Joel M

Why are all the anime hits so mis-reported? It's annoying. I follow the boxoffice fairly close like most in here and I was shocked to find out a year later that Suzume and First Slam Dunk actually did 100m in China alone.

What kind of remake, though? With new characters or is Daisy Edgar Jones re-cast as Helen Hunt's character? The latter one would be just stupid.

Great teaser. I immediately jumped in the hype train when the musical thing was anounced, even though I'm neither a huge musical or Joker 1 fan. It just seemed very bold to take a movie so succesfull in such a different direction for the sequel. And it seems like it's paying off already. The footage looks great and I think the buzz wouldn't be the same with a more "normal" sequel. Even if it ends up with bad reception because of the musical aspect or because it's just bad, there's enough excitement/curiosity that at least financially it already looks safe. About the actual footage I really liked that Harley is another patient already, really frees the movie up from the burdens of the usual Joker-Harley dynamic. These are the kind of comic book movies that should care the least about established lore. Unironically expect some #NotMyJoker stuff going down by culture warriors in October, to what extent, I guess we will see.

really? I though this was a modern take on Wolfman like the Invisible Man remake. At least that's what they were saying when it started as a Gosling-Whanell vehicle. Did it change with all the talent switches?

Arrival was a real hit too but I know what you mean. Never really expected him to hit as hard with Dune after BR2049. It's a little crazy that they even gave him the money after 2049 floped.

Yeah Phoenix was paid 4.5mil upfront for the first film and Phillips forego his salary for a stake in the movie, which was smart. I bet this time around they are both getting a huge upfront pay on top of whatever backends they still have. I wouldn't be shocked if just those two along with Gaga are getting something like 50mil combined on upfront salaries.

I think that was partially a by-product of the change in popularity of animation brands that was happening at the time. The 2000s were PIXAR vs DW with everyone else a very distant third. During 2010 in the shadow of TS3 and Shrek 4, Illumination broke out with Despicable Me and WDAS had a comeback with Tangled. The tide shifted quickly after that and suddenly Princesses and Minions were all the rage, while PIXAR and DW started feeling a bit played out for a time.

yeah I don't think we need all that. As a non-book reader the spice to me is just space oil. Makes cars go but also you can sniff it.

I think in most cases it's people who liked or were intrigued by some stuff in part1 but were overall underwhelmed/bored by the lack of incident or closure finally clicked with part2 after all the legwork was out of the way. But yeah there's some "YUGE jump in quality" reactions which I also don't get. To each his own, I guess. To me they seem 2 parts of a whole. If I didn't know they were shot years apart I would assume they were shot back-to-back like lotr and kill bill.

Initial thoughts

Yeah it's a masterpiece. I didn't know the story and tried to stay as unspoiled as possible but I could tell from the end of the first movie that this was shaping up to be something really special. And it plays like a giant payoff to the promise of the first movie.

People on twitter insist this is Vineland after the set pics but it also seems set in modern times? So a Pynchon adaptation after all, but not a direct one like Inherent Vice? I have no idea, haven't read the book.

Those 4 lead acting noms for Netflix bait really breaks my brain. I thought they weren't gonna go as hard as SAG on them but alas. The acting branch really is the worst at picking its own nominees almost every year. I get Maestro was the big bait of they year and got many noms, but Margot Robbie and Greta Lee getting snubbed for Anette Benning playing Donald Trump lookalike is pretty tragic.

Sorry but this is nuts. Those were spin-offs trying to revive dead and buried IPs. Wonka was at best a wild card and Hunger Games was for most people a bomb waiting to happen. I really don't get how 600m was expected from Wonka. I don't get how HGBOSS was expected to pull in the male demographic when most expected to not even get the girls interested.

Not that unpopular anymore. I think the overwhelming praise at least online has cooled off a lot since it ended. I haven't exactly turned against it, but I similarly haven't thought about it or have any urge to revisit it. I was certainly enjoying it at the time but I am also a huge fan that knows the game inside out and had the thrill seeing how they 'll adapt every little detail. In retrospect I kinda agree that it was a "great gowns, beautiful gowns" show where great production values and good acting did the heavy lifting while the emotions were not earned by the narrative as presented. They adapted the cutscenes very faithfully, filled in some lore for the fans and mostly ffwd through the gameplay where most of the character development, Joel-Ellie bond happens. I'm still intrigued though by how they 'll tackle the second game because they can't pull the same trick there. First game was a linear episodic road trip. TLOU2 mostly takes place in less than week, have multiple POVs, multiple timelines, flashbacks that withdraw important information until very late in the story, way more action etc. The adaptation has to be radically different just to be comprehensible as a season of TV.

I think SAG has always been the most Netflix-friendly out of all the big guilds , which means May-December the only good Netflix movie in contention is truly dead and buried. Maestro was always a given here, but Nyad and Rustin got in too? They gobbled up all the transparent bait they could find once more.

I'm not sold yet on an Oppenheimer mega sweep. Nolan feels almost impossible to lose and it'll certainly get most of the techs no matter what, but both Cillian and RDJ and screenplay and BP seems hard.

I feel there's more people "concerned" that this is being overpredicted than it actually being overpredicted. Sure some suit threw out that it 'll make a billion which means nothing, some people might hope it 'll blow up but there's also outliers on the other side that think it 'll barely increase for reasons. Most realistic expectations are still that it'll have a sizable growth DOM and a smaller growth OS since it released early in many big markets and wasn't as affected by the day-and-date release there.

Night Swim was just garbage. Good on Blumhouse for still making money, but I feel they used to have better quality control even for their lower profile stuff. I also saw Poor Things which was amazing and it's kind of hilarious that here it plays like a blockbuster because of Lanthimos. Most packed theatre I've been in since Oppenheimer. Also ABY does not even have a release date here yet. I assume some countries were waiting to see how it 'll play in the anglosphere first where the stars are more well known, and now after the breakout they 'll probably set it for Valentine's Day.

Another interesting tidbit now that we got final Barbie numbers. post pandemic top5 1.Spiderman: NWH 465.892 2.Barbie 465.887 3.Oppenheimer 426.719 4.Avatar 2 422.811 5.Murderess 366.849 and counting If Barbie doesn't get an awards type re-release, Spiderman will get to keep the top spot by 5 tickets lol.

I think Barbie-Oppie-KOTFM-Poor Things-Holdovers will end up being the "real" top5, even if any of them ends up missing in director for a left field pick. And out of those the only I can see going all the way atm are: -Nolan corronation but not a sweep. -Holdovers picking up Supporting-Screenplay and BP while everyone else is busy discoursing the flashier movies to death.

I'll be here dying on my hill that an original movie based on some toys is obviously adapted is kinda ridiculous, while every real life story adaptation not based on a specific book is automatically original.

I think it did break out, it's just that some people got too excited and set the bar so high for this movie expecting it to pull a mini-Barbie or have Jumanji and Greatest Showman legs. Like that's something that happens all the time. I don't think the pre-release expectations for Wonka were to easily fly by the 2005 movie unadjasted WW total. It's a prequel, Timothee-Paul King are nowhere near Burton-Depp 2000s fame and it had a fair amount of bad buzz before it came out. There's an alternate universe where Wonka has a more tepid reception in line with pre-release expectations, does Mary Poppins Returns boxoffice and that would still be fine for it all things considered.

I was wondering about that ever since the project was anounced. I don't know how the musical incorporates songs into that kind of story, it might have been done tastefully. But from what I remember from the Spielberg version it has rape and domestic abuse in it, and I just find it weird that there's a musical version with songs between all this horrifying stuff. Even if the songs are serious.