decades of television[[note]]Think of any cowboy TV show from the 1950s or any Creator/JohnWayne western before 1970[[/note]] - was already being slowly pushed out of favor of the SpaghettiWestern and edgy deconstructionist fare like ''Film/TheWildBunch''. But it hit an absolute brick wall in the form of 1974's ''Film/BlazingSaddles'', which took apart the tropes of the genre so thoroughly that no one could take it seriously anymore. With the possible exception of ''Series/{{Gunsmoke}}''- and even ''that'' [[LongRunner venerable series]] only lasted one more season.
57	* {{Blaxploitation}} films, like martial arts features, were what saved Hollywood during the early 1970s. There were a number of [[BoxOfficeBomb big-budget flops]] during that time and the inexpensive production costs and high returns of Blaxploitation offerings made it easier for studios to remain in business. Then along came the unexpected successes of ''Film/{{Jaws}}'' in 1975 and then ''[[Film/ANewHope Star Wars]]'' in 1977. After it was seen that films like those (which ironically did not have Black actors in speaking roles) could make money, the decisions were made to curtail the production of such films in favor of the fantasy/sci-fi, and horror films that dominated the late 1970s and early 1980s. Also, by the late 1970s, many theaters in urban areas had closed and were replaced by multiplexes which showed as many as 20 or so films in each. Blaxploitation films weren’t as appealing in the suburbs as they were in the city and so the studios began to slow and then halt their production. Meanwhile, following the success of ''Series/Roots1977'' on television and the “WhiteGuilt” that it invoked, making films about badass [[TheAggressiveDrugDealer drug dealers]] and pimps became offensive to many. While the roles for Black actors didn’t increase and even though there were still exploitative films being made, the majority of Blaxploitation films were ended by 1979. Finally, studios were “burned” by the low box office returns of the Music/DianaRoss features ''Lady Sings the Blues'', ''Mahogany'', and ''Film/TheWiz'' as well ensemble films like ''Film/CarWash''. Basically the higher the budget of Blaxploitation, the lower box office returns became. Since other films were “hitting” the decision was made to reduce the number of films that were in that vein.
58	* ''Film/HeavensGate'' is also usually blamed for the end of the [[MediaNotes/NewHollywood auteur films]] produced by Hollywood in the 1970s. Other flops, such as Creator/StevenSpielberg's ''Film/NineteenFortyOne1979'', Creator/PeterBogdanovich's ''They All Laughed'', Creator/MartinScorsese's ''Film/NewYorkNewYork'', and Creator/FrancisFordCoppola's ''Film/OneFromTheHeart'' and ''Film/TheCottonClub'', were also used as examples of the danger of giving auteur filmmakers ''[[ProtectionFromEditors carte blanche]]'' when making "personal" or "blockbuster" films.
59	* Airport melodrama movies, a popular subgenre of DisasterMovie in TheSeventies revolving around serious, IdealHero characters in airline outfits being competent while saving the lives of LittlestCancerPatient children and hot girls, were killed off as a genre by ''Film/{{Airplane}}'', which crammed so much silliness into the concept of an airport melodrama that it became impossible to watch any of them without expecting ''Airplane!'' gags to show up. While there have been some successful plane disaster movies in the decades after ''Airplane!'' that owe something to the older subgenre (such as ''Film/ConAir'' and ''Film/SnakesOnAPlane''), they're much more comedic in tone and tend to star more rugged AntiHero characters rather than sensible [[OfficerAndAGentleman grownups]]. Serious cases are rarer, and they now tend to be re-framed as documentaries (''Film/United93''), procedurals (''Film/{{Flight}}''), or both (''Film/{{Sully}}'').
60	* ''Film/{{Xanadu\|1980}}'' and ''Film/CantStopTheMusic'' effectively killed the musical, which was already crippled during the 1970s and by then was only kept afloat by the now-extinct disco craze. The genre didn't stay dead forever, however; ''Film/MoulinRouge'' in 2001 and ''Film/{{Chicago}}'' in 2002 sparked renewed interest in musicals. Various other films since then have had mixed success, but in general, musicals are not considered particularly standard. Trailers for some musicals even disguise the fact that the film is a musical. However, the genre made something of a comeback with the combined critical and commercial successes of ''Film/IntoTheWoods'' (2014), ''Film/LaLaLand'' (2016), ''Film/{{Beauty and the Beast\|2017}}'' (2017), ''Film/BohemianRhapsody'' and ''Film/{{A Star Is Born\|2018}}'' (both 2018).
61	* ''Film/QuestForFire'' in 1981 effectively killed the serious caveman movie by setting the bar so high that [[ToughActToFollow nobody could hope to compete]]. Also not helped by the not-serious-at-all ''Film/{{Caveman}}'' also being a success that year.
62	* In the 1970s and 1980s, there was a trend of young performers playing "mature" roles. Using fresh talent, this creative shift allowed for a unique examination of human complexity. Young actors might shine and play characters far older than their years, blurring the borders between adolescence and adulthood on screen. After Creator/StevenSpielberg[='=]s 1982 hit ''Film/ETTheExtraTerrestrial'', this trend faded. The touching tale of a little boy's incredible bond with an alien visitor showed the power of casting children in authentic, emotionally moving roles. Later in the decade, Creator/JohnHughes[='=] renowned coming-of-age films reinforced the need to hire age-appropriate performers in teenage roles, as exemplified by Creator/MollyRingwald playing [[ChildrenVoicingChildren age-appropriate roles]]. The era of putting young actors in "mature" roles slowly gave way to a more authentic and age-appropriate approach, influencing cinematic storytelling.
