Curious case of Rotten Tomatoes -
Effects of quality signalling in the US domestic motion picture market
Master’s Thesis 15 credits
Department of Business Studies Uppsala University
Spring Semester of 2018
Date of Submission: 2018-06-01
Deniss Dobrovolskis
Supervisor: Niklas Bomark
signalling
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Curious case of Rotten Tomatoes: Effects of quality signalling in the US domestic motion picture market.
Deniss Dobrovolskis
Handledare: Niklas Bomark
Företagsekonomiska institutionen Inlämningsdatum: 2018-06-01
ABSTRACT
Quality signalling in motion picture markets is hardly a new topic. It has been covered by many researchers over the years. However, most of the previous studies focused on quality signals in interactions between moviemakers and moviegoers. This study employs a more holistic approach as the author attempts to evaluate effects of quality signals throughout different stages of movies’ life cycle. The author has identified three audiences that movies are presented to;
and, each group of audience generates a quality signal for the next audience. Based on the feedback from test audiences, moviemakers decide on when to show movies to professional critics and when to allow them to publish their reviews. Interpretation of these timelines become quality signals for the professional critics who interpret shorter time slot for review publication as a signal of the low quality of the movie and vice versa. Professional critics write their reviews which when published on review aggregators become quality signals for the moviegoers. Reviews generated by the initial moviegoers are interpreted by the moviegoers who intend to watch movies at a later stage.
All three assumptions are operationalised and evaluated in a series of linear regression tests in this research on a sample containing 130 out of 134 widely released movies in the US and Canada domestic market in 2017. All of the abovementioned quality signals found to be significant as they could explain at least 40 % of the variance of respective response variables.
Key words: Rotten Tomatoes; box office success; judgement devices; quality signals; reviews;
motion picture market
Master’s thesis, SAOE,
VT 2018, 15 hp
INTRODUCTION
Nature of markets and actor behaviour have been topics of interest for researchers in economic sociology for quite some time (Akerlof, 1970; Aspers, 2009; Beckert and Rossel, 2013;
MacKenzie, 2006; White, 1981; Zuckerman, 1999). In his prolific paper “Where do markets come from?”, White (1981) attempted to describe behaviour of a firm in a production market.
The author came to the conclusion that firms observe each other and based and take decisions based on the behaviour of other firms. White (2002, pp. 32, 38, 1981) argued that although firms do observe buyer’s behaviour to some degree, however, it is close to impossible to anticipate preferences of each individual buyer and firms treat buyers as price takers and can only accept an offer from the firms. However, the firms still face a fundamental challenge that is present in the markets – asymmetry. This means that the producers know much more information about their products than the buyers who might consume them.
Topic of market asymmetry is, therefore, one of the main areas of interest for researchers who operate on the border of economy and sociology analyse challenges of communication product quality from sellers to buyers (Akerlof, 1970; Aspers, 2012; Beckert and Musselin, 2013;
Beckert and Rossel, 2013; White, 1981; Zuckerman, 1999). Motion picture market, in particular, seems to be very compelling when it comes to analysing the interaction between producers and consumers (Hsu, 2006; MacKenzie, 2006; Zuckerman, 2003; Zuckerman et al., 2003). One of the aspects that makes this market so attractive for researchers is that it is rather transparent (Brown et al., 2012). The Motion Picture Association of America (MPAA, 2013), which is an industry organization for the content creators for the motion picture, home video, and television in the US and Canada markets, publishes annual reports with comprehensive analysis of theatrical and home entertainment market environments. These reports contain statistics on viewership numbers, financial statistics and major trends in the industry. For the purposes of this paper, I will use the latest available report, which in this case, is for 2017 (MPAA, 2018).
And yet, despite such a transparency, motion picture market is still asymmetrical due to nature of the product that is traded in the market. Motion pictures are intangible or experience goods and quality of such goods is not known until after the consumption (Klein, 1998). Movie-goers who are interested in watching quality movies and avoiding low-quality movies and actively seek out available quality signals (Bharadwaj et al., 2017). Therefore, moviegoers consult with various popular web resources for quality signals (Kim et al., 2013) such as IMDb and Box Office Mojo where they can learn about cast, production crew, budget, awards and even get
some relevant information about the movies from both regular moviegoers’ and professional critics’ and regular movie-goers’ ratings (Box Office Mojo, 2018a; IMDb, 2018a; Metacritic, 2018).
Interaction between audiences and critics (Goff et al., 2016; Zuckerman, 2003, 2000, 1999a) and effects of word of mouth (Bharadwaj et al., 2017; Goldenberg et al., 2001; Hsu et al., 2009;
Kim et al., 2013; McKenzie, 2009; Palsson et al., 2013; Rasmussen et al., 2010; Ye et al., 2009;
Zhang et al., 2010) have been widely presented in academic literature. One common motif that characterizes most of the previous studies is that the studies used different sources in order to analyse the interaction between critics and audiences and how this interaction affects the success of the movies in the box office. However, as social media has become more and more widespread, some media actors become more influential than others. A very good example of such an influential web resource is Rotten Tomatoes which acts as an aggregator of critical reviews (Rotten Tomatoes, 2018a). According to the LA Times, 36% of the US movie-goers consulted Rotten Tomatoes in 2017 before making a decision on which movie to watch at the cinema (Faughnder, 2017). In a way similar as another internet resource YouTube became institutionalized (Kim, 2012), internet movie review sites underwent evolution from audience- generated reviews (IMDb, 2018a) to reviews generated by professional critics (Rotten Tomatoes, 2018a). Rotten Tomatoes is also recognized by film studios as a legitimate channel for providing the audiences with information about their products (Cavna, 2017a, 2017b; Fritz, 2016). Recently, Rotten Tomatoes ratings have been used by academics as a legitimate source of review valence and volume (Bharadwaj et al., 2017; Goff et al., 2016; Kim et al., 2013).
As I have already shown, Rotten Tomatoes is a recognized platform for signalling product quality to the audiences in a very asymmetrical and mediated market. Therefore, in this thesis, I would like to take the logical step and use Rotten Tomatoes rating system as a proxy for aggregated critical reviews and word of mouth generated by the moviegoers. Purpose of this study is, firstly, to explore what techniques moviemakers use to signal quality to the audiences.
