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  1. 16 points
    Amazing. Imagine keeping an alt in storage for 2 and a half years just in case and then getting discovered after two posts because you just... can't help but be yourself.
  2. 11 points
    By reviewing it as a movie. It's not their job to review anything else.
  3. 10 points
  4. 9 points
    I feel terrible for his wife. He spent 91 days in the hospital, and she's been struggling with this inevitably for like a month. And they just had a baby.
  5. 8 points
    *starts posting a irritated response* *deletes it* *starts posting a slightly different irritated response* *deletes that as well* *sits down and tries to figure out how to word this without being absolutely pissy* *fails utterly* *decides to go post-modern and just document the frustration of trying to figure out what to post* *hits Submit Reply*
  6. 8 points
    This is actually a false strawman that is used as rationale to reopen. For the last 130 years the death rate in the US has fallen during almost every recessionary period (including the Great Depression) and risen during economic expansions. The increase in deaths caused by economic hardships tends to be more than outweighed by deaths prevented from the lower activity levels. (Basically deaths due to accidents and travel are much higher than deaths due to suicide). Note: I'm not arguing for keeping the economy closed, I actually believe as long as people are careful and governments take it slowly it makes total sense to reopen. I think it is pretty simple - keep six feet from each other, when you can't wear a mask, try to do more things outdoors. I do think the US in particular has put itself in a poor position relative to other countries by not attacking this harder at the beginning. Studies, including one released last week, show that attacking the infectious diseases harder in a shorter time period tend to work out better economically in the long run than letting it fester. THe more you knock it down the faster an economy recovers, if it is still prevalent than the economy takes a lot longer to recover.
  7. 7 points
    Broadway Actor Nick Cordero passes away at 41 after months of coronavirus complications
  8. 6 points
    To anyone still shooting off fireworks scaring those with PTSD and our four legged friends
  9. 6 points
    Overseas exhibitors ready to reopen have to be (and have every right to be) completely pissed with us for our complete inability to get our shit together, cause there's no hope for new product in the near future because of us.
  10. 6 points
    Very cute of you to believe Trump isn't blocking members of the free press. Regardless, free speech on websites like these can only get you so far. We have rules, and if we believe people are promoting or stating something toxic and/or trollish, we're not going to let them wreak havoc. If you don't like this answer, then quite honestly, go somewhere else. We're not the only place on the Internet where you can talk about movies, and there are plenty of forums with more lax rules and regulations.
  11. 6 points
    November 3-5 “Toons” Reach a Settlement, “Megalo” Battles On Toons v Reality - $53,186,550 (1st weekend) Megalo Box - $31,544,695 (-30.0%) (3rd weekend) Laika - $8,030,126 (+95.8%) (6th weekend) Countdown City - $7,810,077 (-23.9%) (5th weekend) Tony Hawk’s Pro Skater - $5,307,218 (-45.7%) (5th weekend) The Layover - $4,250,249 (-39.4%) (4th weekend) The Turkey Squad - $3,301,265 (-67.5%) (2nd weekend) Banjo-Kazooie - $2,127,866 (-55.3%) (8th weekend) Dawn of the Last Six - $1,540,925 (-30.5%) (7th weekend) Ms. Blakk 4 President - $511,796 (1st weekend) Adult Swim Bomb Scare Non-Fiction Documentary For Theaters - $288,966 (2nd weekend) Top 10 gross: $117,610,767 (+18.1%) November 10-12 “Toons” Wins Easy Case, “Barbeque” Fried on Uneventful Weekend Toons v Reality - $35,101,767 (-34.0%) (2nd weekend) Megalo Box - $24,019,389 (-23.9%) (4th weekend) Countdown City - $5,211,866 (-33.3%) (6th weekend) Laika - $5,098,105 (-36.7%) (7th weekend) Tony Hawk’s Pro Skater - $4,318,962 (-18.6%) (6th weekend) American Barbeque - $4,206,765 (1st weekend) The Layover - $3,005,787 (-29.3%) (5th weekend) Adult Swim Bomb Scare Non-Fiction Documentary For Theaters - $2,106,214 (+628.9%) (3rd weekend) Banjo-Kazooie - $1,910,553 (-10.2%) (9th weekend) Ms. Blakk 4 President - $1,405,145 (+174.5%) (2nd weekend) Top 10 gross: $103,484,553 (-12.0%) November 17-19 “Toons” Awarded Treble, “Notorious” Reputable Toons v Reality - $26,550,191 (-24.4%) (3rd weekend) Notorious - $24,672,949 (1st weekend) Megalo Box - $14,715,966 (-38.7%) (5th weekend) Tower of Babylon (Limited IMAX Release) - $10,012,685 Countdown City - $4,550,115 (-12.7%) (7th weekend) Red Flavor - $4,401,196 (1st weekend) Laika - $3,040,135 (-40.4%) (8th weekend) Tony Hawk’s Pro Skater - $2,830,551 (-34.5%) (7th weekend) Ms Blakk 4 President - $2,317,773 (+64.9%) (3rd weekend) The Layover - $1,650,501 (-45.1%) (6th weekend) Top 10 gross: $94,742,062 (-8.4%) November 22-26 (Thanksgiving) “Birdwing” Soars, “Babylon” Supports In Second Birdwing - $74,015,966 / $110,502,245 (1st weekend) Tower of Babylon - $45,855,014 / $67,100,786 (1st weekend) Notorious - $20,110,794 / $29,200,785 (-18.5%) (2nd weekend) Toons v Reality - $15,580,196 / $22,005,688 (-41.3%) (4th weekend) Megalo Box - $10,005,212 / $14,151,169 (-32.0%) (6th weekend) Ms. Blakk 4 President - $3,190,583 / $4,650,119 (+37.7%) (4th weekend) Laika - $2,811,745 / $4,075,107 (-7.5%) (9th weekend) Countdown City - $2,323,665 / $3,375,001 (-48.9%) (8th weekend) Red Favor - $2,011,777 / $2,850,235 (-54.3%) (2nd weekend) Tony Hawk’s Pro Skater - $1,805,772 / $2,631,116 (-36.2%) (8th weekend) Top 10 gross: $177,710,724 (+87.6%)
  12. 6 points
    Two weeks until the point where the deadline gets extended.
  13. 6 points
    Meet the Cast of Where? Gina Rodriguez (Netflix's Carmen Sandiego, Smallfoot, The Star) plays Carmen Sandiego, an internationally-infamous art thief whose latest escapade lands her in the crosshairs of both the ACME International Detective Agency and the nefarious organization of VILE. Will Friedle (Batman Beyond, Kim Possible, Guardians of the Galaxy [animated]) plays Waldo, a renowed social anthropologist who is recruited to assist in locating Carmen Sandiego before VILE gets to her, due to his ability to seamlessly explore cultures all over the world, and a shared past with Carmen. AJ Michalka (The Goldbergs, She-Ra and the Princesses of Power) and Josh Peck (Teenage Mutant Ninja Turtles [animated]) play Ivy and Zack, twin junior ACME detectives who uncover the dastardly VILE plot that involves Carmen Sandiego and who seek out Waldo to help them get to Carmen before VILE does. A.J. LoCascio (Dawn of the Croods, Voltron: Legendary Defender) plays Chase Devineaux, a suave and smooth ACME agent who is determined to be the one to finally arrest and bring in Carmen Sandiego, and as a result clashes with Zack and Ivy for willing to ultimately work with a known criminal if necessary. Liam O'Brien (Netflix's Carmen Sandiego, Avengers Assemble) plays Dr. Maelstrom, a mad scientist high up in the ranks of VILE. Maelstrom is on the brink of enacting a truly dastardly scheme to hold the world ransom, and the only missing pieces to his plan have been inadvertently stolen by Carmen Sandiego, spurring him to send VILE agents to apprehend her by any means necessary. David Hayter (Metal Gear Solid, Star Wars: The Old Republic) plays Lee Jordan, a former ACME detective who is now one of VILE's most dangerous agents. Lee answers directly to Dr. Maelstrom and he leads the VILE team hunting for Carmen Sandiego, and is willing to incur collateral damage to catch her. James Arnold Taylor (Star Wars: The Clone Wars, Hulk and the Agents of S.M.A.S.H., Johnny Test) plays The Chief, the operational head for the ACME Detective Agency. Almost perpetually in a grumpy mood, The Chief reluctantly entertains Ivy and Zack's plan, though he is itching to capture Carmen Sandiego to make headlines for his agency.