63	* Female-led superhero movies suffered two major blows.
64	** First came the 1984 film ''Film/{{Supergirl\|1984}}'', testing the waters for the concept in the wake of the fantastic success of ''Film/SupermanTheMovie''. It suffered terrible ExecutiveMeddling and was so horribly received that it took two decades for any studio to try again. (The below-mentioned temporary death of the entire superhero genre during that time didn't help.)
65	** The result was the one-two punch of ''Film/Catwoman2004'' and ''Film/{{Elektra}}'', which were both instantly ridiculed as among the worst comic book movies ever made and sent the studios right back to the safe embrace of male heroes. Even the much-ballyhooed success of the Franchise/MarvelCinematicUniverse took ages to attempt another, with its most prominent female hero Black Widow notoriously relegated to an occasional supporting role despite massive demand for her to get her own film[[note]] which would end up happening [[Film/BlackWidow2021 in 2021]][[/note]] and no less than infamously meddlesome Ike Perlmutter notoriously using those two films as his ostensible reason for not wanting to make a female-centric superhero film, which came back to bite him in the ass when the projects he preferred (such as ''Film/ThorTheDarkWorld'' and ''Series/{{Inhumans}}'') crashed and burned. Eventually, they came back on TV first, with the highly acclaimed MCU series ''Series/{{Jessica Jones\|2015}}'' and (ironically enough) the Series/{{Arrowverse}} series ''Series/{{Supergirl\|2015}}'' finally showing tangible support for more female heroes. By this time the MCU had already set up their first foray in film with ''Film/{{Captain Marvel\|2019}}'', but were beaten to the punch by the newcomer Franchise/DCExtendedUniverse and ''Film/{{Wonder Woman\|2017}}'', which finally reversed the trend, immediately becoming one of the best-reviewed comic book films ever made and a smash box office success.
66	* While successful, the negative critical reception that ''Film/PoliceAcademy'' received severely hurt the slew of "crass" comedies that began in the late 1970s with ''Film/TheKentuckyFriedMovie'' and ''Film/AnimalHouse''. ''Police Academy'' itself went towards a more family-friendly direction after the first movie, and comedies oriented at a mature audience in general wouldn't recover until the 1990s, although the use of gross humor only became popular again with the ''Series/{{Jackass}}'' trilogy (and probably just because of the show's popularity).
67	* ''Film/ConanTheDestroyer'' in 1984 and ''Film/RedSonja'' in '85 may well have been the films that killed the SwordAndSorcery HeroicFantasy as a film genre for quite some time. Their predecessor ''Film/{{Conan the Barbarian\|1982}}'', however, was a classic example of the genre.
68	* For almost the entirety of UsefulNotes/TheVietnamWar and several years afterwards, the "murderous psycho Vietnam vet" was a popular choice of antagonist in thrillers like ''Film/{{Targets}}'', ''Literature/BlackSunday'' and even ''Film/DirtyHarry'' (although, in fairness, The Scorpio Killer's backstory isn't mentioned in the movie and was created by his actor). The source novel for ''Film/FirstBlood'' did likewise, showing Rambo as a cold-blooded killer irretrievably twisted by his experiences and best put down [[MercyKill for his own good]] as much as society's. The movie, on the other hand, decided to add far more nuance to Rambo's portrayal and depict him not as a deranged murderer, but as a human being utterly broken both by the torment he went through and the alienation he faced upon coming home. This far more thoughtful and sympathetic portrayal of a ShellShockedVeteran caused the "psycho Vietnam vet" subgenre to quickly evaporate.
69	* The failure of 1986's ''Film/SpaceCamp'' may have likely crippled the [[TheEighties Eighties]] [[SpaceOpera space adventure]] for kids genre. [[FollowTheLeader Following]] the monster successes that were the original ''Franchise/StarWars'' trilogy and especially ''Film/ETTheExtraTerrestrial'', Hollywood would present further science-fiction-themed movies with adolescents as the lead protagonists. These included ''Film/TheLastStarFighter'', ''Film/{{Explorers}}'', and ''Film/FlightOfTheNavigator''. ''[=SpaceCamp=]'' had the misfortune of coming out six months after the real-life tragic events of the Space Shuttle Challenger disaster. It didn't help, either, that the malfunction in the film [[HarsherInHindsight partly resembled the malfunction in real life]]. Naturally, ''[=SpaceCamp=]'' [[BoxOfficeBomb bombed at the box office]] due to it being released amid a marketing nightmare.
70	* The SlasherMovie genre went through two phases, with two Genre-Killers, roughly ten years apart:
71	** After a golden age stretching from 1978 to roughly 1985, the genre spent the late '80s struggling thanks to the advent of DirectToVideo movies (and ''Blood Cult'' is notable for being the first film made exclusively for home video, though other films like ''Sledgehammer'' had previously been shot on video) many of which were of varying quality, but the final nails in the coffin came in 1989 when the "Big Three" slasher franchises (''Franchise/{{Halloween}}'', ''Franchise/ANightmareOnElmStreet'', and ''Franchise/FridayThe13th'') all produced [[Film/ANightmareOnElmStreet5TheDreamChild poorly-]][[Film/FridayThe13thPartVIIIJasonTakesManhattan received]] [[Film/Halloween5TheRevengeOfMichaelMyers installments]] that sent their respective series into [[FranchiseZombie irreversible decline]]. While a few CultClassic slasher films trickled out in the early '90s, for the most part, the genre was on the extreme low end of the PopularityPolynomial, its GloryDays long in the past. In the more cynical '90s, the old slashers were seen as a mess of {{cliche\|Storm}}s, [[TooDumbToLive dumbass characters]], and [[NoBudget bargain-bin production values]], especially with the rise of more intellectual horror films like ''Film/TheSilenceOfTheLambs'' and ''Film/JacobsLadder''.