Secondly, I will employ statistical analysis to understand how effective these technics are. In order to fulfill the purpose of this study, I will start with setting a theoretical foundation on quality signaling. Thereafter, I will establish the context of the study by presenting results of previous research on quality signalling in the motion picture market and some empirical data to describe the state of the US and Canada domestic motion picture market in 2017. When the theoretical foundation is set up and context is presented, I will describe what methodology I will use to analyse data gathered during the course of the study. This section will be followed
by a description of results. This paper will be finalised by a section where I will present my conclusions and implication of academia and business practices.
LITERATURE REVIEW
Producers and product quality
According to White (1981), firms in the market can be grouped by the qualities of their products as perceived by consumers. This perception by customers plays an important role because, in accordance with White (1981), producers differ from each another in appreciation of their products by the consumers. However, appreciation by the consumers is (or, probably more precisely, was in the 1980s) hard to quantify, therefore, firms do not act on the market based on consumers’ appreciation. Instead, firms act on observable volumes and payments of their competitors as they are unable to make sense of qualities and/or consumer valuations of the competitors’ products. Since it is significantly more productive to replicate the behaviour of one’s peers than to speculate on valuations, reproduction of each other’s behaviour in order to sustain their niche in the market can be employed as a successful business strategy.
Surely, transparency of the motion picture market, where such information as box office revenue (Box Office Mojo, 2018b), consumer behaviour and demographics (MPAA, 2018) and, movie release plans that stretch many years onward (Couch, 2017; Dockterman, 2018;
McCluskey, 2017); would allow many movie producers to replicate each other’s behaviour without trying to understand needs and expectations of the moviegoers. However, this might be an oversimplification of the state of the market. Dubuisson-Quellier (2013, pp. 15–16) attempts to reconcile White’s theory with the use of marketing and market research in order to create a better understanding of consumers’ behaviour. Simply put, the author argues that not all firms have resources and manpower to invest in marketing (Dubuisson-Quellier, 2013, p.
7) and, therefore, firms that do not occupy leading position in a particular market are forced to observe and replicate behaviour of the market leaders’ as they are assumed to have better understanding of customer’s expectations (Dubuisson-Quellier, 2013, p. 13).
Dubuisson-Quellier (2013) argues that replication of behaviour of the market leaders’ is a self- reproducing phenomenon. In fact, Dubuisson-Quellier (2013, pp. 16–17) argues that this self- reproducing behaviour implies performativity of decision-making in the markets. She argues that decisions on production quantities are reinforced by observation of the market which lay the ground for the decision-making process which relies on the belief that market-leading companies have a better understanding of consumers’ demands. This reinforcement of
observations creates path-dependency in the mass markets (Dubuisson-Quellier, 2013, p. 14) as firms engage in self-repetitive behaviour and create very similar products. Renewal rate in the mass markets is high and rate of innovation is low as firms supply consumers with either their own or cheaper version of competitor’s product (Dubuisson-Quellier, 2013, pp. 14, 17).
This notion of path-dependency and product similarity might be exemplified by high numbers of movie sequels and/or movie franchises (Bharadwaj et al., 2017; Kim et al., 2013; Zhao et al., 2013). And, yet, Dubuisson-Quellier (2013, pp. 7-10) argues that firms that have resources and manpower to work with marketing would do that in order to shape the demand in the market. The researcher argues that it is typically the larger companies would employ either qualitative or quantitative techniques to gather consumer preferences, adjust their products and then create marketing campaigns in order pursue buyers to consume their products. Smaller firms that do not have these resources are then forced to observe bigger firms and mimic their products (Dubuisson-Quellier, 2013, p. 13). Although Dubuisson-Quellier (2013) presents a compelling case, it still doesn’t explain why so many firms invest millions into market research and why even leading companies with a better understanding of consumers’ need fail when launching new products. Surely, this cannot be explained by only looking at the producers’
side of things
Quality signalling and cultural products
So far, we have reconciled White’s classical approach to firm behaviour that downplays the importance of producer-consumer interaction and endless example of marketing researchers and efforts by the firms in the markets. Although, even White (2002, pp. 16, 32) doesn’t disregard the importance of signalling quality from the producers to the consumers. However, according to White (2002, p. 16, 1981) quality is a social construct and this creates some challenges in evaluating and differentiating products based quality. Beckert et al. (2017) argue that understanding valuation of goods in the markets has become one of the central problems in economic sociology. Value of cultural products such as movies is a social construct that has its meaning on several levels argues DiMaggio (1987). The researcher claims that cultural products are divided into categories which allow producers to analyse competition in the market; consumers to compare different offers on the market; and, critics can with help of categories to classify products even if products have abstract and intangible artistic content.
Uncertainty in quality of cultural products
In similar fashion, Beckert and Rossel (2013) argue that buyers of artistic products face fundamental uncertainty challenge regarding the quality of art since it is based on subjective
aesthetic judgements. Quality of artistic products can only evolve from the interaction between experts, institutions, and media in the art field assessing work of the artists and conferring their reputation. This reputation then is perceived as a quality signal by buyers and lays the ground for the value of the artwork. Again, there is a fundamental asymmetry in artistic markets where producers of the art may have much more information about the objective properties of their work. This asymmetry creates uncertainty for the buyers. Therefore, (Beckert and Rossel (2013) argue that buyers look for quality signals based on both reputation of the artists but also on judgements made by critics of artwork. Again, since critics base their judgement on their subjective interpretation of quality of the art there is an uncertainty regarding the correctness of critics’ evaluation. Therefore, the critics themselves are judged on quality and significance of their artistic judgement. This creates a feedback loop of sorts where buyers of art products evaluate judgment of the critics thus granting a higher status to and institutionalizing critics whose evaluation are perceived as reliable. These institutions with higher reliability enjoy benefits of higher reputation and thus their quality signals are perceived as more reliable.
According to Beckert and Rossel (2013), these instructions serve to reduce the uncertainty degree regarding quality in the market. And researchers (Aspers, 2009; Beckert, 1996; Beckert and Rossel, 2013; Zuckerman, 1999) argue that stable markets can only exist where uncertainty regarding product quality is reduced.
Overcoming uncertainty: Step one – establish categories
Beckert and Musselin (2013, pp. 1–5) who literally wrote a book on quality argue that construction of quality of goods consists of three processes. The first process is the construction of categories with which the goods can be associated. The authors argue that “categories are boxes within a set of related boxes that form classification systems” Beckert and Musselin ( 2013, p. 2). The authors also employ Bowker and Star's (1999, pp. 10–11) interpretation of classification which they define as “spatial, temporal or spatiotemporal segmentation of the world”. A classification system in order to function has to possess three fundamental properties: “There are consistent, unique classificatory principles in operation.”, “The categories are mutually exclusive.”, “The system is complete”.
