Imagine this: you’ve got one of the most-buzzed about movies of the summer, an affectionate ode to old-school hip-hop, boasting a cast of promising newcomers and producer credits for two giant names in the music business. You watch it hit theaters—and disappoint, stalling out at $16 million. And then, later that same summer, another highly anticipated picture is released. It’s an affectionate ode to old-school hip-hop, boasting a cast of promising newcomers and producer credits for two giant names in the music business. You watch it hit theaters—and break records, topping the box office for three weeks straight, more than quadrupling its budget.
What do you do? You release your movie again.
That’s what’s happening to Dope, the first movie in our little scenario, a Sundance sensation from director Rick Famuyiwa whose high energy and unquestionable accessibility made it seem a cinch for crossover success. But it wasn’t, for reasons unknown (though it’s worth noting that distributor Open Road Films has yet to have a giant hit, in spite of handling some very good films), a question that grew all the more puzzling when Straight Outta Compton was such a blockbuster with, roughly, the same target audience of ‘90s hip-hop-heads.
At any rate, Dope will return to theaters this Friday, hopefully finding its way in front of a few more appreciative audiences. (Have we mentioned it’s very good and you should see it? It’s very good and you should see it.)