72	** The genre was [[GenreRelaunch revived]] in 1996 by ''Film/{{Scream\|1996}}''. Given the fact that the genre was relaunched by a DeconstructiveParody, it should come as no surprise that the genre quickly plunged back into self-parody. A number of lampoon movies, such as the ''Film/ScaryMovie'' series and ''Film/ShriekIfYouKnowWhatIDidLastFridayTheThirteenth'', were released, and even some of the older franchises joined in (''Film/JasonX'', for instance, took the ''Friday the 13th'' franchise [[RecycledInSpace into space]] and heavily riffed on the series' formula). The finishing blows came in 2002 with the release of ''Film/TheRing'' and ''Film/TwentyEightDaysLater'', a pair of horror films with adult protagonists that eschewed the slasher formula, both of which were highly successful. While ultraviolent horror films would soon come back into style thanks to the TorturePorn boom, traditional slashers made since are mostly either remakes or {{Genre Throwback}}s, the latter usually either going DirectToVideo or running the indie/arthouse circuit.
73	* ''Film/Jaws3D'' and ''Film/JawsTheRevenge'' not only killed any attempt to continue the franchise centered around the ''Film/{{Jaws}}'', which fans [[FanonDiscontinuity generally disregarded]] as [[MoneyDearBoy blatant cash grabs]] of Creator/StevenSpielberg's masterpiece but ensured any further movies centered around [[ThreateningShark killer sharks]] would not be taken seriously anymore beyond over-the-top horror. ''Jaws'' itself is also partly to blame for killing the genre because many shark-centered films following it couldn't shake off accusations of [[FollowTheLeader taking cues from the film]], as following the release of ''Jaws'' public awareness of the rarity of shark attacks began to grow, to the point where the idea of a "killer shark" became redundant. The only serious, shark-centered film to have received a worldwide theatrical release since ''Jaws: The Revenge'' was ''Film/DeepBlueSea'', which despite being a box office success ended up suffering the same problems many post-''Jaws'' films got pinned with, and another serious killer shark movie wouldn't come to worldwide theaters until 17 years later, with ''Film/TheShallows''. While that movie was surprisingly well-received and moderately successful at the box office, it wasn't enough to generate interest or revive the "killer shark drama". Even 2018's ''Film/TheMeg'' emphasizes the B-movie tropes of the genre rather than attempt to portray itself as serious.
74	* ''Franchise/JurassicPark'' in 1993 is another example of one film's smash success making it impossible for subsequent films to live up to it. [[Film/TheLostWorldJurassicPark Sequels]] [[Film/JurassicParkIII to the]] [[Film/JurassicWorld original]] [[Film/JurassicWorldFallenKingdom film]] [[Film/JurassicWorldDominion notwithstanding]], no one bothered to make a serious live-action dinosaur movie afterward; and all films and video games that have happened to feature dinosaurs have, almost without exception, contained conscious nods to the franchise. Even the 1998 American ''Film/{{Godzilla\|1998}}'' film riffed on it in trailers and featured suspiciously velociraptor-like chase scenes with baby Godzillas.
75	** Animated movies, however, seem to be the exception to this trend, with movies like ''WesternAnimation/{{Dinosaur}}'' and ''WesternAnimation/IceAgeDawnOfTheDinosaurs'' still being successful in the post-''Jurassic Park'' period (in the case of ''Ice Age'', being one of the ''highest-grossing CGI films '''ever''''' at the time of its release.)
76	** The other big exception is remakes or adaptations of older material, like ''Film/KingKong2005'', ''Film/ASoundOfThunder'', ''Film/JourneyToTheCenterOfTheEarth2008'', ''Film/LandOfTheLost'', and the 21st Century ''Franchise/{{Godzilla}}'' films, likely due to GrandfatherClause.
77	* While ultra-violent action films of the 1980s were already in decline by 1993, especially after ''Film/HudsonHawk'' bombed in 1991, ''Film/LastActionHero'' pretty much accelerated their death and [[StarDerailingRole also weakened]] Creator/ArnoldSchwarzenegger's headliner status. While the biggest reason for this particular film's failure was competing almost head-to-head with ''Film/JurassicPark'', that it was an IndecisiveParody said a lot about how lightly the genre was being taken even by its biggest stars. Indeed, the same year also saw the straightforward spoof ''Film/LoadedWeapon1'', which specifically targeted ''Film/LethalWeapon''-style buddy cop films.
78	** ''Last Action Hero'' also served as an about-face to the type of [[RatedMForManly macho]], [[NarmCharm sincerely cheesy]] action films that the likes of Creator/ArnoldSchwarzenegger and Creator/SylvesterStallone specialized in during [[TheEighties the 1980s]]. Those being about [[BondOneLiner one-liner]] spouting, [[OneManArmy one-man-armies]] as seen in films like ''Film/{{Commando}}'' and ''Film/{{Cobra}}''.