Overcoming uncertainty: Step two – find a place in the category
When the categories have been constructed, the next process of positioning a specific good or product must within its category (Beckert and Musselin, 2013, p. 3). (Zuckerman, 1999) argues that for a product to compete in a market, it should be viewed regarded as a legitimate member of a product category represented in the market. Zuckerman (1999), therefore, is able to
formulate a notion of “categorical imperative”. The researcher argues that entities that “do not exhibit certain common characteristics may not be readily compared to others and are thus difficult to evaluate. Such offers stand outside of the field of comparison and are ignored as so many oranges in competition among apples. It is this inattention that constitutes the cost of illegitimacy”. Zuckerman (2003) applied this approach to the US motion picture market and found that films that do not fall into a category associated with the type of movie studio, suffer in box office performance because of that. Zuckerman (2003) argues that movies represented in categories major or independent perform better in the box office if they are clearly positioned as belonging to one of the categories and not two at the same time, i.e. when a major film studio release an independent movie. Hsu et al. (2009) and Zhao et al. (2013) have also analysed the US domestic motion picture market and argue that films that stretch over several genres are subject to illegitimacy discount and as a result, such films receive lower attention for audiences.
Overcoming uncertainty: Step three - (E-)valuation with help judgement devices When a category has been established and a product has been clearly placed within this category, the process of establishing product quality takes place. This process is built upon establishing product quality differences within a product category. Due to the asymmetrical nature of the market valuation of intangible products based on its qualities is a rather challenging process (Beckert et al., 2017; DiMaggio, 1987; Karpik, 2010, p. 289; Rössel and Beckert, 2013, p. 2). Differences in product qualities are determined based on product differentiation in a direct comparison of products between each other. This can be done by employing judgement devices which are considered “to be the central mechanisms in the qualification of goods” and most common type of judgement device would be a rating scale for products placed within one category. The researchers continue as they claim that without references to judgement devices it would be too difficult to evaluate goods and buyer’s choices would become random (Beckert and Musselin, 2013, p. 17). Judgement devices as many other phenomena in the market judgement devices evolve and compete with each other. This produces ambiguity and uncertainty for the audiences when it comes to choosing a judgement device. Many different aspects play into the choice of judgement devices and most significant ones are tradition, power, and trust towards the judgement device (Rössel and Beckert, 2013, p. 18). Therefore, in order to reduce uncertainty judgement devices may employ ordering of products according to a scale created and/or facilitated by “market professionals” (Beckert and Musselin, 2013, p. 22). Beckert and Musselin (2013, p. 23) conclude their reasoning around judgement devices as they claim that important factor in the success of a judgement device is
its ability to impose quality criteria upon its audience. That is only achievable through interaction or signalling quality between producers and consumers (Beckert and Musselin, 2013, p. 19; Callon et al., 2002, pp. 202–203) directly or through gatekeepers of cultural goods such as critics and evaluators (Lamont, 2012).
Judgement devices and critical reviews in the motion picture market
Influence of critical reviews and judgement devices on communicating the quality of intangible goods is (as mentioned above) widely covered by academic literature. If we shift focus to motion picture market in specific, we will immediately see an array of studies that cover effects of critical reviews and other judgements devices on box office performance. Bae and Kim (2013) claim that studies on effects of critical reviews produced mixed results, the researchers find that valence of reviews and word-of-mouth play more important role than the volume (number or frequency) of the reviews. (Kim et al., 2013) explored effects of online word of mouth and expert reviews and found that valence (ranking or rating) played an essential role in the success of films in the box office. Similar results were found in a number of other studies on the motion picture markets (Brown et al., 2012; Goff et al., 2016; Gopinath et al., 2010; Lee and Choeh, 2018; McKenzie, 2009; MCKENZIE, 2008; Moul, 2007; Ye et al., 2009; Zhao et al., 2013; Zuckerman, 2003).
Bharadwaj et al. (2017) study is another example of research that sheds light on the importance of critical review as the researchers claim that one-third of the Americans take into consideration critics’ reviews in situations when they want to choose a movie to attend. The researchers also argued that audience perceive higher movie ratings as a signal of the higher quality of the final product. The researchers argued that both volume of reviews and valence of ratings play role in box office performance of the movies. These findings on volume of reviews play well into Rössel and Beckert's (2013, p. 7) argument that stronger the consensus on the quality of a product the lower the uncertainty regarding its quality.
The discussion on the importance of both volume and valence of reviews is especially interesting when it comes to Rotten Tomatoes which is an aggregator of reviews compiled by recognized professional critics (Goff et al., 2016). Therefore, it may satisfy necessary conditions for being a legitimate source of both valence and volume of critical reviews as acknowledged by one-third of the US moviegoers who visit the website before making the choice of the movie to see (Faughnder, 2017). And critical appreciation seems to matter when it comes to determining box office success of the movies as evidenced by many researchers who looked at the motion picture market and highlighted the importance of critical reviews in
forming both total box office and box office on the opening weekend, that on the weekend when the movie has its premiere (Bharadwaj et al., 2017; Brown et al., 2012; Lee and Choeh, 2018; McKenzie, 2009; Zhao et al., 2013; Zuckerman, 2003).
Quality of movies is more than critical reviews
Many researchers highlight the importance of the abovementioned decisions. Palsson et al.
(2013) analysed how MPAA ratings influence box office performance and found that R-rating that implies the presence of more violent or obscene scenes in the movies may reduce box revenue by 20%. Hsu et al. (2009) argue that genre has great importance when the audience considers which film to attend. Zhao et al., (2013) argues that films that stretch over several genres are subject to illegitimacy discount as studies show that these kinds of films receive lower audience ratings and box-office results. Films that do not have clear genre boundaries or have elements of incompatible genres might be ignored by the audience because of the unclear identity of the films (Zuckerman, 2003). Zhao et al. (2013) also argue that naming convention has an influence on box-office performance as movies that are a part of a recognized franchise (are a continuation of a film series) tend to attract broader audience attention. Actors’ star power, budget, director, size of a studio and/or distributor’s market power are another important factors that influence box office performance which is the reason why many researchers use these notions as variables in their analysis (Bharadwaj et al., 2017; Goff et al., 2016; Kim et al., 2013; Lee and Choeh, 2018; MCKENZIE, 2008; McKenzie, 2009; Zhao et al., 2013; Zuckerman, 2003; Zuckerman et al., 2003). However, Zuckerman (2003) argues that most of the elements mentioned here have no significant effect on the box office performance once the screen allocation is set. The researcher further argues that with the exception for the critical reception the above-mentioned elements have diminishable effects on the box-office performance as the number of allocated screen grows, i.e. for independent movies, this number is 1100.
