2011 was another weak year in the art-book market, even weaker than the year before. As usual, your best bet was probably the latest in a long-running Best of the Year series for fantastic art, Spectrum 18: The Best in Contemporary Fantastic Art (Underwood Books), edited by Cathy Fenner and Arnie Fenner. Also quite good were Masters of Science Fiction and Fantasy Art (Rockport Publishers, Inc.), assembled by Karen Haber; Expose 9: Finest Digital Art in the Known Universe (Ballistic Publishing), by Daniel P. Wade; A Tolkien Tapestry: Pictures to Accompany The Lord of the Rings (HarperCollins); and Fantasy + 3: Best Hand-Painted Illustrations (CYPI/Gingko Press), edited by Vincent Zhao.
There were a few excellent books collecting the works of single artists, the best of which was probably Hardware: The Definitive SF Works of Chris Foss (Titan), by Chris Foss, although Jeffrey Jones: A Life in Art (IDW Publishing), by Jeffrey Jones, was also very good, and Mark Schultz: Various Drawings, Volume 5 (Flesk), by Mark Schultz, was worthwhile as well. Girl Genius Book Ten: Agatha Heterodyne and the Guardian Muse is the latest in the Hugo-winning series by Phil Foglio and Kaja Foglio, and Lost & Found: Three by Shaun Tan (Arthur A. Levine Books) is a collection of picture books by the creator of last year’s Oscar- nominated short film, The Lost Thing, which is included.
An odd item, straddling the line between nonfiction and art, is Out of This World: Science Fiction but Not as You Know It (British Library), by Mike Ashley, a catalogue of this year’s British Library SF exhibition, a mixture of text and art that covers six centuries of speculative art from 1482 to the present.
* * * According to the Box Office Mojo Web site (www.boxofficemojo.com), seven out of ten of the year’s top- earning movies were genre films of one sort or another, if you accept animated films and superhero movies as being “genre films.” (Somewhat unusually these days, there were two nongenre movies in the top ten: The Hangover Part II and Fast Five.) Four out of five of the year’s top five box- office champs were genre movies by the above somewhat loose definition, as were twelve out of the top twenty earners, twenty-seven of the top fifty, and roughly forty out of the top one hundred, more or less (I might have missed one here or there, and there are some fuzzy calls in classification). Three of the top five were fantasy movies, Harry Potter and the Deathly Hallows: Part 2, The Twilight Saga: Breaking Dawn—Part 1, and Pirates of the Caribbean: On Stranger Tides, and one was a science fiction movie (albeit a rather silly one), Transformers: Dark of the Moon. (The Hangover Part II was the only nongenre movie to break the top five, coming in fourth.) The following five were made up of an animated movie (Cars 2), a superhero movie (Thor), and a science fiction movie (Rise of the Planet of the Apes), with the nongenre Fast Five and Mission: Impossible—Ghost Protocol cutting in at sixth place and seventh place overall out of ten. Further down the list were superhero movie Captain America: The First Avenger at twelth place, the steampunkish Sherlock Holmes: A Game of Shadows (technically not a genre movie, although the physical action was unlikely enough that you could make a not unreasonable case for considering it a fantasy, and Holmes has always been associated with the genre) at ninth, animated film Kung Fu Panda 2 at fifteenth place, animated film Puss in Boots at sixteenth, superhero movie X-Men: First Class at seventeenth, semi-animated (it also featured human actors, interacting with the CGI characters) film The Smurfs at nineteenth, and Spielberg/monster-movie homage Super 8 at twenty-first.
This shouldn’t surprise anybody—genre films of one sort or another have dominated the box office top ten for more than a decade now. You have to go all the way back to 1998 to find a year when the year’s top earner was a nongenre film, Saving Private Ryan.
The year’s number one box office champ was Harry Potter and the Deathly Hallows: Part 2, which so far has earned a staggering $1,328,111,219 worldwide. Transformers: Dark of the Moon also earned more than a billion dollars worldwide, as did Pirates of the Caribbean: On Stranger Tides, with a steep drop-off thereafter to The Twilight Saga: Breaking Dawn—Part 1, which earned “only” $702,316,133.