79	* Sean O'Neal of Website/AVClub [[https://film.avclub.com/reality-bites-and-the-slackers-of-1994-all-but-ruined-m-1798271570 argued]] that 1995's ''Film/{{Clueless}}'' killed off the [[TheSlacker slacker-themed]], Generation X-oriented comedic genre from the first part of TheNineties. Before ''Clueless'', there were movies such as ''Film/DazedAndConfused'', ''Film/RealityBites'', ''SFW'', ''Film/{{PCU}}'', and ''Film/{{Clerks}}''. O'Neal argued that ''Clueless'', unlike those prior films, presented a world populated by young people who actually cared and were motivated by a genuine interest in being somebody. Nevertheless, the slacker movie genre did have something of a resurgence by the end of the decade, lasting into the 2000s with movies like ''Film/TheBigLebowski'', ''Film/OfficeSpace'', ''Film/DudeWheresMyCar'' and ''Film/HaroldAndKumarGoToWhiteCastle'' among others.
80	* ''WesternAnimation/ToyStory1'' arguably marked the beginning of the end for live-action family films as animation, especially [=CGI=] animation, became the preferred medium. The failure of many adaptations of classic TV and film properties (such as ''Car 54'', ''Flipper'', and ''Mr. Magoo'') did no favors. Later family films became [[DarkerAndEdgier more cynical]], [[HotterAndSexier racier]], or, [[CringeComedy in the case]] of Creator/AdamSandler's Creator/HappyMadisonProductions, both (alongside [[GenreMashup occasionally blending in with other genres]]). While there were attempts to revive the genre during the mid-2000s like ''Cheaper by the Dozen'', ''RV'', and ''The Pink Panther'', these were mostly unsuccessful[[note]] Tellingly, ''The Pink Panther 2'' carried more adult humor because the first film's underwhelming, though still respectable, numbers[[/note]], and a slew of financial failures in 2010–11 (with ''Film/FurryVengeance'', ''Film/GulliversTravels2010'', and ''Film/MrPoppersPenguins'' being the most notorious examples[[note]]''Gulliver'' and ''Penguins'' did break even thanks to international grosses, much like CGI hybrids ''Yogi Bear'' and the third ''Alvin & the Chipmunks'' film[[/note]], while ''The Muppets'' and ''Hugo'' struggled at the box office as well), traditional live-action family comedies were eventually banished to low-budget direct-to-video affairs in the 2010s, with the occasional exception and the odd box-office success (the final ''Film/NightAtTheMuseum'' film, released in 2014, being the most recent example). On the other hand, family dramas have seen a renaissance with Disney making [[LiveActionAdaptations Live-Action Adaptations]] of its animated films like ''Beauty and the Beast'' and ''The Jungle Book'', the rise of semi-religious films like ''Miracles from Heaven'', and adaptations of best-sellers like ''A Dog's Purpose'' becoming successful.
81	* ''Film/CutthroatIsland'' in 1995 was an attempt to revive the swashbuckling adventure movie. Instead, it just sunk it farther down into its grave, along with [[CreatorKiller Carolco Pictures]], the careers of [[StarDerailingRole almost everyone involved]], and (along with their other collaboration ''Film/TheLongKissGoodnight'') the marriage of star Creator/GeenaDavis and director Creator/RennyHarlin. The genre was not exactly a thriving one at release, but this made sure no one would even attempt another shot at it. Even after the success of ''Franchise/PiratesOfTheCaribbean'', no one is interested in pirate movies that don't belong to that franchise.
82	** ''Pirates of the Caribbean'' is itself an example of the tough-act-to-follow franchise. Those movies have both cost and generated so much money that a rival studio would have to make a ''major'' commitment just to play in the same league, and risk a financial catastrophe if audiences say, "Creator/JohnnyDepp isn't in it? Pass." The only other pirate-themed franchise that's still doing well is ''Franchise/OnePiece'', [[ValuesDissonance albeit]] [[ShonenDemographic for different reasons]]. Also, both ''Pirates of the Caribbean'' and ''One Piece'' have very heavy fantasy elements that make them rather different from the pure swashbuckler. Add to that the one-two punch of the major underperformance of ''[[Film/PiratesOfTheCaribbeanDeadMenTellNoTales Dead Men Tell No Tales]]'' at the domestic box office (though mitigated by strong overseas box office) and Depp finding himself consumed by scandal regarding his divorce from Creator/AmberHeard (with both accusing the other of DomesticAbuse), which is no good sign either for the franchise or the movie genre ''POTC'' maintained alive on its own.
83	* ''Film/MaryReilly'' in 1996 killed the "prestige horror" boom of TheNineties that ''Film/TheSilenceOfTheLambs'' and ''Film/BramStokersDracula'' kicked off, which saw many studio horror films (many of them new adaptations of the classic [[Franchise/UniversalHorror Universal monsters]]) done as OscarBait. Furthermore, as [[https://www.youtube.com/watch?v=enZaX9cIocY noted]] by WebVideo/PatrickHWillems, it marked the final blow for the lavishly-budgeted, auteur-driven, adult-oriented genre film at the major studio level, with big-budget genre films in later years being taken instead by "mini-majors" (most notably Miramax and later on The Weinstein Company) and eventually streaming services. Meanwhile, big studios would only allocate large budgets to {{summer blockbuster}}s (generally with PG-13 ratings) aimed at either teenagers/young adults or an all-ages family audience.