Movie life cycle
The example above revolved around activities associated with a theatrical run of the movies.
However, box office performance during the theatrical release is only one component of the whole movie life cycle which usually consists of various stages of production, distribution, and exhibition. (McKenzie, 2012). It is important to separate these stages as most of the important decisions that would influence a movie’s future are taken long before the movie reaches theatres. Such decisions on the genre, plot, casting, director, budget and MPAA rating are obviously taken before the production or filming starts. However, distribution decisions,
namely, how many theatres movie will be shown in usually are also in advance as both studios that produce movies and theatres that show movies have their own business schedules and have to plan months (if not years) ahead (Brown et al., 2012).
The above mentioned may imply that allocation of screens might be one of the most important business decision a distributor might take before releasing the movie to a broader audience.
However, before doing that the movies are usually shown to test audiences in order to catch initial response to the finished product. Based on this response, the distributors may form an understanding whether the finished movie will be received by the critics and/or audience positively or negatively. If a movie may be received negatively, the distributors might choose to exercise the option of a so-called cold opening. This means that the movie will not be shown to the critics prior to release to a general audience. This is done in order to avoid the risk of negative reviews and by that sending negative quality signals to the audience. This strategy seems to be rather successful as it correlates with 10-30 percent increase in domestic box-office revenue. The studios are clearly aware of this phenomenon a the number of cold openings increased sharply in the middle of 2005. Researchers also found that cold opening in case of movies of the lower quality cold opening is usually correlated with “a pattern of disappointment”. However, since the cold opening is a successful strategy, the researchers argued that this could imply that the audiences did not perceive the relation between cold openings and lower movie quality. (Brown et al., 2012)
But is all of that still relevant in 2017?
Although Brown’s et al. (2012) study is very thorough and thus convincing, the data set the study was based on covers movies released between 2000 and 2009. A lot of things have changed since then, and one may ask if quality signals employed in the early 2000’s are still relevant. Before I present my conceptual framework that I will apply analysis on, allow me to briefly describe the US and Canada motion picture market as of 2017 in order to describe what is at stake for different actors in the market.
Let me start with the producers’ side of the market. There were 738 movies released in the US and Canada with a total domestic box office of $11,1 billion. 130 of these movies had a wide release, i.e. were released in over 600 theatres on the night of the premiere. These 130 movies accounted for box office revenue of $10,1 billion which might sound a lot at the first glance.
However, these 130 movies had a production budget of $7,8 billion. It is worth mentioning,
that production budget doesn’t equal to the total cost of a movie. Additional 80% should usually be added to the production budget as this amount corresponds to the marketing budget. Taking into consideration that box office revenue was distributed in accordance with Pareto’s principle, i.e. 20% of the movies generated 80% of box office, one might draw the conclusion that the stakes are very high for the movie producers who are interested in mitigating effects of bad quality signals.
In an interview with a US-based critic (further in the text as respondent 1) with experience in interaction with movie studios explained how this interaction might work. At some point in the early stage of its life cycle, the movie is shown to the test audience that might be comprised of either internal or external members. Based on feedback received from the test audiences, studios have a good understanding of how the movie will be received by the critics. Based on this anticipation, movie studios set times for screenings for the critics. At the screenings, the critics would receive instructions on when they are allowed to publish reviews in social media and/or outlets that the critics represent. The interviewee stressed that the studios set these time slots with “mathematical precision” as the studios were fully aware of the consequences of review embargoes. Similar accounts were discovered in several US-based newspapers where interaction between movie studios and movie critics were discussed. (Ahsan, 2017; Cavna, 2017b; Fritz, 2016). This practice of withholding reviews has some unintended consequences associated with it, as some entertainment industry insiders argue that the shorter the window between the lift of the review embargo and the premiere of the movie, the lower the Rotten Tomatoes score the movie would get (Dickey and Han, 2017). This correlation between the review embargoes and the Rotten Tomatoes score was observed, however, on rather limited number of movies (27 major wide releases) and no attempt to establish a correlation between the Rotten Tomatoes score and box office took place.
Respondent 1 mentioned that instructions regarding review embargoes were usually issued at the screenings directly to the critics, not via some publicly available source. There were no sanctions associated with disclosing timelines communicated by the studios. However, there were sanctions if reviews were published prior to the lift of review embargo. These sanctions would usually mean that the critic who violated the embargo rules would not be accredited to future screenings. Having said that, Respondent 1 added that in some cases he as entertainment editor at a large web resource would publish reviews a few minutes prior to the official timeline.
This was due to competitive nature of outlets that would want to have their reviews published ahead of competitors in order attract attention to their outlets. This was, however, a rather
common practice that didn’t really give any competitive advantage. In email correspondence with an UK-based YouTube movie reviewer (further in text responder 2) the same topic was discussed. The review stated that “Studios tend to employ that method of restraint from film critics as a way to hold back any negativity. If a film studio has faith in their product they will want people to tell their audience that the film is good it just makes logically sense etc when they hold back a movie from being seen by the critics in some cases and only allowing reviews to be published usually a day before its release or even on the day, most moviegoers tend to know the film is going to be a let down.”.
Respondent 1 also explained that the same principle would apply for Rotten Tomatoes as the reviews would be published there as soon as possible after the lift of review embargo. I questioned Respondent 1 of whether it would be possible to acquire a list with time slots for review embargoes to which the respondent replied that to do so one would need to get in contact with a large number of critics who had attended all the critical screenings. Having established that, I asked the respondent if one could use the date of publication of reviews on Rotten Tomatoes as an indicator of the length of review embargo. The respondent replied that they would employ the same technic in their analysis of this phenomenon.
This reply from the respondent 1 confirmed my assumption regarding timelines for review publication on Rotten Tomatoes and allowed me to formulate my first hypothesis:
H1: All other factors equal, does shorter review turnover lead to a lower Rotten Tomatoes rating?
After Respondent 1 was asked about the influence of Rotten Tomatoes score on the box office performance to which he replied that they couldn’t establish any direct correlation. Respondent 2 didn’t mention relation between Rotten Tomatoes score and box office performance.