  14. 5 points
    Watched the Eurovision movie. It’s ok got a few laughs out of me. Definitely too long and Ferrell’s shtick is pretty tired but Rachel McAdams is the best comedic actress rn. the songs are legit pretty good too.
  15. 5 points
    BTW, this WILL prove to be a bit of a challenge when it comes to how many seats were actually sold if a show is sold out. Already see one showing for Back to the Future that is marked as a sellout at an auditorium that probably only has around 50 seats or so in normal circumstances. With a four seats blacked out for every group of tickets sold system (unless it is at the end of a row), one could see how it doesn't take long for a show to not only sellout in a smaller auditorium, but be very difficult to track it unless you happen to see the patterns as they are being sold. Doubt there will be much worth tracking for a while, but it is something to keep in mind should these dynamic blacked out seats stick around for a while, as I presume they will.
  16. 5 points
  17. 4 points
    I've probably missed a bunch but here goes Wild Strawberries (1957) In The Mood For Love (2001) Spirited Away (2001) To Live (Huo zhe) (1994) Happy Together (1997) The Wages of Fear (1953) The Tale of The Princess Kaguya (2014) The Seven Beauties (1975) 8 1/2 (1963) Memories Of Murder (2003) Pan's Labyrinth (2006) Howl's Moving Castle (2005) Millennium Actress (2001) Fanny (1932) Das Boot (1981) Ran (1985) Marriage Italian Style (1964) Pain & Glory (2019) Women of the Verge Of A Nervous Breakdown (1988) Marius (1931) Caesar (1936) Aleksandr Nevsky (1938) Fanny & Alexander (1983) Babette's Feast (1987) Eat Drink, Man, Woman (1994) Crouching Tiger, Hidden Dragon (2000) The Rules of the Game (1939) Elle [2016] Parasite (2019) Wings of Desire (1987) A Very Long Engagement [2004] The Wind Rises (2014) Raise the Red Lantern (1991) Bandit Queen (1994) Jules and Jim (1962) Rashomon (1950) Smiles of a Summer Night (1955) La Cage aux Folles (1979) Princess Mononoke (1997) Tokyo Grandfathers (2003) Zindagi Na Milegi Dobara (2009) Swept Away (1974) Orpheus (1950) The Triplets of Belleville (2003) The Scent of Green Papaya (1993) Amélie (2001) Shall We Dance (1996) Kung Fu Hustle (2004) Les Diaboliques (1955) A Special Day (1977) The Leopard (1963) Guzaarish [2010] La Belle Et La Bete (1946) La Grande Illusion (1937) Jodhaa Akbar (2008) A Man and a Woman (1966) Phoenix (2014) Persepolis (2007) La Dolce Vita (1960) Sword the Stranger (2007) Barbara (2012) Super 30 (2019) Waltz with Bashir (2008) Koi Mil Gaya (2003) Paprika (2006) Nausicaä of the Valley of the Wind (1984) Ju Dou (1990) Life Of Pi (2012) The Seventh Seal [1957] Dilwale Dulhania Le Jayenge [1995] Au revoir les enfants (1987) Agneepath (2012) Kabhi Khushi Kabhie Gham... (2001) Matador (1986) Porco Rosso (1992) Mother (2009) Seven Samurai (1954) Lagaan (2001) Juste Une Question D'amour (2000) Kon-Tiki [2012] OSS 117: Cairo, Nest of Spies (2006) Your Name [2016] Internal Affairs (2002) Rififi (1955) Pather Panchali (1955) Black Book (2006) The Earrings Of Madame De (1953) El Secreto de Sus Ojos (2009) All About My Mother (1999) The Young Girls of Rochefort (1964) Ida (2013) Red Sorgum (1987) The Girl Who Leapt Through Time (2006) Ghost in the Shell (1995) Lust Caution [2007] Swades (2004) Purple Noon (1960) The Cat Returns [2002] Andhadhun (2018) The Boy And The Beast [2015]
  18. 4 points
  19. 4 points
    It's very frustrating that the virus can be managed with simple measures and no need for damaging lock downs if people just did what they are supposed to do.