84	* The genre of films with humans being paired with fellow great apes for comedic effect achieved some popularity with ''Project X'' in 1987, but was in serious trouble by the time ''Film/DunstonChecksIn'' was released to critical and commercial thrashing. But the film that really, truly killed the genre was ''Ed'' in 1996, which didn't even feature a real chimpanzee ([[ManInARubberSuit it was just a human in a mechanical chimpanzee head]]) and was plagued with clichés and unfunny jokes that made it one of the worst-reviewed comedy films of the 90s. Since then, no studio ever bothered making a film pairing a human with a great ape. For some reason, gorillas seem to be the exception, ranging from hits like the 2005 ''[[Film/KingKong2005 King Kong]]'' remake and ''Film/{{Rampage\|2018}}'', to flops like ''Film/{{Buddy}}'' and the 1998 remake of ''Film/MightyJoeYoung''.
85	* ''Film/BatmanAndRobin'' and ''Film/{{Steel}}'', both from 1997, are credited for being the reason why SuperHero films were a dead genre for some five years. They might have even killed a planned ''Franchise/SailorMoon'' adaptation at Creator/{{Disney}} (though its underperformance on the small screen, [[ScrewedByTheNetwork not helped by clumsy syndication scheduling placements]], certainly didn't help matters, either). More importantly, they killed the superhero movie as a form of all-ages family entertainment. Creator/JoelSchumacher's ''Batman'' movies had undergone heavy ExecutiveMeddling to make them more family-friendly and MerchandiseDriven, which played a huge role in their negative reception by fans, critics, and moviegoers. As a result, the next generation of superhero films in the mid-'00s excised all traces of {{camp}} and went the DarkerAndEdgier route -- Creator/ChristopherNolan's [[Film/TheDarkKnightTrilogy Batman films]] were essentially gritty crime dramas featuring Batman, while even more lighthearted films like ''Film/XMen1'' and ''Film/SpiderMan1'' had substantially darker storylines (and, in ''X-Men''[='=]s case, [[MovieSuperheroesWearBlack costumes]]) than past superhero films. Ironically, the fact that by the late 2000s, the "dark superhero" era was becoming somewhat of a joke made these kinds of films as difficult to take seriously as the campy ones, not helped by the acclaim received by the ''Dark Knight'' trilogy making it hard to make a "dark" superhero film without being accused of ripping it off (at least until ''Film/{{Logan}}''). Around the same time, the newly-formed Franchise/MarvelCinematicUniverse began to explicitly target superhero films at families again with much of the genre's colorful conventions kept in.
86	** Superhero films went through a near-miss in 1987, where the box office and critical disaster of ''Film/SupermanIVTheQuestForPeace'' would have likely signaled the death of superhero films if it wasn't for ''Film/{{RoboCop\|1987}}'' becoming a SleeperHit that same year and ''Film/{{Batman\|1989}}'' becoming a success in 1989.
87	* The ''Film/AustinPowers'' franchise made it hard for otherwise serious [[SpyFiction spy films]] such as the Film/JamesBond films to be [[{{Camp}} campy]]. After the ''Austin Powers'' films spoofed several Bond film tropes, including the [[BondVillainStupidity villains’ tendency]] to [[EvilGloating talk]] rather than act, the villains’ [[SupervillainLair outlandish lairs]], [[GirlOfTheWeek Bond Girls]] having [[PunnyName ridiculous names]], and [[BondOneLiner Bond’s penchant]] for [[PungeonMaster puns]], it became a greater challenge to look at the past films [[SlidingScaleOfSillinessVersusSeriousness straight and at face value]]. Creator/DanielCraig [[WordOFGod himself]] said that the Bond series had to become [[DarkerAndEdgier darker and more grounded]] once he took on the role in response to what ''Austin Powers'' did.
88	* ''Film/HardRain'' may have [[EndOfAnAge symbolized the end]] of the [[UsefulNotes/TheWarOnTerror pre-9/11]], DieHardOnAnX sub-genre that powered-up much of the [[TheNineties 1990s]] [[MediaNotes/RestrictedRating R-rated]] ActionGenre. Movies like these really wouldn't be seen again until the ''Film/OlympusHasFallen'' films.
89	* The 1998 ''Film/{{Godzilla\|1998}}'' movie, along with the remake of ''Film/MightyJoeYoung'' that same year, killed off the American [[{{Kaiju}} giant monster movie]] for at least a decade. Creator/PeterJackson's planned remake of ''Film/{{King Kong\|2005}}'', for one, was delayed in the wake of their failures. The modest successes of ''Film/{{Cloverfield}}'' and ''Film/PacificRim'' are credited with at least helping the genre regain some niche appeal, enough that a reboot of ''Film/{{Godzilla\|2014}}'' arrived in theaters in 2014 and turned out to be a SleeperHit.
90	* ''Film/{{Virus}}'' [[BoxOfficeBomb/UThroughZ appeared]] to be the death knell for HighConcept, big-budgeted [[Creator/HPLovecraft Lovecraftian]] SciFiHorror that wasn't named ''Franchise/{{Alien}}'' or ''Film/TheThing1982''. This adaptation of [[AdaptationDisplacement the obscure graphic novel]] was universally panned by critics for being derivative of other sci-fi works. Creator/JamieLeeCurtis [[OldShame has nothing nice to say about it]].
