The Best Movie Actor In Hollywood!

Chapter 321

Just one day after the wide release of National Treasure in North America, word-of-mouth was already completely polarized. This wasn't the typical divide where a film pleases critics but alienates audiences; instead, professional and public opinion were starkly at odds.

By the end of Friday, the film continued its slide on Rotten Tomatoes, with its freshness rating plummeting below fifty percent. Professional critics were on the verge of universally panning what they deemed an utterly ridiculous movie.

The criticism centered on two main points: that the plot and its puzzle-solving elements were far too childish, and that Matthew and Johnson lacked the appropriate temperament for their characters.

Even the fact that the protagonist didn't get to keep the treasure in the end was a source of ridicule.

In contrast, National Treasure was a hit with general audiences. CinemaScore awarded the film an "A" grade on its opening day, and its preliminary IMDb score was a solid 7.5. The straightforward plot and lighthearted tone were particularly well-received by families.

Most parents who brought their children to the theater considered it a perfectly decent family film.

They also thought Matthew did a fine job, portraying the protagonist as both kind-hearted and courageous.

And as for the hero not keeping the treasure and the puzzles being too simple—was that really a problem?

One fan addressed this very point in an interview with ABC Television when asked about the polarized opinions of critics and audiences.

“Come on, what movie could really stand up to the kind of scrutiny where critics overanalyze every single detail? It’s a fun film with a smooth plot and great pacing, and that’s enough! So what if one tiny detail supposedly doesn’t make sense? Does it even matter? I certainly didn’t notice any glaring plot holes or inconsistencies, and that’s more than good enough for me.”Others chimed in, “With Thanksgiving just around the corner, isn't this exactly the kind of lighthearted movie you want to see this season?”

Many professional film critics see it as their duty and responsibility to guide the development of the film industry, believing they must prevent it from succumbing entirely to commercialism and mindless entertainment.

One can only describe such concerns as being born of benevolence and wisdom.

Even in a mature film market like North America, the relationship between critics, films, and audiences is a chaotic, tangled mess.

Of course, compared to emerging film markets, it is far more regulated. At the very least, there are unwritten rules that everyone abides by—just as Matthew refrains from launching personal attacks on critics in the press, no one breaks these conventions lightly.

Anyone who dares to violate such rules can only imagine the fate that awaits their future films at the hands of the critics.

The positive audience buzz helped to cushion the blow from the negative reviews, and National Treasure went on to gross $18.5 million on its first day in North America. It easily surpassed The Polar Express and The Incredibles—both released two weeks prior—to claim the top spot at the daily box office.

Over the next two days, the film's daily earnings held steady at $16.6 million and $13.1 million, respectively. It easily dominated the North American box office, pulling in a total of $48.2 million during its three-day opening weekend.

Meanwhile, National Treasure also opened in over 40 international markets, including the United Kingdom, France, Germany, and Latin America, grossing an impressive $52 million in its first week overseas.

Barring any major surprises, the film was on track to gross $200 million in North America and $400 million worldwide without any trouble.

After the opening weekend box office results were released, Matthew spoke with Helen about the film and his career choices. He had to admit, even to himself, that National Treasure was a pretty mediocre movie. Among the films he had headlined, it was only marginally better in quality than The Scorpion King.

And yet, audiences were flocking to see it, making it an undeniable box office success.

Helen’s take on the matter was simple: it was better to sign on for a conventional film than a project that tried too hard to be innovative.

Matthew largely agreed. Unless it was a film he remembered as being particularly beloved and highly-rated from his past life, it was best to steer clear of any script that billed itself as groundbreaking or brilliantly creative.

After several years in Hollywood and a few leading roles under his belt, Matthew had come to understand a crucial truth: for the studios, and for stars aiming to climb the ladder, the most conventional films were often the best bets.

This held true not only for blockbusters but also for awards-season contenders. Hollywood had a proven formula for commercial hits, and it had another one for films designed to win awards.

Films like A Beautiful Mind and Monster, for example, fit this mold perfectly: prestige pictures produced by top-tier companies specifically for the Oscar race.

