The failure of The Rescuers Down Under and DuckTales the Movie: Treasure of the Lost Lamp at the box office against Home Alone and Problem Child (coupled with the success of both The Little Mermaid and Beauty and the Beast) led Disney to focus exclusively on animated musicals throughout the 1990s. While this worked out very well for them, it ended up allowing studios like Pixar and DreamWorks Animation to step in and fill the gap of non-musical animated films, just as audiences were beginning to grow tired of the musical formula. Despite Disney abandoning musicals shortly thereafter, this still knocked them down from first to fifth in terms of American animation studios throughout the 2000s, and it wasn't until a decade later that they were finally able to regain the ground they had lost by going back to their old approach of alternating between musical and non-musical animated films (incidentally, the movies that led to the defeat of Rescuers and DuckTales also started the short-lived "kid empowerment" trend of the early '90s - see further down for its fate).
The Fractured Fairy Tale replaced the Animated Musical as the go-to story genre during the 2000s thanks to the success of DreamWorks Animation's Shrek in 2001, resulting (as the Disney musical had in the 1990s) in numerous copycats. Unfortunately, the genre's reliance on crude humor and dated pop culture jokes turned it stale within a few years, and by the time 2007's Shrek the Third came out, the market had become overcrowded with them. Happily N'Ever After concluding that year with a thud and the next major DWA project, Kung Fu Panda, changing that studio's animation strategy, signaled the beginning of the end for the genre. The (perceived) financial disappointment of Shrek Forever After in 2010, a year that otherwise saw a rather successful resurgence of more traditional animated films (Toy Story 3, Tangled, How to Train Your Dragon, Despicable Me...), ended up turning other animation studios off of using the formula, and the box office failure of Hoodwinked Too! Hood vs. Evil in 2011 seems to have killed the genre off for good.
The failure of Mars Needs Moms resulted in the shut-down of Robert Zemeckis's studio and with it, the death of full-form motion-capture animation though Serkis Folk mo-cap animation for live-action features is still very much alive).
The Plague Dogs is known for being one of the most depressing animated films ever made. The Western audience wasn't ready at all, so the concept of dark, almost entirely un-comedic animated feature films was shelved in the aftermath. It wasn't until the late 2000s until the concept found a revival with works such as Persepolis and Waltz with Bashir.
In 1928, there was a double-header of Genre Killers so extreme that it took out the entire Canadian film industry. The federally-funded National Film Board of Canada was founded in 1939 in an attempt to revive it, but only in the '70s with cultural sponsorship projects from Pierre Trudeau's government did independent Canadian cinema begin to reemerge.
The first Genre-Killer was the 1928 Canadian film Carry on, Sergeant!note No relation to the 1958 British film of the same name, a World War I silent epic about Canadian soldiers in the trenches of France. Thanks to its Troubled Production, soaring budget (about half a million dollars, as large as comparable Hollywood films like The Jazz Singer), controversial subject (an affair between a soldier and a French hooker), the fact it was a silent film when talkies were ascending, and 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.
The other one was the 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 The British Empire, but rather than nurturing and protecting the local film industry, it instead caused Hollywood studios to set up Canadian subsidiaries that vacuumed up 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 more recent scholarship has reevaluated the quota quickies as the birth of the British B-Movie, 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.
The 3-D Movie genre has been killed three times in the past several decades:
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 The Robe, a flat classic in CinemaScope, during its run. The film did the least damage to the genre, though, as it only took Kiss Me Kate later that same year to put 3-D back on the map and keep the Golden Age 3-D Craze going.
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 House of Wax 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, Revenge of the Creature, capped off this craze with a successful 3-D run, which still wasn't enough to save the craze.
A second craze, the "Spectacular 3-D Craze", was ended nearly thirty years later by Spacehunter: Adventure in the Forbidden Zone, a 1983 flop with a budget similar to the highly successful Star Wars, with accomplices including The Man Who Wasn't There, Metalstorm: The Destruction of Jared-Syn, and Amityville 3-D.
Since 2009, there have been numerous false alarms about the "Digital 3-D Craze" dying, brought about by the likes of Battle for Terra, Clash of the Titans, The Last Airbender, The Nutcracker in 3D, and Conan the Barbarian (2011). Despite all the rumours 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 pirate, a feature that the industry appreciates very much. Additionally, digital technology has greatly reduced the costs of producing 3-D movies.