91	* When ''Film/WildWildWest'' reared its ugly head in 1999, it was torn apart by critics and the audience. It won Worst Picture at the Golden Raspberry Awards, Creator/RogerEbert gave it a one-star review, it became an OldShame to Creator/WillSmith and Warner, and it pushed ideas of westerns that crossed over into sci-fi/fantasy into the far background for over a decade. Eventually, Hollywood tried again with ''Film/CowboysAndAliens'', which got a better reception but still mixed and bombed heavily. Disney had their own fantasy-esque western in the works, a reboot of ''Film/TheLoneRanger'', and nearly pulled the plug on it. When they finished it, studio chairman Rich Ross had been sent packing, and the film bombed even harder and got worse reviews than ''Cowboys And Aliens'', giving the third strike to the idea of making a western with superfluous sci-fi/fantasy/mystical elements in it. No studio ever attempted to try this idea again.
92	* The commercially and critically panned ''Film/Molly1999'' and ''Film/BlessTheChild'' killed off virtually all mainstream depictions of female [[HollywoodAutism autism in Hollywood cinema]] for a while. Not helped by the next attempt at the genre, ''Film/Music2021'', which became a major [[BoxOfficeBomb/KThroughM box-office bomb]].
93	* While not necessarily ending [[{{Glurge}} feel-good]], sentimental [[{{Dramedy}} dramedies]] as a whole, ''Film/BicentennialMan'' seemed to end Creator/RobinWilliams' time with that genre. Before ''Bicentennial Man'', Williams was frequently appearing in those types of movies: ''Film/DeadPoetsSociety'', ''Film/MrsDoubtfire'', ''Being Human'', ''Film/Jack1996'', ''Film/GoodWillHunting'', ''Film/PatchAdams'', ''Film/WhatDreamsMayCome'', and ''Film/JakobTheLiar''. After ''Bicentennial Man'' [[BoxOfficeBomb flopped]], he stopped doing those types of movies and tried to reinvent himself as a [[DarkerAndEdgier more edgy]] actor with ''Film/OneHourPhoto'', ''Film/{{Insomnia}}'', and ''Film/DeathToSmoochy''. And then he just stuck to supporting roles and did a few straight-up comedies like ''Film/{{RV}}'', ''Film/ManOfTheYear'', ''Film/LicenseToWed'', and ''Film/OldDogs''.
94	* The failures of ''Film/TheAdventuresOfRockyAndBullwinkle'' (2000) and ''Film/LooneyTunesBackInAction'' (2003) killed the sub-genre of "[[RogerRabbitEffect cartoon characters living in the real world]]" that ''Film/WhoFramedRogerRabbit'' (1988) and ''Film/SpaceJam'' (1996) popularized. While ''Space Jam'' eventually got [[Film/SpaceJamANewLegacy a sequel]] in [[SequelGap 2021]], the next real crack at the genre wouldn't come around until ''Film/ChipNDaleRescueRangers2022''.
95	* In an odd twist, ''The Adventures of Rocky and Bullwinkle'' also heralded the above sub-genre being shortly succeeded afterward by the similar "live-action/CG character" sub-genre; with the industry seeing a boom in live-action films aimed at families/kids that featured non-human characters [[StarringSpecialEffects presented in CGI]] (with the majority of them being adaptations of popular works in other media). While this style of films had first taken its roots with ''Film/{{Casper}}'' (1995), the genre only really took off with the commercially successful 2002 ''Film/ScoobyDoo'' adaptation, which was then followed by a glut of similar films throughout the TurnOfTheMillennium. By TheNewTens, however, audiences' perception of these films began to fall in line with reviewers; who (with [[Film/StuartLittle rare]] [[Film/Paddington2014 exceptions]]) largely panned the subgenre for their [[StrictlyFormula increasingly repetitive formulas]] of narrative beats, ''Franchise/{{Shrek}}''-inspired low-brow, pop culture-heavy humor, "realistic" depictions of characters, and -- concerning adaptations -- [[InNameOnly having little to do with the source material]]. Combined with increased competition and popularity of CGI animated films (especially due to Illumination's successful entrance into the industry, and Disney's return to form following their 2000s-era AudienceAlienatingEra), the declining popularity of live-action family films, and the success of ''Film/{{Ted}}'' (an adult-geared DeconstructiveParody of the subgenre), the collapse of the genre had a firm grip in the industry until ''Film/PeterRabbit'' in 2018 got okay reviews and was a financial success, along with ''Film/PokemonDetectivePikachu'' and ''Film/SonicTheHedgehog2020'' in the subsequent years, so the genre could live on.
96	* ''Film/NotAnotherTeenMovie'' from 2001 and ''Film/MeanGirls'' from 2004 likely destroyed the '90s teen romantic comedy sub-genre. Following the bitter {{Deconstruction}} of the Creator/JohnHughes-style teen movie with ''Film/{{Heathers}}'', more [[LighterAndSofter optimistic and cheerful]] teen movies started roaring back by the mid-'90s. It began with ''Film/{{Clueless}}'', which was more or less a {{Reconstruction}} of the genre. It continued with films like ''Film/CantHardlyWait'', ''Film/ShesAllThat'', ''Film/TenThingsIHateAboutYou'', ''Film/NeverBeenKissed'', ''Film/DriveMeCrazy'', ''Film/{{Whatever It Takes\|2000}}'', ''Film/BringItOn'', and ''Film/GetOverIt''. While ''Not Another Teen Movie'' viciously parodied the tropes of the genre leading up to that point, ''Mean Girls'' rose the bar by tackling a slew of real-life youth issues in a way that made a lot of earlier films look [[HarsherInHindsight uncomfortable in hindsight]].