  20. 4 points
    I'm French and didn't go back to theaters yet (no interesting release, waiting for Mulan) but you know there's nothing wrong if rules about social distancing and wearing masks are respected. The transmission rate is at its lowest right now in France almost 2 months after reopening so if it's done well..why not?
  21. 4 points
  22. 4 points
  23. 4 points
    This movie wouldn't exist at all without Nolan let alone it having a smaller budget, we'd be eagerly anticipating Unhinged to bring us back to theaters.
  24. 4 points
    Going down to 28th place was the teen comedy classic Mean Girls. Loosely based on the self-help book Queen Bees & Wannabes, this stars Lindsay Lohan as Cady Heron, who returns with her family to the United States after living in Africa for 12 years. After befriending the two school outcasts, Cady soon discovers high school is divided into cliques and friend groups, with the alpha clique of the bunch being “The Plastics”, a trio of rich pretty girls who rule the school’s social pyramid. After the Plastics, led by Rachel McAdams’ Regina George, become interested in Cady, the new girl seems to be doing alright for herself. But then Cady falls in love with Regina’s ex-boyfriend Aaron Samuels. And all hell breaks loose. Queen Bees & Wannabes, which focuses on high school cliques and the mental damage they have on young girls, landed in the hands of SNL writer and actress Tina Fey, who contacted SNL creator Lorne Michaels over turning the book into a film. Michaels then optioned the film to Paramount Pictures, and a movie was greenlit. Being non-fiction, Fey developed the plot from scratch, using elements and stories from her own experiences at high school, as well as naming the characters on friends and people she knew. One notable exception was the character of Janis Ian, who was named after the famous singer of the same name, and was the musical guest in the very first episode of Saturday Night Live. As for the casting, it was there where things had to be crucial for the movie to work. Lindsay Lohan first read for Regina George, but the producers felt she would fit the role of Cady better. Lohan agreed, as she didn’t want her playing a “mean girl” to ruin her reputation. Amanda Seyfried also auditioned for Regina George, but they felt Seyfried’s spacey and daffy sense of humor would fit better with Karen Smith, the airhead of The Plastics. Regina George would actually be given to Rachel McAdams, as they felt McAdams’ kind and polite personality made her perfect for a mean-spirited role. This casting would happen at the same time McAdams was cast in The Notebook. Tina Fey would also appear in the film as Cady’s teacher, as did other SNL veterans like Amy Poehler, Tim Meadows, and Ana Gasteyer. Opening on April 30, the film’s success was quite surprising. Opening to $24.4 million, it became the fourth-biggest debut ever for an April release, and opened above many other teen movies at the time, including Lohan’s own Freaky Friday last year. And sure enough, with great critical reception and a passionate audience of teenage girls, this resulted in $86.1 million domestic and $130.1 million worldwide, becoming Paramount’s biggest hit since School of Rock in 2003. Upon its release, the film earned critical acclaim, with people lauding the film for Tina Fey’s writing, fantastic performances, and satirical edge. This put Tina Fey on the map, and that momentum would continue with the NBC sitcom 30 Rock, becoming one of the most acclaimed NBC sitcoms in history. Rachel McAdams, helped also by The Notebook the same year, became a superstar overnight, with future hits like Wedding Crashers, Sherlock Holmes, The Vow, Spotlight, Doctor Strange, and Game Night. Amanda Seyfried saw her debut with Mean Girls, and would also see a strong career in the years to come, with her biggest success being the Mamma Mia movies. Lindsay Lohan also continued her success as a teen idol after years of success with Disney. But Mean Girls didn’t truly take off until well after the movie was released. With its acclaim and popularity amongst teen girls, Mean Girls became a mainstay in slumber parties for years to come. And with this generation living in the digital age when social media was just starting to emerge, Mean Girls exploded online, with quotes, GIFs and memes becoming a mainstay on Twitter and Tumblr. Celebrities like Mariah Carey and Jennifer Lawrence mentioned their love for the movie, and the White House referenced the movie on their Twitter with a picture of Bo, Obama’s pet dog. Since then, Mean Girls would also become the subject of parody, with an MTV sketch featuring Ed Sheeran and Iggy Azaela in 2014, and Ariana Grande parodied the Christmas pageant scene