The film world is once again enchanted by romantic comedies. The 2023 film "Anyone But You," starring Glen Powell and Sydney Sweeney, achieved global success with a revenue of 220 million USD. This phenomenon points to the ubiquity of romantic comedy elements in films of various genres, even though they are not marketed as such.

One example is Netflix's original "Hit Man" from 2024. The story follows Gary, played by Powell, a psychology professor who disguises himself as a hitman to catch potential criminals. However, his life changes when he meets Madison, played by Adria Arjona.

Similarly, the 2024 film "The Fall Guy," starring Ryan Gosling, also contains elements of romantic comedy. Gosling plays Colt, a stuntman who is wrongfully accused of murder. As he tries to clear his name, he simultaneously attempts to rekindle his relationship with the director, Jody, played by Emily Blunt.

Both films are led by actors known for their roles in romantic comedies: Gosling from "The Notebook," "Crazy Stupid Love," and "La La Land" and Powell from "Set It Up" and "Anyone But You." However, the marketing strategies for these films did not emphasize their romantic aspects.

Promotion of the film "Hit Man"
The promotion of the film "Hit Man" included putting up posters in Los Angeles advertising Gary as a hitman, mimicking numerous legal ads in the city. On the other hand, "The Fall Guy" used a meta-film approach, releasing a series of videos related to the film, including a parody of the popular American talk show segment, Carpool Karaoke.

On the other hand, the promotion of "Anyone But You" relied on TikTok, where moments between the two main actors, Sydney Sweeney and Glen Powell, were posted to create an atmosphere of chemistry between them. This move was so successful that rumors of their real-life relationship began to spread.

Marketing strategies
The marketing strategies for "Anyone But You" focused on the lead actors, while "Hit Man" and "The Fall Guy" emphasized the male stars' action capabilities or their performances within the film. These films carry elements of romantic comedies but through a male perspective.

The narrative of "Hit Man" provides a romantic encounter when Madison almost hires Gary to kill her husband. Gary's hidden identity and intention are classic plots of many romantic comedies, including "How to Lose a Guy in 10 Days" and "She's All That." The eventual revelation of the truth, leading to a key gesture or scene that cements the relationship, is also a classic romantic moment.

"The Fall Guy" introduces a lost relationship, and the narrative focuses on its re-establishment. In this way, it is similar to other romantic comedies like "Always Be My Maybe" or "Before Sunset." Colt's actions are driven by his desire to impress Jody, and the film ends with their reunion.

Perhaps the decision to market these films primarily as action comedies rather than romantic comedies explains their success at the box office. "The Fall Guy" is categorized as a failure, with global revenue of only 174 million USD compared to a budget of 150 million USD. "Hit Man," which Netflix bought for 20 million USD, earned only 3.6 million USD during a limited theatrical release.

These figures pale in comparison to the success of the explicit romantic comedy "Anyone But You." However, when it comes to critical and viewer reactions, there is a greater gap. According to Rotten Tomatoes, the average critic rating for "Hit Man" is 95%, while the audience rating is 90%. For "The Fall Guy," these figures are 81% for critics and 86% for the audience.

When it comes to "Anyone But You," the audience rating of 87% significantly surpasses the critical response, which is a low 53%.

There is a critical bias against films aimed at women, often perceived as lower quality. Although male-led (and marketed) films contain elements of romantic comedy, they are presented through a more "masculine" action genre.

The success of these "male romantic comedies" suggests that the romance genre can succeed and even gain critical acclaim if given a more masculine touch. Nevertheless, traditional romantic comedies still attract audiences.

Original:
Christina Wilkins
Lecturer in film and creative writing at the University of Birmingham