And now, for only the second time, it's been over thirty years since the last 3-D craze had been shot down, and 3D movies are once again 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. Yep, you probably know where this is headed. As a result, Disney lost interest in 3-D outside of Marvel-related and animated productions, resulting on a nosedive of 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.
The final blow for 3-D film outside superhero and cartoon films may have come with the success of Christopher Nolan's Dunkirk, an entirely 2-D 70mm war movie that proved to be much more successful than any of IMAX's 3-D presentations in Q2 2017, prompting IMAX's aforementioned move away from 3-D. 2-D IMAX presentations of the 3-D animated films The LEGO Batman Movie and Cars 3 were just the beginning; when IMAX announced its decision to do more 2-D than 3-D screenings in late July of 2017, it was specifically mentioned that Blade Runner 2049 wouldn't be playing in 3-D in North American IMAX theatres, either. So, at least in North America, 3-D can be considered down for the count as of 2018. Unless Alita: Battle Angel or Avatar's sequel somehow revives it.
Many film historians consider Psycho to be the movie that killed Film Noir, as the purpose of the first hour or so is to continuously set up and subvert the tropes of that genre.
The Greatest Story Ever Told, a 1965 All-Star Cast 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.
The triple-threat of Doctor Dolittle, Camelot, and Hello, Dolly! between 1967 and 1969 knocked out the "big Hollywood musical", and dealt a deathblow to the common "roadshow" practice as well. 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 promotion. The next really successful musical was 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.
The epic romance largely disappeared after Ryan's Daughter and Nicholas and Alexandra flopped in the early '70s. While occasional epics cropped up through the '80s and '90s (eg. Out of Africa, Titanic) they're now typically one-off events rather than the box office staple they once were.
Titanic's success itself created a very specific epic romance subgenre of "absurdly big-budget love story used to chronicle a historical disaster", which was followed by the first imitator in Pearl Harbor sending it six feet under. A belated imitator that arrived some years later, Pompeii, only confirmed that it wasn't coming back.
The failure of The Wiz in 1978 caused studios to give up on movies with mostly black casts for some time, outside of comedies, black cop/white cop pairings, and "urban" dramas. However, the 1988 Eddie Murphy comedy Coming to America helped bring back films with mostly black casts, and the smash success of Tyler Perry's films have helped Hollywood take more note of the African-American movie dollar in the more modern day.
Though The Western 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 Heaven's Gate in 1980. That film was such a Box Office Bomb that it 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 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 subvert some aspect of the genre, as the straight western is still basically dead.
It's said that Airplane! killed the Disaster Movie craze of The '70s by making audiences unable to take them seriously anymore. While the genre was revived by The '90s with movies like Armageddon, Deep Impact, Dante's Peak and Volcano, which benefited from the development of modern CGI, the airliner-in-peril/stewardess-lands-the-plane trope won't be taken seriously again. Eventually, 9/11 and the Indian Ocean tsunami killed the genre a second time by way of Too Soon, with very few pure disaster movies being made since then.
Xanadu and Can't Stop the Music 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; Moulin Rouge! in 2001 and 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 will even disguise the fact that the film is a musical. However, the genre seems to be making a comeback with the combined critical and commercial successes of Into the Woods (2014), La La Land (2016), and Beauty and the Beast (2017).
Quest for Fire in 1981 effectively killed the serious caveman movie by setting the bar so high that nobody could hope to compete. Also not helped by the not-serious-at-all Caveman also being a success that year.
Female-led superhero movies suffered two major blows.
First came the 1984 film Supergirl, testing the waters for the concept in the wake of the fantastic success of the Superman films. It suffered terrible Executive Meddling 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.)
The result was the one-two punch of Catwoman and 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 Marvel Cinematic Universe 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. Eventually they came back on TV first, with the highly acclaimed MCU series Jessica Jones and (ironically enough) the Arrowverse series Supergirl finally showing tangible support for more female heroes. By this time the MCU had already set up their first foray in film with Captain Marvel, but were beaten to the punch by the newcomer DC Extended Universe and their Wonder Woman film, which became able to finally reverse the trend, immediately becoming one of the best-reviewed comic book films ever made and a smash box office success.
While successful, the negative critical reception that Police Academy received severely hurt the slew of "crass" comedies that began in the late 1970s with The Kentucky Fried Movie and Animal House. 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 Jackass trilogy (and probably just because of the show's popularity).