in her music video “Thank U, Next”. Tina Fey explained the film’s breakout success best: "Adults find it funny. They are the ones who are laughing. Young people watch it like a reality show. It's much too close to their real experiences so they are not exactly guffawing." Like any great movie, it works on different levels. There’s great dialogue and funny actors for adults to latch onto, but for the actual teens watching it, it’s a mirror to their own high school life, which lets them relate to the movie and appreciate it as one of the rare high school movies that actually represents what high school is about. In 2011, ABC Family produced Mean Girls 2 to cash in on the film’s newfound success, but it only featured Tim Meadows returning, and was considered a disappointment to fans. A spin-off titled Mean Moms was set to be made and star Jennifer Aniston, but no word on the project has come out since 2015. In 2018, Mean Girls was turned into a Broadway musical, earning 12 Tony nominations in the process. And this past January, Tina Fey announced the Broadway version of Mean Girls would be adapted as a feature film. And finally, all the way down to 57th place was the horror classic Saw. Starring Leigh Whannell and Cary Elwes, this film sees two complete strangers awaken chained in a dilapidated bathroom, with no idea how they got here. And one sadistic serial killer named John Kramer, better known as The Jigsaw Killer, gives the two men a game. Adam (Whannell) is urged to escape. Lawrence (Elwes) has to kill Adam, or else his wife and daughter dies. Hi-jinx ensue! Saw was the brainchild of two recent Australian film school grads: James Wan and Leigh Whannell. Inspired by the low-budget releases of The Blair Witch Project and Pi, both of them wanted to write and fund a film as cheaply as possible. Their idea for the cheapest film to shoot was having two actors in one room. This was actually helpful when it came to brainstorming, as because Wan and Whannell had low bank accounts and a contained storyline in one location, they had to think creatively. Wan pitched Whannell the basic idea of the film, and as Whannell pondered over the idea, he opened his diary and wrote the word “Saw” in blood-red ink. The idea was good, the title was perfect, and they were ready to make their mark, with Wan as the director and Whannell as the writer and star. But it wasn’t very easy. Initially the duo had $30,000 to spend on the film, but as the scripting process went on, the duo realized they needed more money. So they optioned the script to several Australian producers from 2001 to 2002, with no luck. They were then urged to sell the script to Los Angeles, and while the duo were reluctant to pay for travel when they already had little money, they obliged, since they had to get this movie out eventually. But before they went off, Wan felt just a script wasn’t enough to convince producers. So he decided to direct a $5,000 short film based on the script’s jaw trap scene, with Whannell wearing the trap. The short was shot on a 16mm camera for two days, and was turned into a DVD that would be shipped along with the script. This was very important, because it showcased Wan’s talents and vision, as well as show off that Wan and Whannell were a director-actor team. In early 2003, the short was sent to producer Gregg Hoffman, who was jaw-dropped by the footage on display, and after reading the script with his partners Mark Burg and Oren Koules, they offered Wan and Whannell to work with them. While the duo had garnered offers from Dreamworks and Gold Circle Films, Hoffman and company gave them complete creative control, 25% of the net profits, and allowed Wan to direct and Whannell to star. This was their passion project, and if they said yes to Dreamworks or Gold Circle, there was a chance they would lose their input and fail to make the movie they always wanted to make. And thus, Wan and Whannell were granted $1.2 million to produce the movie. Elwes and Tobin Bell, the actor playing Jigsaw, also joined thanks to the short and screenplay. Because of the tight funds, they had only 18 days to shoot the movie. This meant Wan had to do very little takes and shots for the movie to be finished before the shooting deadline. While a hindrance, Wan mentioned he felt that benefited the movie, because the lack of time and money gave a gritty, rough around the edges look to the film, becoming an aesthetic that defined the series forward. But while he was editing the film, he realized he didn’t have enough good footage or takes, with a lot of missing gaps. This meant Wan and editor Kevin Greutert had to improvise, meaning they created shots to help mend the movie together, like making a bad-looking shot look like a