97	** Furthermore, before ''Film/MeanGirls'', it was much more commonplace for teen movies of the [[UsefulNotes/TheEighties '80s]] and [[UsefulNotes/TheNineties '90s]] to follow weirdly specific themes, tropes, and character motivations. They always had this [[RidiculouslyAverageGuy "normal" main character]] in high school and their [[TheQuest quest]] to become more popular / [[IJustWantToBeBeautiful more beautiful]] / more [[GrewASpine assertive]] and [[IWantToBeARealMan manly]] / to [[ThinksLikeARomanceNovel get the romantic lead]] / to [[ExtremeLibido have sex]]. And along the way, there would be some pretty tired stereotypes like, the "[[LovableJock hot jock]]", the "[[AlphaBitch bitchy popular girl]]", the "[[BestFriend best friend]]", etc. Also, [[RealityIsUnrealistic none of these actually reflected]] how [[HighSchool high school]] life was actually like for normal people. As previously mentioned, teen movies like ''Film/SixteenCandles'' (1984), ''Film/TheBreakfastClub'' (1985), ''Film/PrettyInPink'' (1986), ''Film/VarsityBlues'' (1999), ''Film/ShesAllThat'' (1999), ''Film/TenThingsIHateAboutYou'' (1999), ''Film/NeverBeenKissed'' (1999), ''Film/AmericanPie'' (1999), among others of the time were like this. While 2001's ''Film/NotAnotherTeenMovie'' may have taken these tired tropes used in so many movies, and just made fun of them [[ShallowParody without digging that much deeper]], it showed that [[GenreSavvy audiences were privy]] to this specific "genre" of a movie. But after ''Mean Girls'' came around in 2004 and eventually solidified its status as an iconic masterpiece of cinema for teenagers, audiences were left wondering why there needed to even be "popular" girls in the first place, and how much of a stupid [[StandardEvilEmpireHierarchy superficial hierarchal structure]] this all was. The first half of the film actually does resemble a typical "teen" movie: The main girl character becomes "[[TheMakeover hot]]", gets the guy, becomes popular, "[[DefeatingTheUndefeatable defeats]]" the cruel, mean, and bitchy girl and [[PlotMandatedFriendshipFailure leaving her unpopular best friends in the process]]. But the [[HalfwayPlotSwitch second half comes around]], and [[BeCarefulWhatYouWishFor she has to face the consequences]]. The [[WeUsedToBeFriends best friends she left resent her]]. The popularity comes into question. And the [[BigBad main]] "mean" [[DiabolicalMastermind girl]] [[EvilPlan plans something far more diabolical]]. Ultimately, the idea of having "popular" kids and wanting to be part of the "[[GirlPosse popular group]]" suddenly became really tired and passe. Perhaps consequently, the teen movies in the next few decades were these teenage [[{{Dystopia}} dystopia stories]] about [[RebelLeader rebelling]] against an [[PoliceState oppressive system]] (''Film/TheHungerGames'', ''Literature/{{Divergent}}'') or [[TearJerker heartbreakingly]] [[SurprisinglyRealisticOutcome realistic]] portrayals of [[GrowingUpSucks growing up]] as a loner/outcast and navigating that world (''Literature/ThePerksOfBeingAWallflower'', ''Film/TheEdgeOfSeventeen''). Basically, "popularity", "romance", or "sex" were no longer the focus of this new batch of teen movies.
98	** WebVideo/TheTake has [[https://www.youtube.com/watch?v=iNtUcEmJo7U a video]] on the rise and fall of the so-called "[[MediumAwareness self-aware]]" teen movie boom that peaked from 1998-2002. These films tapped into known plot points and tropes, like the pressures of [[ThePromPlot prom]], the cruelty of [[AlphaBitch popular mean girls]], the sensitivity of [[AllOfTheOtherReindeer social outcasts]], angst about [[AbsurdlyDividedSchool cliques]], and a strange number of secret [[TheBet bets]] and financial arrangements. According to the video, this era showed that comic self-awareness isn't the same as an actual critique and the [[TurnOfTheMillennium turn-of-the-millennium]] teen [[StrictlyFormula formula]] indirectly led to more nuanced teen comedies today.
99	* ''Film/TheBourneSeries'' and ''Film/TheDarkKnightTrilogy'' killed off the type of action movies that were in style in the early [[TurnOfTheMillennium 2000s]], which typically involved [[MusicVideoSyndrome flashy camera work]], [[WireFu wirework]], BulletTime, a {{techno}} soundtrack, [[ArtisticLicensePhysics nonsensical physics]], and lots of [[BondOneLiner quips]], as exemplified by ''Film/MissionImpossibleII'', ''Film/GoneInSixtySeconds2000'', ''Film/CharliesAngels2000'' and its [[Film/CharliesAngelsFullThrottle sequel]], ''Film/{{Swordfish}}'', ''Film/{{XXX}}'', ''Film/TheTransporter'', ''Film/DieAnotherDay'', and ''Film/Underworld2003''.