However, as mentioned earlier many researchers covered topic of effects of critical and user- generated reviews on box office (Basuroy et al., 2006; Bharadwaj et al., 2017; Brown et al., 2012; Eliashberg and Shugan, 1997; Gopinath et al., 2010; Kim et al., 2013; Lee and Choeh, 2018; McKenzie, 2009; Oh et al., 2017; Zuckerman, 2003). But in 2017, Rotten Tomatoes was a very popular site amounts movie-goers. As mentioned earlier in the text, approximately one- third of the movie-goers in the US visited this site before choosing a movie to watch
(Faughnder, 2017). SimilarWeb (2018) which is web analytics service puts Rotten Tomatoes as number two most visited site in category movies in the US and number four globally.
Amazon’s web analytics service Alexa (2018) shows that Rotten Tomatoes had 12 million unique visitors per month. Another interesting observation made in Alexa was that traffic on Rotten Tomatoes was unevenly distributed between the weekdays and usually peaked on the weekends when movies had their premieres.
This significant interest from the internet users to Rotten Tomatoes on premiere week-ends led me to the conclusion that I could use Rotten Tomatoes score as a proxy for aggregated critical reviews and test its effects on box office performance. This led to my second hypothesis:
H20: All other factors equal, does higher Rotten Tomatoes score lead to a higher revenue at box office opening?
During gathering of data on Rotten Tomatoes, I have discovered that non-critical users could also leave their reviews on the webpage and over 3 million reviews were left by non-critic users for the 130 widely-released movies in 2017on Rotten Tomatoes. During gathering of data from SimilarWeb (2018) and Alexa (2018), it was noted that web resource in category movies that attracted most traffic was IMDb.com which is a resource where non-critics would leave their reviews that would be aggregated and systemised in form of a rating. IMDb attracts twice as many unique visitors, i.e. 24 million per month. It is worth noticing that IMDb had the same visit pattern as Rotten Tomatoes with peaks on the weekends.
This very significant interest from the internet users to non-critical reviews led me to the conclusion that I could try to use Audience Score score as a proxy for aggregated word of mouth and test its effects on box office performance. This allowed me to formulate my third and final hypothesis:
H30: All other factors equal, Audience score published on Rotten Tomatoes is a better predictor of the box office success that the Rotten Tomato score?
Criticism of the presented literature
Before I move on to the methodology I would like to add some observations on the previous research. First of all, there was no consensus on which factors besides critical reviews and word of mouth could influence box office performance. I will expand on this point in the conclusion of this thesis. But also, the role of critics as such isn’t that obvious as it might seem. Some researchers question whether critics could actually influence decisions of consumers of cultural products (Eliashberg and Shugan, 1997). Hirsch (1972) argues that critical reception is just a result of efforts undertaken by the distributors, i.e. critics base their review on the extent and the nature of marketing campaigns. Eliashberg and Shugan (1997) argue that some reviews might actually be a projection of consumers’ potential reception of a product, rather than a prediction of the reception. Goff et al. (2016) argued that the difference between the perception of different attributes between critics and non-critics is so significant that one could argue that there are two different motion picture markets: mass market and artistic/elite market. Rössel and Beckert (2013) raised similar example as they claimed that focus of wine producers on specific critics led to situations where wines were produced with preferences of a certain critic in mind and not the preferences of mass consumers.
METHOD
The following section contains a description of the methods used during the study. The section will start with an explanation of choice of the methods. Thereafter, research design for respective methods will be presented. This section will conclude with a brief discussion of advantages and disadvantages of the chosen methods.
Choice of method
Choice of method for this study was a rather challenging process in itself. Most of the academic literature mentioned in the previous section did employ quantitative methods where certain data was collected and certain hypotheses were tested. However, how can researchers be sure that the hypotheses that they test actually exist in the real life? Well, this challenge could be overcome if researchers employ a qualitative method when researchers engage in conversations with the real-life people who are subjected to the researched phenomenon. However, both methods have a number of limitations and can lead to conflicting conclusions. Martin et al.
(2006) showcase this with an example from organizational studies - “ontological and epistemological differences underlie qualitative and quantitative methods choices, affecting fundamental ideas about the nature of an organization”. Moreover, Martin et al. (2006) claim that choice of method might even (although not necessarily) be influenced by geographical
factors because researchers in the US are more inclined to perform quantitative studies with hypothesis testing due to their “neo-positivist assumptions about knowledge building” and at the same time researchers in Europe and other parts of the world employ “a broader variety of ontologies, epistemologies and methods (often qualitative) are preferred”. Therefore, according to the authors, the researchers who limit themselves to only one method can fall into the interpretational pitfall associated with respective methods.
Arnold (2006) argues that combination of both qualitative and quantitative methods might help researchers both to understand what and perhaps how phenomena might arise when qualitative technics are employed and how often these phenomena occur when quantitative are used in the studies. Therefore, Arnold (2006) suggests combining both qualitative and quantitative techniques in order to mitigate the risks associated with the respective method and improve validity and generalisability of research. In accordance with Arnold’s advice, I have decided to use both technics in my research and therefore go for a mixed method approach (Saunders et al., 2009, pp. 152). Mixed method research is built upon the use of both qualitative and quantitative data collection techniques and analysis procedures. It is very important to stress that, in accordance with Saunders et al. (2009, p. 153), qualitative data will be analysed qualitatively and quantitative data will be analysed using statistical techniques. In other words, none of the data gathered during the interviews will be quantitised and used in hypotheses testing.
To summarize my choice of method, I have decided to proceed with the research in two parts.
The first part of the research will be based on interviews with people that have a connection to the movie industry. This will be a pre-study of sorts in order to create understanding about the practice of review embargoes and if it has any effects on the valence of critical reviews. During this part, I will also attempt to identify sources of information about the timelines imposed on the critics by the review embargoes. The second part of my thesis will revolve around the statistical analysis of the gathered data in order to understand if the variance in critical perception and box office performance might be explained by quality signals such as review turnover and Rotten Tomatoes and Audience scores respectively.
Pre-study
Pre-study for this thesis had 2 aims. First, to establish an empirical foundation that could highlight validity of choice of Rotten Tomatoes as a proxy for both aggregated critical reviews
and word-of-mouth. Second, to explore nature of interactions between moviemakers and critics.