The genre was revived in 1996 by Scream. Ironically, Scream was an attempt by Wes Craven (creator of A Nightmare on Elm Street) to do this deliberately, burying the slasher genre once and for all by making a movie that picked apart and lampshaded the tropes of the genre, which he felt would make it impossible to take seriously anymore. It backfired, though — Scream was a Sleeper Hit that spawned three sequels and a host of copycat films. Given the fact that the genre was relaunched by a deconstruction, however, it should come as no surprise that the genre quickly plunged back into self-parody. A number of lampoon movies, such as the Scary Movie series and Shriek If You Know What I Did Last Friday the 13th, were released, and even some of the older franchises joined in (Jason X, for instance, took the Friday the 13th franchise into space and heavily riffed on the series' formula). The finishing blows came in 2002 with the release of The Ring and 28 Days Later, 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 Torture Porn boom, traditional slashers made since are mostly either remakes or Genre Throwbacks, the latter usually either going Direct-to-Video or running the indie/arthouse circuit.
Film journalist Stephen Metcalf argues that the wretched production excesses of Days of Thunder in 1990, and their attendant impact on the film's profits, killed the kind of blatantly commercial "triumph" movies that producers Don Simpson and Jerry Bruckheimer had made so much money for Paramount with during the 1980s, films that were sort of a backlash against the auteur-era movies that had prevailed before Heaven's Gate. Afterwards, studios would let directors assert themselves creatively again, and it's no coincidence that Days director Tony Scott's critical reputation improved over the course of the '90s.
Jaws 3D and Jaws: The Revenge not only killed any attempt to continue the franchise centered around the Jaws, which fans generally disregarded as blatant cash grabs of Steven Spielberg's masterpiece, but ensured any further movies centered around 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 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 Deep Blue Sea, 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 The Shallows. While that movie was surprisingly well-received and moderately successful at the box office, it wasn't enough to generate interest, so it seems that the "killer shark drama" genre is staying dead. Even 2018's The Meg emphasizes the B-movie tropes of the genre rather than attempt to portray itself as serious.
Jurassic Park in 1993 is another example of one film's smash success making it impossible for subsequent films to live up to it. Sequels tothe originalfilm notwithstanding, no-one has bothered to make a serious dinosaur movie since; and all films and video games that have happened to feature dinosaurs have, without exception, contained conscious nods to the franchise. Even the 1998 American Godzilla film riffed on it in trailers, and featured suspiciously velociraptor-like chase scenes with baby Godzillas.
In addition to launching the CG animated movie craze, the original Toy Story in 1995 was also largely responsible for ending the "kid empowerment" movie trend of the early-mid '90s. After Home Alone, there was a glut of kids movies which either ripped off that movie (Mr. Nanny, Camp Nowhere, 3 Ninjas, etc.) or placed kids in absurdly powerful positions and situations (Cop and a Half, Richie Rich, Blank Check, Little Big League, Rookie of the Year, etc.). When Toy Story, which featured a perfectly normal kid doing perfectly normal things, became a much bigger success (both critically and commercially) than any of those movies, the "kid empowerment" style was gradually phased out.
Toy Story also marked the decline of the live-action family film, which had been thriving for the first half of the decade, but it was now overshadowed by the greater potential CG offered while adult-oriented comedies were in resurgence. Attempts to make family films Darker and Edgier almost ended up evaporating the genre by the early 2000s, as it happened to the careers of the actors associated with it. The success of Adam Sandler's Happy Madison Productions eventually supplanted it by adding a more mature Cringe Comedy bent and blending in other genres, an approach that would quickly become the standard for 21st century-era family films (additional elements depending on the crew of a particular movie). After a slew of financial failures in 2010-11 (with Furry Vengeance, Gulliver's Travels and Mr. Popper's Penguins being the most notorious examplesnote Gulliver and Penguins did break even thanks to international grosses, much like CGI hybrids Yogi Bear and the third Alvin & the Chipmunks film, 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 occassional exception and the odd box-office success (with the exception of the final Night at the Museum film), although more dramatic family movies have seen a resurgence throughout the decade (mostly through Disney's live-action remakes of its more iconic animated films).
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, "Johnny Depp isn't in it? Pass." About the only other pirate-themed franchise that's still doing well is One Piece, albeitfor different reasons. Also, both Pirates of the Caribbean and One Piece have very heavy fantasy elements that make them rather different to the pure swashbuckler. Add to that the major underperformance of Dead Men Tell No Tales at the domestic box office (though mitigated by strong overseas box office), which is no good sign either for the franchise or the movie genre POTC maintained alive on its own.