100	* Big-budget military action/techno-thriller films like ''Film/{{Firefox}}'', ''Film/BlueThunder'', ''Film/TopGun'', ''Film/FireBirds'', and ''Film/IndependenceDay'' all but vanished because of the [[BoxOfficeBomb colossal underperformance]] of ''Film/{{Stealth}}'' and ''Film/IndependenceDayResurgence''. ''Film/TopGunMaverick'' seemingly reversed the genre's fortunes.
101	* ''Film/TheFortyYearOldVirgin'' in 2005 and ''Film/{{Superbad}}'' in 2007 are often credited with killing the teen SexComedy. On one hand, the success of ''The 40-Year-Old Virgin'' proved that sex comedies aimed squarely at grown adults (with teenagers playing only supporting roles) could be just as successful as teen-oriented films like ''Film/AmericanPie''. On the other, ''Superbad'' mocked and deconstructed the genre so viciously that viewers could no longer take it seriously, cementing the public view of teen sex comedies as being weird, pathetic, lowbrow schlock that toed the line between sexy and sexist. The rise of [[TheInternetIsForPorn internet porn]], allowing such films' target audience to easily access far more explicit material than what could be shown in an R-rated film, merely [[https://melmagazine.com/the-internet-killed-the-teen-sex-comedy-c67fd771678f read the genre's obituary]].
102	* ''Film/ASoundOfThunder'' all but buried the HighConcept studio films that were based on a notable [[ScienceFictionLiterature sci-fi author's]] story for a while. The genre didn't return to its former glory until ''Film/BladeRunner2049''.
103	* The works of Creator/SeltzerAndFriedberg (starting with ''Film/DateMovie'' in 2006) have been blamed for killing parody movies (or at least spoof movies) for some time. While they were able to make a profit for many of their parodies despite low critic and audience ratings, mostly thanks to using a low production budget and being among the only game in town when it came to parodies, the deathblow of the genre came in the form of the lackluster reception of ''Film/{{Disaster Movie\|2008}}'', leading to audiences having become fed up with the usual formula and finding better parody material from independent creators online. Though their next movie, ''Film/VampiresSuck'', was seen as a slightly better movie than most of their other work, mostly because they actually decided to watch the movies they were making fun of for once, the damage to the genre was already done. Even [[DamnedByFaintPraise slightly better ones]] like ''Film/SuperheroMovie'' (probably not helped by being named in the same "<name of genre> Movie" style used by S&F) have been lumped in with their disasters. And making matters even worse was how [[FollowTheLeader far too many creators who were looking for a quick buck]] was able to easily replicate the Seltzer/Friedberg-formula to a T, oversaturating the market with failed [[ShallowParody shallow parodies]] that only caused further damage to the genre (although it has made somewhat of a comeback as of late with films such as the works of [[Creator/PhilLordandChrisMiller Phil Lord and Christopher Miller]]).
104	* ''Film/BasicInstinct2'' in 2006, besides [[StarDerailingRole derailing]] Creator/SharonStone's career as an A-list leading lady (ironically while reprising her StarMakingRole), also (at least according to [[https://www.denofgeek.com/us/movies/22017/the-rise-and-fall-of-the-erotic-thriller Den of Geek]]) served as the final nail in the coffin to the erotic thriller genre. Not even the financial success of the ''Film/{{Fifty Shades\|OfGrey}}'' trilogy changed studios' minds.
105	* In spite of doing well at the box office, the [[Film/BlackChristmas2006 2006 remake]] of 1974's ''Film/{{Black Christmas\|1974}}'' got such horrible reviews that it convinced Hollywood not to give the [[HorrorDoesntSettleForSimpleTuesday Christmas Horror]] genre another chance for almost a decade. Director Glen Morgan blamed the studio for the poor critical reception, saying he was unhappy with Dimension Films [[ExecutiveMeddling ordering dozens of reshoots and script rewrites]] to the movie, though backlash from MoralGuardians regarding the film's content and release date (it was released on Christmas Day) could also be to blame. It wasn't until around 2015 when another Christmas Horror movie, ''Film/{{Krampus}}'', was released to theaters. Thankfully, ''Krampus'' was both favorably received and was an instant box office success, sparking hope that the genre may be [[WinBackTheCrowd headed back to Hollywood interest]]. Unfortunately, history repeated itself when a [[Film/BlackChristmas2019 second reboot]] of the Black Christmas series was released to mixed reviews and a tepid box office, ending the genre for the foreseeable future.
106	* 2007's ''Film/WalkHard'', a parody of [[MusicStories musical]] [[{{Biopic}} biopics]] that pointed out and mocked all of the [[StrictlyFormula formulaic]], [[ClicheStorm cut-and-paste]] stories that every musical biopic was using up until that point, made studios reluctant to make new films in the genre for over ten years (the fact that the film would underperform in a crowded holiday season didn't help matters). The genre would pick up back again in the late '10s with ''Film/StraightOuttaCompton'' and ''Film/BohemianRhapsody'', but they still face a good deal of mockery for their formulaic natures. The ''[[Film/Elvis2022 Elvis]]'' (2022) biopic also saw great success at the box office but only time will tell if that was a fluke, or if the genre will be taken seriously again.
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111	%%Roughly organized in chronological order, using the first Genre Killer for a genre as the baseline.
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Context GenreKiller / Film