To achieve the first aim, I employed internet searching techniques where I searched for different combinations of keywords “Rotten Tomatoes”, “box office”, “critical review”,
“review embargo” in both Google and on Uppsala University library search engine. These searches gave me results from both peer reviews and non-peer review sources. Peer-reviewed articles were used as in the literature overview as expected. Claims from non-peer reviewed sources, however, went through additional analysis. There were 2 major motifs in claims from non-peer reviewed articles that I used in my thesis. The first claim was regarding user engagement on Rotten Tomatoes webpage. By using data from web analytics services SimilarWeb and Alexa I wasn’t able to disprove the claim that 1/3 of US moviegoers visited Rotten Tomatoes before making a choice of movie watching in the cinema. 12 million monthly visits correspond to 144 million yearly visits which is significantly higher than 1/3 of 260 million people who bought movie ticket in the US and Canada in 2017.
The second aim of the pre-study was to explore the nature of interactions between movie studios and critics. The exploratory method is usually best fitted by unstructured interviews where respondents are given the possibility to talk in depth about specific questions Saunders et al. (2009, pp. 321–323). I have chosen to contact YouTube movie reviewers because from my experience they mention the topic of review embargoes in their content on YouTube. I have engaged 25 critics in total both via Twitter and emails. Unfortunately, I received only 1 response from an UK-based movie reviewer who sent a written answer to my initial mail where I explain the extent of my study. At a later stage, I noticed that I send my emails and Twitter messages around the same time as “Avengers: The Infinity War” was being released to the US and Canada domestic market and that might have influenced their decision not to engage in conversation with me due to scheduling conflicts.
In parallel to that, I contacted 3 non-academic authors whose articles I used in the first part of my thesis. I received 1 response from an US-based critic who agreed to an interview. As a result, 1 in-depth interview was conducted. The interview was conducted over Skype and recorded in its entirety. Since this was unstructured interview several topics related to review embargoes were discussed. However, only topics related to my hypotheses were described in the first part of this thesis.
I have chosen not to disclose the names of respondents. Although, I received approval to publish name of Respondent 1 during the interview. I contacted both respondents when my thesis was almost done in order to make sure that I interpreted their words correctly and get final approval for disclosure of their names. At the time of hand in of this thesis, I didn’t receive any response from the respondents.
Quantitative research
Since the purpose of my quantitative analysis is to attempt to explain the relationship between the review turnover and valence of critical reviews and the the relationship between the critical reviews and performance of the reviewed movies in the box office, I will employ multiple regression analysis (Hair, 2010, pp. 169–171). By employing this type of analysis, I will be able to “determine relative importance of each independent variable in the prediction of dependent measure”; assess the relationship between the independent and the dependent variables; and, finally, I will be able to evaluate the relationship between the different independent variables in their prediction of the dependent variables (Hair, 2010, p. 170).
Next step in designing my quantitative research was defining sample size, statistical power, and generalizability. In accordance with Hair's suggestions (2010, pp. 174–176), I will have sample size over 100 observations, and not less than 5 observations per independent variable in order to have as high generalizability as possible. When it comes to variables (especially independent variables), it is worth mentioning that when in case of motion pictures, one must use not only use metric data in one’s models but even nonmetric data (Bharadwaj et al., 2017;
Kim et al., 2013; Zuckerman, 2003). As previous research implies - genre, rating and so on are a good example of data that will be treated as dummy variables.
When working with dummy variables, I will treat my nonmetric variables as dichotomous, i.e.
each category for the respective variable will be assigned a value of 0 or 1. Then, each variable that has k nonmetric categories, will be represented by k-1 dummy variables. Also, it is important to mention that none of the dependent variables used in my models are nonmetric which makes it possible to use linear regression model. (Hair, 2010, p. 177)
Last but not least important topic in my analysis is handling outliers. Since the size of my sample should be over 100 observations and only 134 movies had a wide theatrical release in the US in 2017, I have decided to use data for all the movies in my data sample. However, during the analysis of my data, it became apparent that the Pareto principle is observable when it comes to box office performance and movie budgets, i.e. roughly 20% of the movies
accumulate 80% of the box office. This creates a number of problems when it comes to statistical analysis. According to Hair (2010, p. 71), normality of the data is a fundamental assumption in multivariate analysis, therefore, data should have a normal distribution.
However, larger sample sizes can reduce the detrimental effects of nonnormality in the analysis (Hair, 2010, p. 72). Another important assumption of multivariate analysis is homoscedasticity which refers to equal level of variance across the variables (Hair, 2010, p. 72). There 2 ways to handle bias that might be created due to conflicts with these assumptions: handle outliers (Hair, 2010, pp. 68–69) and/or transform data (Hair, 2010, pp. 77–78). If necessity for use of these methods would arise, I will address in analysis part of my paper.
The last 2 important statistical assumptions are linearity and absence of correlation errors (Hair, 2010, p. 76). In order to identify bias associated with non-linearity and correlations errors, I will examine residuals and create correlation tables respectively in order to identify any anomalies. If problems with these 2 assumptions arise, I will consider removing variables from my hypotheses test model. List of all variables that will be used in my model will be presented closer to the end of this section.
Data Sources
There were two main sources for information on movies and box office performance used in this study. Boxofficemojo.com was the main source for information about box office performance for the widely released movies in 2017. I will use MPAA’s Theatrical and Home Entertainment Market Environment report for 2017 (MPAA, 2018)in order to gather market and movie-goer data for the descriptive statistics part.
Rottentomatoes.com was used for gathering data on about critical perception. It is significant for the purpose of this study to explain why specifically Rotten Tomatoes was used. As mentioned earlier in the text, Rotten Tomatoes is a review aggregator which means that instead of gathering review data from multiple sources I could just gather data from one source. This review aggregation from multiple sources might be the reason why Rotten Tomatoes is a very popular site amounts movie-goers. As mentioned earlier in the text, approximately one-third of the movie-goers in the US visited this site before choosing a movie to watch (Faughnder, 2017).
SimilarWeb (2018) which is web analytics service puts Rotten Tomatoes as number two most visited site in category movies in the US and number four globally. The number one spot in this category goes to IMDb.com. Amazon’s web analytics service Alexa (2018) shows that amount of traffic on IMDb is twice as high as on Rotten Tomatoes. This raises a question - why wasn’t IMDb chosen as a data source for this study? The answer to this question lies in
the validity of ratings available for the general audience prior to a movie premiere. IMDb shows user-generated ratings on its webpage and a movie needs only 5 reviews to show a rating. At the time of writing of this paper (on the 19th of May 2018), a movie called “Solo: A Star Wars Story” has already received a small number of user reviews (IMDb, 2018b), however, the movie has its premiere on the 25th of May.
