Boogie Nights - Release and Reception

Release and Reception

The film premiered at the Toronto International Film Festival, and was shown at the New York Film Festival, before opening on two screens in the U.S. on October 10, 1997. It grossed $50,168 on its opening weekend. Three weeks later it expanded to 907 theaters and grossed $4,681,934, ranking #4 for the week. It eventually earned $26,400,640 in the U.S. and $16,700,954 in foreign markets for a worldwide box office total of $43,101,594.

Boogie Nights was met with very positive reviews. It currently has 92% positive reviews on film review aggregator site Rotten Tomatoes, with 59 of 64 counted reviews giving it a "fresh" rating and an average rating of 8.1 out of 10. On Metacritic, the film holds an average score of 85 out of 100, based on 28 reviews.

Janet Maslin of The New York Times said, "Everything about Boogie Nights is interestingly unexpected," although "the film's extravagant 2-hour 32-minute length amounts to a slight tactical mistake ... has no trouble holding interest ... but the length promises larger ideas than the film finally delivers." She praised Burt Reynolds for "his best and most suavely funny performance in many years" and added, "The movie's special gift happens to be Mark Wahlberg, who gives a terrifically appealing performance."

Roger Ebert of the Chicago Sun-Times observed, "Few films have been more matter-of-fact, even disenchanted, about sexuality. Adult films are a business here, not a dalliance or a pastime, and one of the charms of Boogie Nights is the way it shows the everyday backstage humdrum life of porno filmmaking ... The sweep and variety of the characters have brought the movie comparisons to Robert Altman's Nashville and The Player. There is also some of the same appeal as Pulp Fiction in scenes that balance precariously between comedy and violence ... Through all the characters and all the action, Anderson's screenplay centers on the human qualities of the players ... Boogie Nights has the quality of many great films, in that it always seems alive."

Mick LaSalle of the San Francisco Chronicle stated, "Boogie Nights is the first great film about the 1970s to come out since the '70s ... It gets all the details right, nailing down the styles and the music. More impressive, it captures the decade's distinct, decadent glamour ... also succeeds at something very difficult: re-creating the ethos and mentality of an era ... Paul Thomas Anderson ... has pulled off a wonderful, sprawling, sophisticated film ... With Boogie Nights, we know we're not just watching episodes from disparate lives but a panorama of recent social history, rendered in bold, exuberant colors."

Kenneth Turan of the Los Angeles Times called it "a startling film, but not for the obvious reasons. Yes, its decision to focus on the pornography business in the San Fernando Valley in the 1970s and 1980s is nerviness itself, but more impressive is the film's sureness of touch, its ability to be empathetic, nonjudgmental and gently satirical, to understand what is going on beneath the surface of this raunchy Nashville-esque universe and to deftly relate it to our own ... Perhaps the most exciting thing about Boogie Nights is the ease with which writer-director Anderson ... spins out this complex web. A true storyteller, able to easily mix and match moods in a playful and audacious manner, he is a filmmaker definitely worth watching, both now and in the future."

Peter Travers of Rolling Stone said, "his chunk of movie dynamite is detonated by Mark Wahlberg ... who grabs a breakout role and runs with it ... Even when Boogie Nights flies off course as it tracks its bizarrely idealistic characters into the '80s ... you can sense the passionate commitment at the core of this hilarious and harrowing spectacle. For this, credit Paul Thomas Anderson ... who ... scores a personal triumph by finding glints of rude life in the ashes that remained after Watergate. For all the unbridled sex, what is significant, timely and, finally, hopeful about Boogie Nights is the way Anderson proves that a movie can be mercilessly honest and mercifully humane at the same time."