In spite of these immense sums, it wasn’t a particularly good year at the box office overall for the movie industry. Overall profits were down 3.8 percent to 10.17 billion from 2010, and ticket sales fell 4.7 percent to 1.28 billion, the worst since 1995. I suspect that, in the grip of a worsening recession, it’s getting to be just too expensive to go to the movies for an average family, especially when most movies will be available on DVD or on the Internet in only a matter of months. The ability of 3-D to make moviegoers pay more per ticket, something that’s been propping up profits, seems to be wearing thin as well, probably because there are so few films that 3-D actually adds anything to; often, in fact, it makes the moviegoing experience worse, muddying the colors and darkening the paleatte. It should also perhaps make the movie industry uneasy that the highest-grossing nonsequel of the year was Thor; all the rest of the top ten movies were sequels. Which makes you wonder how many times you can go to the same well before it runs dry.
There were a few actual SF movies by my definition (as opposed to junk popcorn bad-science SF extravaganzas like Transformers: Dark of the Moon), and a few of them were even pretty good, but few of them were wild successes at the box office. Of the movies that got some kind of critical respect, the one that did the best was Super 8, which finished at twenty-first. It was half of a good movie, with the early Spielberg homage stuff, following kids who are trying to make an amateur monster movie, brilliant and effective; when the real monster starts showing up, things go downhill, and I couldn’t help but feel that it would have been a better movie without the monster altogether. Similarly, Cowboys and Aliens, which only made it to thirtieth on the list, was also half of a good movie, with the cowboy setup interesting, but suffered increasingly from bad writing and the ridiculous motivations for the actions of the aliens (which really made no sense) as it went along; they might have been better off making it as a straight cowboy movie if they couldn’t do a better job with the “aliens” part. Real Steel, perhaps the film that came closest this year to being a core SF movie, based on a Richard Matheson story about boxing robots, widely described as “Rocky with robots,” only finished thirty-fifth on the list. Contagion was a somber and realistic look at the spread of a worldwide pandemic, without extraneous car chases and gun battles thrown in—which is perhaps why it only made it to forty-fifth on the list. The Adjustment Bureau only made it to fifty-sixth place, perhaps indicating that people are getting tired of Philip K. Dick movies. The two best-reviewed genre movies of the year, Woody Allen’s time-travel love letter to 1920s Paris, Midnight in Paris, and Martin Scorsese’s steampunkish homage to Georges Melies (perhaps the closest anyone has yet come to putting a Howard Waldrop story on film), Hugo, finished fifty-ninth and fifty-second respectively. Paul, a mixture of slob comedy with Area 51/alien stuff in the form of a road picture, came in eighty-first.
The two worst-reviewed, most critically savaged, genre movies of the year were probably Green Lantern (twenty-fourth) and The Green Hornet (thirty-second)—although it is perhaps a bit too much to hope that this indicates that superhero movies are wearing thin too. (You’ll be seeing a lot more of them next year.)
Most of the buzz about movies coming up in 2012 so far seems to be going to The Hobbit, the Peter Jackson–directed prequel to the Lord of the Rings movies, to Prometheus, the prequel to Alien, to the Avengers movie, to the new Star Trek movie (although that probably will be in 2013 rather than in 2012), and to The Dark Knight Rises, the last of the Christopher Nolan–directed Batman movies. John Carter, a film version of Edgar Rice Burroughs’s A Princess of Mars, is a movie I would have been absolutely wild to see when I was thirteen. There’s is a film version of the bestselling YA series, The Hunger Games, and a reboot of the pioneering TV vampire soap opera Dark Shadows as a movie, starring Johnny Depp. People seem to be divided between anticipation and dread for the reboot of the Spider-Man franchise, The Amazing Spider- Man. Nobody seems to be looking forward to another Men in Black sequel,
