《回到未来》好莱坞大片中的精彩特技

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《回到未来》是一个电影系列，共有三部。在1989年，《回到未来》一片有了续集。影片推出后，再次获得了广泛的欢迎。同时，《回到未来》第二集在情节安排上也为第三集的拍摄作了准备，从而使三部影片能够成为一个完整的整体。

随着时间的发展，影片中的特技也变得更为精彩。在这一集中有一段发生在未来的故事，特技的要求自然也更高了。精彩的特技场面使影片具有了更加吸引人的魅力。同许多其它优秀的科幻电影一样，对未来生活情景的假设和未来科技的展现是这部影片的一个极为吸引人的重要卖点。再加上对时间旅行结果的表现和新奇视角的展示，使影片十分引人入胜。

Despite the feverish attention paid to box-office results each weekend, Hollywood stopped relying on multiplex screens to make money a long time ago. For more than a decade, a motion picture's caboose — DVD sales — has been the driver of its profitability.

The DVD money has been so big that studio decisions about whether to make a movie have sometimes gone like this: Is this film going to draw interest at the box office? We're not sure? Well, if it's only a modest success, that's O.K. We can count on consumers to toss the DVD into their shopping carts.

Now that train is reversing. Business at the multiplex is going gangbusters. U.S. ticket sales are up 14 percent this year over the same period in 2008, according to the tracking firm Media by Numbers. Box-office results in some non-U.S. markets, which are increasingly important for the Hollywood studios, have also been strong, despite the worsening global economic situation.

But according to studios, sales for some new-release DVDs are down a jaw-dropping 40 percent, hammered by the recession, a saturated market and a shift to Internet downloads.

At least for the moment, Hollywood is heading back to the days when the theatrical run of a film was actually important for more reasons than serving as a marketing platform for home video.

"There is no more downside protection for producers in the video marketplace," said Ingo Vollkammer, a co-founder and a co-chief executive of Leomax Entertainment, an independent production and film finance company. "Movies today need to be theatrically driven."

Studios, of course, are not giving up on DVDs; home video is still a huge business. But the movie capital is starting to acknowledge that it has no idea what the immediate future will look like — maybe DVD sales will perk up in a few months, or maybe high-definition Blu-ray discs will finally make a breakthrough, or maybe the whole thing is dead as video-on-demand services take root. So producers are being leaned on to make a different type of movie.

"Anything that can drive the audience to the theaters has an easier time getting made now," said Kevin Misher, a former Universal and Sony executive who is now a leading independent producer.

In addition to big "tent pole" blockbusters, this means movies that are fun to watch in groups: at least 10 musicals are in full-steam-ahead development, including a remake of "My Fair Lady." And it means more pictures that are pre-branded: "Monopoly" and "Candy Land," movie versions of the board games, are on the way. Most of all, it means a strong return by major studios to middle-of-the-road, genre pictures.

When executed correctly, Hollywood genre films — inexpensive movies that honor cinematic rules instead of defying them and stick to carefully defined categories — have tended to snag more than enough viewers to justify their modest cost. And lately they have been on fire. Hollywood insiders recoiled at the Sony film "Paul Blart: Mall Cop" until it started printing money at the multiplex. So far, this screwball comedy, made for $26 million, has sold $138 million in tickets, and it is still playing.

But the movie that has other studios the most envious is "Taken," a genre film from 20th Century Fox about a former C.I.A. agent on a quest to save his kidnapped daughter. It was produced for about $33 million and has sold $127 million in tickets — and counting — since its release Jan. 30.

This middle ground once represented the meat of the movie business but receded over the past decade as the industry pursued the fringes of the market — tiny specialty films and blockbusters — because of the huge DVD upside, among other things. Generally speaking, the middle just wasn't where the smartest people wanted to play.