The genre of films with humans being paired with fellow great apes besides gorillas achieved some popularity with Project X in 1987, but was in serious trouble by the time Dunston Checks In was released to critical and commercial thrashing. But the film that really, truly killed the genre was Ed, which didn't even feature a real chimpanzee (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 90's. Since then, no studio has bothered making a film pairing a human with a great ape that isn't a gorilla, and even that genre has had only mixed success since then, ranging from hits like the 2005 King Kong remake and Rampage, to flops like Buddy and the 1998 remake of Mighty Joe Young.
Batman & Robin and Steel, both from 1997, are credited for being the reason why Super Hero films were a dead genre for some five years. They might have even killed a planned Sailor Moon adaptation at Disney (though its underperformance on the small screen, 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. Joel Schumacher's Batman movies had undergone heavy Executive Meddling to make them more family-friendly and Merchandise-Driven, 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 Darker and Edgier route — Christopher Nolan's Batman films were essentially gritty crime dramas featuring Batman, while even more lighthearted films like X-Men and Spider-Man had substantially darker storylines (and, in X-Men's case, 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 Logan). Around the same time, the newly-formed Marvel Cinematic Universe began to explicitly target superhero films at families again.
Superhero films went through a near-miss in 1987, where the box office and critical disaster of Superman IV: The Quest for Peace would have likely signaled the death of superhero films, if it wasn't for RoboCop becoming a Sleeper Hit that year and Batman becoming a success in 1989.
In an example of a movie being so good (or at least popular) that no one wanted to make anything else like it, consider James Cameron's Titanic (1997). There had been many previous movies about the famous sunken ship, but after Cameron's film became the highest-grossing movie of all time (only being overtaken by another Cameron film, Avatar) it's not likely that there will be any more since people see it as the definitive version.
When Wild Wild West reared its ugly head in 1999, it was torn apart by critics and the audience. Roger Ebert gave it a spot on his most hated list, it became an Old Shame to Will Smith and Warner, and pushed ideas of westerns that crossed over into sci-fi/fantasy into the far background for over a decade. Eventually, Hollywood tried again with Cowboys & Aliens, which got a better reception but still mixed reception and bombed heavily. Disney had their own fantasy-esque western in the works, a reboot of The Lone Ranger, 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 attempt to try this idea again has materialized since.
In an odd twist, The Adventures of Rocky and Bullwinkle also heralded the above sub-genre being shortly succeeded afterwards 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 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 Casper (1995), the genre only really took off with the commercially successful 2002 Scooby-Doo adaptation, which was then followed by a glut of similar films throughout the Turn of the Millennium. By The New '10s, however, audiences' perception of these films began to fall in line with reviewers; who (with rareexceptions) largely panned the subgenre for their increasingly repetitive formulas of narrative beats, Shrek-inspired low-brow, pop culture-heavy humor, "realistic" depictions of characters, and — concerning adaptations — 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 Dork Age), the declining popularity of live-action family films, and the success of Ted (an adult-geared Deconstructive Parody of the subgenre), the collapse of the genre had a firm grip in the industry until Peter Rabbit got okay reviews and was a financial success, and Warner Bros./Legendary Pictures and Paramount are trying to give it another go with Pokémon Detective Pikachu and a Sonic the Hedgehog adaptation in 2019 respectively, so the genre could live on.
The Nostalgia Criticargues that the flop of 2001's Monkeybone killed the '90s trend of dark fantasy comedies that tried to imitate the style of Tim Burton. Burton himself, of course, would keep making films in this vein, but beyond him, the style wouldn't come back into vogue until Coraline towards the end of the decade, which was ironically helmed by the director of Monkeybone, Henry Selick. Then in 2012, a three-way race between Burton's Frankenweenie, Laika's Para Norman and Sony Animation's Hotel Transylvania would end with the latter ahead, while the other two were trounced at the box office in spite of being far better-reviewed, drying up interest on the genre in the animation industry. Three years later however, Goosebumps, a live-action adaptation of the book series, became a commercial success.
While, in hindsight, the writing was on the wall for the VHS format as a viable platform for major home media releases from the moment DVDs took off, the VHS release of Harry Potter and the Prisoner of Azkaban in 2004 is said to have sped the process along by several years. To wit: the film was made using Super 35, an extremely open film format that allowed for a variety of compositions, and yet the pan-and-scan VHS release was just that — panned and scanned from an anamorphic Scope print, and horribly so, by some videophile accounts. It's telling that releases for the niche D-VHS format stopped shortly after, and major label releases on VHS stopped by 2007. It's been said that director Alfonso Cuarón hated the Academy ratio so much he deliberately sabotaged the 4:3 composition on the VHS release, with some theorizing Cuaron wanted to give DVD the shot in the arm he felt it needed to definitively secure its then-recent lead over VHS.