surveillance camera feed or cutting to still photography. Says Wan in an AV Club interview, "We did a lot of things to fill in gaps throughout the film. Whatever we cut to newspaper clippings and stuff like that, or we cut to surveillance cameras, or we cut to still photography within the film, which now people say, 'Wow, that's such a cool experimental style of filmmaking', we really did that out of necessity to fill in gaps we did not get during the filming". Saw was picked up by Lions Gate just days before its Sundance 2004 premiere. Initially the film was going to be a direct-to-DVD feature, but after the positive reception from festival goers, it was decided the film would be theatrically released on October 29, two days before Halloween. Despite competition from fellow horror hit The Grudge, the film saw a very impressive third place debut with $18.5 million, making it Lions Gate’s second biggest debut ever, only behind Fahrenheit 9/11. And while Saw’s legs obviously weren’t anywhere near what The Ring had, WOM was pretty positive. People loved the concept and Wan’s vision, which resulted in the movie earning three times its opening to $55.2 million domestic and $103.1 million worldwide. This may not seem like a whole lot, especially in the horror movie boom we now live in, but for a while, thanks to its low budget, Saw became the most profitable horror movie since Scream, and its success turned a lot of heads. Of course the big thing is a lot of sequels. Lions Gate, which was still a bit of a fledgling company with a few notable successes, knew they had a hit franchise on their hands. Sure enough, Saw saw a yearly release, with Saw II earning $32.1 million its opening weekend, becoming the second-biggest Halloween debut ever at that time, and with six other sequels since then, Saw has generated about $976.3 million, becoming one of the biggest horror franchises in history. And with Saw’s success was a massive boost in films titled “torture porn”, which combine elements from splatter and slasher films, and utilize gore, violence, mutilation, sadism, etc. The release of films like Eli Roth’s Hostel, Wolf Creek, The Collector, and The Human Centipede, among others. These films were cheap to make, have plenty of money shots, and a decent fanbase in the horror community to make people invested. And since then, torture porn has been the most polarizing subgenre of horror. Some find it exciting, bloody, and entertaining, while others find them to be too graphic, too offensive, and too brainless. Even George Romero mentioned he doesn’t get their appeal. But they have their place, and it’s clear that this became so popular because Saw was able to do it so well. Since then, Wan and Whannell have become gods in the film and horror industry. The two would reunite in 2011 with Insidious, which became one of the biggest horror series of the 2010s and helped Blumhouse become a household name. Since then, Wan would direct blockbuster hits like The Conjuring, Furious 7, and Aquaman, all of which we’ll definitely talk about in the future, and Leigh Whannell recently saw success with last February’s The Invisible Man, which has become one of the de facto biggest hits of 2020. Saw is set to return in 2021 with Spiral, starring Chris Rock and Samuel L. Jackson. And that was just the big stories of 2004, but as always, there’s a lot more to talk about. I, Robot was yet another hit for Will Smith, based on Isaac Asimov. 50 First Dates became the biggest President’s Day debut ever and continued Adam Sandler’s hit streak. A Series of Unfortunate Events pissed off fans of the book, but still got over $100 million. The Village saw a polarizing response, signaling the beginning of Shyamalan’s decline. The Aviator was Leo and Scorsese’s second collaboration, in what were many to come. Million Dollar Baby sneaked by $100 million with controversy over its ending. The Spongebob Squarepants Movie was set to be the show’s finale, but was so successful, the series went on to become one of the longest-running cartoons in history. Anchorman continued Will Ferrell’s hit streak and became a major cult classic. Scooby-Doo 2 dropped like a rock from its predecessor. Bill Murray wound up trapped in a Garfield movie nobody liked. Alien vs. Predator was a fanboy’s dream come true despite being panned by critics. Ray and Collateral made Jamie Foxx a household name. White Chicks became everybody’s favorite guilty pleasure. Hellboy was pulled from some theaters due its sacreligious title. Dawn of the Dead kickstarted Zack Snyder’s career. King Arthur was a colossal misstep when it came to Bruckheimer’s hit streak. Phantom of the Opera was given a film adaptation to mixed results. Hero became the first Chinese-language film