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Passed ¥158...

It's a competition-for-attention issue. 2015 was the year of the first Netflix Original film (Beasts of No Nation) which was followed by Adam Sandler, the star of one of the movies you brought up, going to work with them exclusively. That got the streaming ball rolling. Before that point movies that weren't big-screen spectacles didn't have to do as much to prove they were worth a trip to the theater, so of course they made more money. To answer your question, I'd say Trainwreck, Get Hard, The Intern and The Imitation Game (that's a 2014 movie, but whatever) make significantly less or are streaming exclusives today; Spy, with its combo of ensemble, reviews and action element, probably makes close to as much (it actually didn't make as much as it could/should have in 2015, relative to McCarthy's earlier much less well-reviewed star vehicles); Goosebumps, an IP thing starring Jack Black, surely does fine as well; Pixels is either a Netflix movie with Sandler or it obviously stars Ryan Reynolds and is bigger if anything. But also, like @AniNate said, what's the point? We are in both a post-streaming and post-COVID world, not in 2015, and it may be more relevant to note that both Civil War and Challengers are surely making more than they would have in 2021-22. Some ground's been gained back. The issue is not the product, it's making it look worth the effort of going to the theater with all the other options around - and worth the money, too, since there is also apparently the unresolved issue of the high ticket prices.

It's getting the 47 Ronin/Point Break '15/Assassin's Creed treatment. Trashy action movies left to die during the busy holiday season.

Every movie produced by these corporations are mainstream movies. The subject matter doesn’t matter. We used to have art-houses that played actual niche movies but then they retrofitted them into regular cinemas with small screens and nice seats.

This doesn’t seem like a very Christmasy kind of movie.

...every single Spider-Man film except No Way Home has done under 500 mil DOM.

Yeah another solid/well-plotted episode, putting the pieces in place for the finale which I'm sure will have some nice Tbh have seen this sentiment on SW twitter/Reddit but while I've enjoyed this season, it hasn't really carried the sense of being a final season yet. If I didn't already know this was the last, I'd be assuming there were more seasons with the relatively methodical pace of the last few episodes. I trust the showrunners here but I'm very curious to see how they wrap things up in a satisfying way with just one more episode.

It's not that I expect everyone to be positive all the time, but I do think negativity should at least come from a place of logical thought. The movie industry trudges on still despite everyone bemoaning its death here every weekend pretty much since this forum was created, so maybe consider that it's not exactly the most reasonable perspective to take.

In other news, major Sony release date changes: Kraven the Hunter: from 8/30/24 to 12/13/24 The Karate Kid legacy reboot: from 12/13/24 to 5/30/25 'Kraven the Hunter' Pushed to December Release by Sony (variety.com) Kraven now hitting screens over 14 months after losing the original October 2023 date that marketing money had already been spent on. What a joke.

I don't want to sound mean, but I think you might need a break away from this place. Or at the very least, get some outside help to make your life a bit perkier. I understand and value negativity and using it to let off steam or air out frustrations you have with the world. Believe me. But it feels like you're using it to a bad extreme where everything represents a societal downfall. And that's not good for anybody.

MAY 30 2025 'Kraven the Hunter' Goes to December, 'Karate Kid' to Summer: Sony Release Dates (deadline.com)

I wasn't entirely expecting the Karate Kid to hit screens in time for Christmas but god what a waste of a good spot lmao.

DECEMBER 13 2024 'Kraven the Hunter' Goes to December, 'Karate Kid' to Summer: Sony Release Dates (deadline.com)

This was supposed to open on March 1 originally. The only reason it was moved was because the first weekend of May needed something when it became obvious Deadpool & Wolverine wasn't going to be able to make that date and so that it could play at SXSW.

Luca should be operating in the $10-20m budget area.

Yeah ...I don't consider a Cannibal road trip love story mainstream but that's just me. But I like the accidental pun about people not biting. 😃

Earlier it was brought up that The Hangover and Bridesmaids wouldn't make anywhere close to what they did when they were released, but a better question is if the major studios would bother with those types of movies today. The former in particular in today's climate would likely be a Netflix dump starring Bill Burr or some other comic actors who clearly don't have "leading man in motion pictures" potential to them (never mind possessing the talent of someone who would go on to receive 5 acting Oscar nominations over the next 15 years like Bradley Cooper).

Speaking just for myself If I am interested in a movie and it gets good to great reviews I see it in a theater most of the time. No I am not a teenager or college age kid who has no family to support I am a older person who has no family to support. Probably why I waste time on a BO office forum talking movies and such because most people my age don't give a crap about that stuff =). Another thing as part of this talk about whether people see the Fall Guy as not a movie you have to see in theaters. Why do the studios and theater chains not really look into variable pricing. Like say the Fall Guy would be a great $7-10 movie where as a tentpole like DP and Wolverine could still be 10-20 or whatever. Probably not going to happen so the mid tentpoles like Fall Guy will not break out to bigger numbers anymore., Not when shit is so expensive any more.

the perfect word for it, it's so bad

I have no reason for asking the questions besides for being annoying and negative all the time. I feel like Howard Beale in Network shouting what I feel is my truth about our collapsing institution from the rooftops - and trust me, it's not just about box office or on Box Office Theory, as most of my friends can sadly attest. So.....yeah. Sorry about that.

This film cost $55m. The last one cost $20m. Both were distributed by the fifth largest company in America. The guy gets big budgets to make mainstream movies for mainstream audiences and the audience hasn’t bit.

Throwing out the high budget talk The Challengers is doing just fine it seems for a Tennis Movie directed by a guy that has not made anything close to mainstream hit movie yet.

Bloody hell these twitter people suck.

Even if its budget were like $500 million I'm just tired of that being what the narrative forms around. Everyone wants to look for any angle to call a movie a flop, and I'm just glad Amazon was willing to invest that much in Luca and that they appear to still be doing it next year.