In 2004, the films Fat Slags and Sex Lives of the Potato Men proved so bad that there was actually concern in the UK that the entire British film industry was going down the tubes. The £1 million grant that Potato Men had received from the National Lottery through the UK Film Council was especially criticized. It turned out to be a false alarm, with British cinema surviving into the present day and thriving during the early-mid 2010s, but it takes a special kind of film to make an entire country think that its film studios are in trouble.
The overwhelmingly negative reviews of 2004's one-two punch of Christmas with the Kranks and Surviving Christmas dried up interest in doing Yuletide comedies, which had been popular ever since Home Alone came out 14 years earlier, the only year two Christmas films have competed at the box office since was in 2006 with Deck the Halls and The Santa Clause 3, with both films being ravaged by critics, who have mostly shunned any attempts to do another holiday movie. During the second half of the 2010s however, Christmas-themed films aimed towards mature audiences such as A Madea Christmas, Krampus and A Bad Moms Christmas have become popular.
The 40-Year-Old Virgin in 2005 and Superbad in 2007 are often credited with killing the teen Sex Comedy. 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 American Pie. 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 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 read the genre's obituary. Subsequent attempts at reviving the genre, like Project X, have been widely reviled.
And by 2010, even adult-geared sex comedies began to lose popularity because of audiences getting more sensitive over their content (among other reasons). Their decline has actually brought cries of a "kid-ification" of the movie industry.
The works of Seltzer and Friedberg (starting with Date Movie in 2006) have been blamed for killing parody movies; even slightly better ones like Superhero Movie (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.
In spite of doing well at the box office, the 2006 remake of 1974's Black Christmas got such horrible reviews that it convinced Hollywood not to give the 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 ordering dozens of reshoots and script rewrites to the movie, though backlash from Moral Guardians 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, 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 headed back to Hollywood interest.
The twin failures of 2007's Hostel Part II and Captivity marked the beginning of the end for the Torture Porn subgenre of graphically ultraviolent horror films. The Saw series endured for a few more years as a Franchise Zombie, but the only other subsequent standalone theatrical release in the genre, 2009's The Collector, played to empty theaters, and Hostel Part III went Direct-to-Video. The Human Centipede, which was marketed as an inevitable Cult Classic, was only played at midnight in most places, and the notorious A Serbian Film had only a single theatrical showing. Driving the final nails in the coffin was Paranormal Activity in 2009, a film at the complete opposite end of the horror spectrum that, through its mounting word-of-mouth popularity, easily blocked Saw VI from the #1 spot on the weekend before Halloween despite playing in over a thousand fewer theaters than Saw VI did.
2007's Bratz single-handedly killed theatrical films based on doll franchises, a fact not helped along by the frame of mind they were up against to begin with. This was shown very clearly with the fate of Kit Kittredge: An American Girl the following year. Despite critics calling it a far superior film and the franchise having been going strong since the 1980s and thus having a built-in nostalgia market, Kit made even less money, largely due to theatres not wanting to give doll-line movies another chance. Kit Kittredge was barely advertised on TV and in theatres, and it had very short planned runs. Some cinemas even waited up to a month after its release just to make room to show the thing. Since then, all future American Girl movies have been direct-to-video and have followed their modern Girls of the Year rather than the flagship historical line; later Bratz movies are also direct-to-video and do not follow the live-action theatrical movie's canon. Monster High was apparently going to get a theatrical movie in the 2010s, but that hasn't been heard from in a long time and it too is only releasing DTV. The box-office failure of the Live-Action Adaptation of Jem and the Holograms only confirmed it was dead.
Not one film in particular, but the 2000s trend of remaking Asian horror films for Americans ended soon after 2008, which had no fewer than three movies of this type reach wide release — One Missed Call, The Eye, and Shutter. While they turned a profit, all three were poorly reviewed (especially One Missed Call, which has 0% on Rotten Tomatoes) and none were what you'd call big hits. This, combined with the fact that the found footage horror trend had started that year with Quarantine and Cloverfield, killed off the subgenre (the last entry was January 2009's The Uninvited). Rings was an attempt at a Genre Relaunch that ended up being a massive critical and commercial failure.