Hollywood studios actively seek out formulaic scripts. A screenplay that is truly innovative or bucks convention has a 99% chance of being met with indifference and left to gather dust on a shelf.

The same went for actors and their agents. Many of them were known to read only the first ten pages and the ending of a script. If it didn't adhere to the classic Hollywood three-act structure, an up-and-coming star like Matthew would almost certainly pass on it.

Studios worldwide release a staggering number of films every year across every genre, but only a handful will ever go down in history. The reality is, for the vast majority of movies, if they are simply made well enough to convince audiences to buy a ticket, they have succeeded.

Take National Treasure, for instance. It’s a treasure-hunting adventure. Original? Not in the slightest. The theme has been explored countless times, and audiences are intimately familiar with the genre, especially since Indiana Jones effectively brainwashed America with his trilogy back in the '80s.

Was the plot cleverly devised? Even Matthew, the star of the film, would call it average. The entire movie follows a conventional formula, with no stunning plot twist at the end. All in all, it was thoroughly mediocre.

The very fact that audiences in North America and beyond were willing to pay for such a "conventional" film—one that easily grossed over $100 million worldwide in its first week—proved that the Hollywood model of commercial entertainment was far from obsolete.

As everyone knows, you don’t need to constantly push the envelope to make a successful commercial film. If you can simply execute a conventional idea to a high standard, the movie is likely to succeed.

The latest issue of Entertainment Weekly featured an article analyzing the secret behind the success of National Treasure.

“First and foremost, National Treasure has a bankable star. Matthew Horner's appeal to his fanbase is undeniable, and the personal charm he brings to the role is as captivating as ever.”

“Second, the film is expertly paced, tightening and releasing tension at just the right moments, always maintaining enough suspense to keep the audience hooked and happily engaged until the very end.”

“Third, while the plot isn’t perfect, it’s free of any holes so glaring they shatter the suspension of disbelief. Plus, its combination of popular elements like the Declaration of Independence and the treasure of the Knights Templar effectively piques the audience's curiosity.”

“Fourth, thanks to its conventional and straightforward plot, the film avoids complex narrative threads or convoluted storylines, making it easily accessible to adults and children alike.”

Matthew had seen many other similar analyses in the media.

They all pointed to the same conclusion: National Treasure was a film with many strengths and very few weaknesses.

Like most of Hollywood’s box office hits, National Treasure wasn’t revolutionary, but it also didn’t have any serious flaws.

After all, when people flock to the theaters before Thanksgiving, they’re just looking for a good time.

...

Despite the critical drubbing, National Treasure was a commercial triumph. As its leading man, Matthew further solidified his reputation and the aura of success that now surrounded him—an aura that was irresistible to Hollywood studios, which operated on the belief that success breeds success.

The following week, the Thanksgiving holiday arrived. As a quintessential Disney family movie, National Treasure was in the right place at the right time. Its box office performance was remarkably steady, bolstered by the holiday effect, and it grossed another $45.5 million in North America over the four-day period from Thursday to Sunday.

Adding in the box office from the three weekdays prior, National Treasure successfully sailed past the $100 million mark in North America, reaching a total of $111.3 million.

Thanks to its family-friendly appeal and simple story, the film expanded its international release this week to over 80 countries. As a rule, movies that perform well in North America tend to do well overseas, and National Treasure was no exception.

During that week, National Treasure pulled in another $53 million from foreign markets, pushing its total international gross past the $100 million milestone.

In just two weeks since its debut, this seemingly conventional film had amassed a global box office total of $200 million.

As the film's undeniable star, Matthew had weathered a barrage of attacks and ridicule from professional critics, yet his career trajectory only continued its fierce upward climb.

He was, first and foremost, a commercial actor, and naturally, the more successful his films were at the box office, the better it was for his career.

Matthew’s influence had grown to the point where Hollywood studios weren't just putting him on their priority green-light lists; major luxury brands were also beginning to approach him with endorsement deals.

Choosing a brand to endorse wasn't as simple as picking a film role—the brand had to choose the right star, and the star had to choose the right brand.

This was especially true in Hollywood, where matters of style were directly tied to an actor's public image and, ultimately, their bottom line.