Since Bridesmaids, McCarthy has starred in five studio comedies Identity Thief, The Heat, Tammy, Spy, and the current release The Boss with average production budgets of $39 million (the cost of roughly 20 minutes of Batman v Superman); the first four averaged worldwide grosses of $185 million. (All five movies opened with a weekend take of $22 million or more.) She also cameoed in...
This is not just a remarkable run; it is literally a singular one. No other woman or man unaided by a franchise in the last five years has emerged from nowhere to become such a completely dependable movie star, appearing in one successful film after another and regularly creating product that turns a profit, while maintaining a successful foothold in TV as well.
So why are so many people eager to suggest its all a mirage? On April 10, after the opening weekend of The Boss, which cost $29 million to make and grossed $23.5 million in its first three days,
the New York Times led its weekend-grosses piece with Melissa McCarthy succeeded at the box office in The Boss, but just barely, adding, box office wobbliness and reviews complaining of a repetitious shtick have started to hound her. (The inaccuracy of box office wobbliness aside, this is indeed repetitious: Two years ago, when McCarthys Tammy opened to a five-day gross of $32.9 million,
the same reporter called it a poor turnout and wrote, Warner
appears to have overestimated the popularity of Ms. McCarthys rowdy style
with critics complaining that [her] shtick has grown tiresome.) And Deadline Hollywood, often the first to the table with weekend box-office analysis,
wrote, Even though The Boss is considered a win internally for Universal and will likely profit
others in the industry say the R-rated comedy is a cautionary tale about the limits of its stars appeal...
Then again, the movie industry tends to find warning signs where it wants, and its hard to read these analyses without sensing an undertone: Dont be fooled. The math may say shes a movie star, but we all know shes skating on thin ice. This attitude about McCarthy feels pervasive. Twice in the last three years, a group called the Alliance of Women Film Journalists has nominated her for a booby prize called
Actress Most in Need of a New Agent, suggesting that they (a) do not understand grosses, (b) do not understand what agents do, and (c) most bizarrely, imagine that McCarthy is not making her own choices.
You dont have to think The Boss is McCarthys strongest work (nobody does its basically a feature-length tease-out of a sketch character à la Zoolander) to wonder at all this...