Rotten Tomatoes, on the other hand, have developed a quality assurance system with clearly defined eligibility criteria in order to make sure that only qualified critics can leave their reviews on the website (Rotten Tomatoes, 2018b). Rotten Tomatoes has divided critics into two categories: critics and Top critics depending on whether a critic represents a major outlet or has a significant social media following. For the purpose of this study, no distinction between the critics will be made because Rotten Tomato score is not influenced by the critic category.
Movies can, however, get an additional seal of approval (Certified Fresh) by the Rotten Tomatoes if these have more than 75% score and at least five Top critics must leave a positive review for the movie. This seal of approval, however, will not be included in this study. This critic validation system allows the website to have confidence in the score that they publish prior to the movie premieres. If we take the same movie as mentioned above “Solo: A Star Wars Story”, we can observe that it has received a score of 71% based on 122 reviews. This should be interpreted as 71% of 122 critics gave a positive review to the movie.
Data Sample
For the purpose of this study I have decided to include all movies that hade a wide release in the US on its premiere night in 2017. In total 735 movies were released in the US during 2017.
Out of these movies 134 were released on more than 600 screens on its premiere night which is definition of wide release according to Box Office Mojo. 4 movies out of these 134 movies movies were re-releases which means that these movies were already released prior to 2017, i.e. “Casablanca” was re-released in 2017 in order to celebrate its 75th anniversary (Box Office Mojo, 2018c). Since these movies are already familiar to both critics and audiences and quality signals would not have the same interpretation as for the movies that have their very first theatrical run, I have decided to exclude these 4 movies from my analysis.
Variables
Overview of variables
Table 1 shows an overview of all variables with type, operationalisation and data source used in hypotheses testing. After the table, a short description of variable Rotten Tomatoes Score
Opening is presented because rather unconventional techniques were employed to gather data on that variable.
Rotten Tomato Score on the night of the premiere
Rotten Tomato score will be represented by a score of the respective movie on the Rotten Tomatoes on the night of its premiere. In order to gather this data, I had to use internet archive more commonly known as 4 (Internet Archive, 2017). This service takes snapshots of different
web resources and allows to see how web pages looked at different times. Therefore, for the purpose of this study, it was possible for me to access Rotten Tomatoes in the very same state as it was on the date of the premiere of all 130 movies that are in my sample. This allowed me to gather Rotten Tomato score as it was on the night of the premiere. However, there are some caveats when it comes to the score on the premiere night. Firstly, the Wayback Machines might take several snapshots per day. As a result, one might get different scores depending on which snapshot You decide to open if reviews are published on the day of the premiere and the score changes as more and more reviews are published. In some cases, a movie can go from not being scored at all to having some score. Also, the same phenomenon is observed over time, i.e. most movies had different scores on the night of the premiere and at the time when data was gathered.
Secondly, some movies were not featured on the main page on Rotten Tomatoes. This lead to situations when it was not possible to gather score easily. In these cases, I had to look up subpages on the Rotten Tomatoes dedicated to the respective movie via the Wayback Machine.
In cases, if the movie had a snapshot of its page then the data was gathered from this page. In cases when there was no snapshot of the movie from the date of the premiere available some additional analysis was performed that was based on the number of reviews published. If there were no reviews published prior to the premiere, the movies received a score of “0”. If there were some reviews published prior to the premiere, a snapshot that was closest to the premiere date was used to determine the score. By employing this method, I was able to avoid situations when movies that had some score were labelled as movies with “0” on Rotten Tomatoes. The topic of changes in scores will be further discussed closer to the end of this paper.
Hypotheses testing model
Having presented the variables and what methods, I will now present the model that will be used for hypotheses testing. The generic equation for multiple regression (Hair, 2010, p. 166) that I will employ looks as follows:
Y = b0 + b1V1 + b2V2 + .. + e
Based on the multiple regression equation, I will use the 8 different models to test my hypotheses. Below I have written out model 7 for a reference:
Box Office Total = Audience Score + Audience Score Current Volume + Rotten Tomatoes Score Current + Rotten Tomatoes Current Volume + Studio Major + Screens Total +
Production Budget + Recognized Property + Animated + Genre Action & Adventure + Genre Drama + Genre Comedy + Genre Mystery & Suspense + Genre Kids & Family + Genre Horror + Genre Science Fiction & Fantasy + Genre Other + MPAA rating R Advantages and disadvantages of the chosen approach
As mentioned earlier combination of methods allowed me to formulate my hypotheses based on phenomena observable in the real life. By gathering data via an interview with matter expert, I was able to confirm the validity of operationalisation of variable Review Turnover which is central notion to quality signalling between moviemakers and movie critics. However, this operationalisation is based on only 1 interview which is sample low even for the qualitative method. The disadvantage of a quantitative method for multivariate data analysis is that researchers might encounter negative effects of multicollinearity (Hair, 2010, pp. 204–205).
From the overview of variables used in my thesis, one can clearly see that I have used 22 variables in the sample with a size of 130. Although I haven’t used all 22 variables in the same hypothesis test, I have addressed this issue in the next sections of this thesis.
RESULTS
Descriptive statistics
In 2017, the US domestic box office generated revenue of $11,123 billion by 738 titles that were released theatrically. On the premiere weekends, these 738 movies generated $3,365 billion. This means that a movie generates $15,07 million during the whole theatrical run and
$4,55 million on the premiere weekend. However, these numbers are divided between all the movies. For the purpose of this study, we are more interested in the movies that had a wide release (opened in at least 600 theatres on the premiere weekend). This criterion leaves us with a sample of 134 movies. These 134 movies generated $10,155 billion over the course of theatrical runs and $3,289 billion on the premiere weekends. More observant readers will immediately recognize that some movies generate significantly more money than others as 134 widely-released movies generated approximately 10 times more revenue than the movies that were not widely released. But even amongst widely-released movies, there is a very skewed distribution of revenue as revenue range is from $0,6 million (“The Stray”) to $220 million (“Star Wars: The Last Jedi”).
Let’s change our focus and look at the widely-released movies themselves. Out of 134 movies, 4 movies were re-releases of already known titles. Therefore, I have decided to remove these movies from my sample and from now on all percentages shown in the further analysis will be calculated from the sample size of 130. Descriptive statistics for this sample are presented in 2
tables below. Table 2 shows descriptive statistics for continuous variables and Table 3 shows descriptive statistics for categorical variables.