Also the trend of doing PG-13 remakes of R-rated horror films was killed off by the remakes of Prom Night and The Stepfather. The former did OK at the box-office but received almost universally negative reviews from critics and horror fans alike and the latter in addition to bad reviews barely made back it's budget.
Dragonball Evolution in 2009 tainted the very idea of a Western adaptation of anime and manga for a very long time, and the failure of Ghost in the Shell over similar concerns certainly hasn't helped matters. 2019's Alita: Battle Angel was arguably only released because it was a long time passion project from James Cameron, and even before release it was already facing lowered expectations in terms of box office return, expectations, which as it would turn out, ended up being largely accurate. Though a box office hit internationally (mainly thanks to China pulling in around 3/4 of its gross), it bombed domestically, which together with James Cameron's attention turned more toward sequels to Avatar, a sequel seems very unlikely. As of 2019, the only Western-Adaptation-of-Anime film being developed in Hollywood is an adaptation of Your Name being helmed by J. J. Abrams, though it is worth noting that unlike the Sci-Fi Action epics that had come out previously it is adapting a Magic Realism based modern youth romance instead. Other adaptations have remained in Development Hell, and Pokémon Detective Pikachu is instead opting for an Alternate Continuity with subtle nods to the anime.
The critical and box office failures of Movie 43 and Inappropriate Comedy in 2013 have seemed to kill the anthology movie altogether, after it had mostly been on life support for the past two decades. Cloud Atlas seemed to be a brief shot in the arm for the genre, but even that failed to be a hit.
Dirty Grandpa and Bad Moms both in 2016 hurt the reputation of male-oriented adult comedies, which were wildly popular throughout the late 2000s. The former, while doing well at the box-office, received such an overwhelmingly negative response that subsequent attempts at the sub-genre in the same year (including Zoolander 2, Popstar: Never Stop Never Stopping, Bad Neighbors 2 and Mike and Dave Need Wedding Dates) either became financial disappointments or outright flops (it didn't help that the genre's popularity had waned considerably after 2010), while the latter was aimed specifically at women and was more successful then all of the aforementioned films. Nearly every modern-day adult comedy is now either aimed at a female audience (Girls Trip, Rough Night) or both men and women. (The House, Game Night, Blockers)
YA dystopian movies would themselves fall just a few years after YA paranormal romance films with the Box Office Bomb of The Divergent Series: Allegiant in 2016. Not only was this film the final theatrically-released entry in the franchise (there were plans to turn the fourth film, Ascendant, into a Made-for-TV Movie with a reduced budget, that have since been stuck in Development Hell), it seems to have caused studios to take the hint that the genre had grown oversaturated. Perhaps noticing the decline in popularity, 20th Century Fox opted not to split the third Maze Runner book into two films.note That film would suffer a Troubled Production that led to its release being pushed back into 2018, though that was due less to financial pressure and more due to an injury suffered by the film's star on set. By the time The Death Cure was released, dystopian films ended up being replaced by more down-to-earth teen/young-adult romances.
The failure of the Allegiant movie also put an end to the Movie Multipack trend, after an already lukewarm reception to The Hunger Games: Mockingjay being split in two parts. Shortly after that film bombed, both huge comic-book movie tentpoles Avengers: Infinity War and Justice League were first retitled to lose the words "Part 1" and "Part 2" and then announced to be shooting separately and following a more traditional model of "a standalone(-ish) movie with a sequel" instead of being a "multi-pack" experience. At this point, the only remaining announced multi-pack examples would be Avatar 2 to Avatar 5, which are currently still planed to shoot concurrently (with 2 and 3 shooting separately from 4 and 5) and release with one year between each individual movie of either pair and three years between the pairs themselves.
The "Sundance style" became not only synonymous with hopeless sentimentalism and a 21st century version of "kitchen sink" realism, but it also marked "indie" filmmaking during the 2000s, with many a mainstream film adopting elements of it to look more respectable (either as Award Bait or just as a last-resource measure to get positive reviews). While this formula had eventually turned into "uplifting Christmas release" material during the 2010s, it became completely discredited by 2016's Collateral Beauty, with most reviews calling out the schmaltzy elements of the formula (with 2018's Welcome to Marwen serving as its "obituary"). At the same time, a new "indie wave" emerged, inspired on the "auteur revisionism" Sundance strived to avoid.