Table 2 Descriptive statistics for continuous variables. N = 130.
Table 3 Descriptive statistics for categorical variables. N = 130.
There are 2 variables that are not shown in Table 2: Review turnover and Rotten Tomatoes score on the day of the premiere. In the sample, there were 17 movies (13%) that had no rating or “0” rating on the night of the premiere. 1 movie (0,7%) had a rating of “100”. The average score for the sample was 46,95. Review turnovers had much larger spread – from 0 to 224 days.
Such a significant difference in values could lead to errors in interpretation of data. Therefore, I applied some additional techniques on my data sample. Firstly, I created a boxplot to identify
Variable Min Max Mean Std Dev Sum
1Total Box Office ($ million) 1,58 620,18 78,06 106,61 10 147,71
2Theaters Total 640,00 4 535,00 2 897,31 1 011,03
3Box Office Opening ($ million) 0,60 220,01 25,27 35,40 3 285,38 4Theaters Opening 626,00 4 529,00 2 864,04 1 006,25
5Rotten Tomatoes Score Opening 0,00 100,00 46,95 31,43 6Rotten Tomatoes Score Current 5,00 99,00 50,02 27,57
7Rotten Tomatoes Score Current Volume 5,00 379,00 157,52 96,91 3 057,00 8Audience Score 11,00 94,00 59,29 20,18
9Audience Score Volume 270,00 192 719,00 23 518,54 29 843,05 3 057 410,00
10Production Budget ($ million) 2,00 300,00 59,65 61,66 7 754,30 11Production Budget (log) 0,69 5,70 3,57
12Box Office Total (log) 0,46 6,43 3,56 13Audience Score Volume (log) 5,60 12,17 9,45
Descriptive statistcs. Continous variables used in hypotheses 2 and 3 ( N =130)
Variable Number Procentage of N N = 130
1 Studo Major 69 53% 130
2 Festival Release 19 15% 130
3 Fresh (premiere) 49 38% 130
4 Rotten (premiere) 81 62% 130
5 Fresh (current) 46 35% 130
6 Rotten (current) 84 65% 130
7 Sequel 33 25% 130
8 Remake or reboot 17 13% 130
9 Animation 16 12% 130
10 MPAA G 2 2% 130
11 MPAA PG 26 20% 130
12 MPAA PG-13 55 42% 130
13 MPAA R 47 36% 130
14 Drama 79 61% 130
15 Action & Adventure 55 42% 130
16 Comedy 45 35% 130
17 Horror 33 25% 130
18 Science Fiction & Fantasy 25 19% 130
19 Mystery & Suspence 23 18% 130
20 Kids & Family 14 11% 130
21 Other genre 10 8% 130
Descriptive statistcs. Categorical variables used in hypotheses 2 and 3 (N =130)
the outliers. As a result, all review turnover that was longer than 30 days were identified as outliers. At this point, I had to two options: to remove the data from my sample or do some additional research on these movies in order to understand what might explain such a spread.
It turned out that of 20 outliers, 19 movies had their original premiere at a film festival and 1 movie was released outside of the US prior to its domestic premiere. This led me decision to exclude the 19 movies1 from my data set for the test of the first hypothesis because these movies had rather specific conditions during their premiere and there was an additional quality signal (movie was included into program of a film festival) that would not be applicable for the rest of the widely-released movies. Relation between the review turnovers and Rotten Tomatoes scores for the new sample of 111 movies is presented in Figure I below.
Figure I Relation between the review turnovers and Rotten Tomatoes scores for the new sample of 111 movies.
Although I have decided to use the smaller sample for the test of my first hypothesis, I will use the original 130 movie sample for tests of the rest of my hypotheses. This is due to fact that movie premieres at movie festival are usually not available for general audiences. In case of my sample, this didn’t affect revenue at the box office premiere weekend as it was not registered in Box Office Mojo. The relation between box office and Rotten Tomatoes score is shown in Figure II below.
1 These 19 movies have average review turnover that is equal to – 27 which would qualify these movies as outliers. Another interesting observation about these 19 movies is that they have average Rotten Tomatoes score of 66 which is significantly higher than the original sample.
Figure II Relation between the Rotten Tomatoes score and box office at the time of movie premiere (in $ million) for the sample of 130 movies.
And, finally, the last part of the presentation of descriptive statistics will be an overview of Rotten Tomato and Audience scores that were available in April and May of 2018 for the sample of 130 movies. When it to Rotten Tomatoes score it was important to mention that average score went up and is equal to 50 (compared to 46,95 at the time of the premieres).
Average Audience score is equal to 59,29 which means that audience score is on average almost 10% higher than the Rotten Tomatoes score and roughly 12% higher compared to the Rotten Tomatoes score at the premiere. And since we compare audience and critics scores after movies’ theatrical runs, I will present total box office revenues for the 130 movies. In the same manner as box office at the premiere, total box office revenue has skewed revenue distribution which ranges from $1,58 million (“The Stray”) to $620 million (“Star Wars: The Last Jedi”).
Compilation of Rotten Tomatoes, Audience scores and box office revenue over the whole theatrical run is shown in Table IV below. On closer examination of Figure III, it becomes apparent that the audience is more generous with its score for the movies on the lower end and is sparser in its judgement of movies with a high critical appraisal.
Figure III Relation between the Rotten Tomatoes and Audience scores and total box office revenue over the whole theatrical run (in $ million) for the sample of 130 movies.
Sources: Rotten Tomatoes and Box Office Mojo
Test of Hypotheses Correlation matrices
Before I present results of tests of the hypotheses I would like to present a short analysis of correlations in order to determine if results may be affected by multicollinearity. As I mentioned earlier, I will use 2 different subsets of the sample in my hypotheses testing. The first subset contains 111 movies that were not premiered a movie festival. Correlation matrix for this subset that will be used for testing hypothesis 1 is shown in Table 4.
Table 4 Correlation matrix for continuous variables used in testing of hypothesis 1 (N = 111).
*** p<.01; ** p<.05; * p<.10.
The significant coefficients are in written in bold for an easier overview.
My second subset contains all 130 movies first time released in the US and Canada in 2017.
Correlation matrix for this subset that will be used on for testing hypotheses 2 and 3 is shown in Table 5.
Variable 1 2 3
1 Review Turnover 1,00
2 Rotten Tomaotes score opening 0,57*** 1,00
3 Production Budget 0,29*** 0,30*** 1,00
Correlation matrix. Continous variables used in hypothesis 1 (N = 111)