ever to hit #1 in the US. Napoleon Dynamite became a cult phenomenon. Catwoman was an infamous disaster that started Halle Berry’s career downfall. Sky Captain’s backgrounds were entirely produced digitally via bluescreen, but nobody really cared. Shaun of the Dead put Edgar Wright on the map. Team America: World Police had puppet sex. Home on the Range was Disney’s last hurrah for 2D animation, until about 6 years later. Harold & Kumar Go to White Castle was the beginning of a stoner favorite series. Super Size Me was another documentary phenomenon. Superbabies: Baby Geniuses 2 was a film that somebody decided to make for some reason, and we all let it happen. Soul Plane was another film that somebody decided to make for some reason, and we all let it happen. And finally Raising Helen...came out I guess. This was 2004
  25. 4 points
    You can open up places of worship but with some sense. Like I am on the committee for our local temple. The hall sits 200 people only 25 can sit at a time. In special X areas on the floor unless they are their kids. So group of friends cannot sit together. Masks or face coverings are a must. There is no giving of any food or offerings to people. You can only stay a max of 1 hour. Hours are only 9am to 7pm. City inspectors come each week to see we follow the rules. Like you can open up a church but you dont need to have thousands of people packed in a room singing "this is little light of mine!!!!" 😂 oof
  26. 4 points
    WW appeals to families though, the last demographic likely to return to cinemas
  27. 4 points
  28. 4 points
    Have a couple of films left to watch but I just wanted to give my current list: My Neighbour Totoro Ran Police Story Close-Up The Tale of Princess Kaguya Oldboy Memories of Murder Spirited Away Parasite Incendies Godzilla (1954) Don't Go Breaking My Heart Throne of Blood The Handmaiden Akira A Town Called Panic Mother (2009) Persepolis Roma Hey Ram Certified Copy The Night is Short, Walk on Girl The Young Girls of Rocherfort Your Name The Hunt Castle in the Sky Wolf Children Drug War My Mother's Castle The Night Comes For Us Summer Wars The Killer The Raid Come and See A Separation Pan's Labryinth Howl's Moving Castle The Host Phoenix Paprika Shadow 13 Warriors Jallikattu Firaaq Princess Mononoke Porco Rosso I think I'll be able to get 50 once I finish the movies I have list. I watched a lot of 2010s foreign films because of the 2010s list which is why my list has heavy 2010s representation (and my movie-watching over the past few weeks have been pretty inconsistent due to summer college assignments and The Last of Us 2). Over the next 4 days, I'm gonna try to get these movies watched: Only Yesterday, My Neighbours the Yamadas, Police Story 2 and 3, Fallen Angels, In the Mood for Love, The Battle of Algiers, Smiles of a Summer Night, and maybe Yi Yi. Edit: Forgot Pan's Labryinth.
  29. 4 points
    One man's mediocre is another man's best superhero movie and most restrained, perfectly executed, master of his craft... In other words, Interstellar is his weakest effort (TDKR is his weakest movie, but the effort's not there compared to everything else) See how that works? Amazing how your interpretation doesn't match mine.
  30. 4 points
    @cayommagazine While the Oscars ceremony for Year 7 is still a long ways off, Alpha Pictures and Hollywood Animation Studios is already ruling out the possibility of a trailer premiere for their upcoming film Wanderer, excluding any (unlikely) last-minute changes. In the words of a spokesperson for the studio(s), "we have a history of teasing our upcoming slate during the Oscars ceremony and then failing to live up to the lofty expectations we've set for ourselves. While production on Wanderer has been moving along steadily, we don't want to kickstart our marketing campaign until we have a clearer picture of what the final product will look like, and whether it will be able to make its current Year 8 release date."
  31. 4 points
    Already said this in the Telegram chat, repeating it here. If NATO, Nolan, studios, etc. wanna open up theaters with half-assed policies in July/August/whatever, then all parties in Hollywood should suck it up and let their movies play on VOD and in theaters at the same time, with a concentrated effort to crack down on piracy and a greater push for people to see shit on VOD in other territories if necessary. It'll be way more money made for new movies, at least in the short term, and the "sanctity" of the theatrical experience is just going to put blood on the hands of all the parties I mentioned. Don't @ me.
  32. 4 points
    1. Heat 2. Raiders of the Lost Ark 3. Lady Bird 4. Nashville 5. The Matrix 6. Before Sunrise 7. You Can Count on Me 8. Rocky 9. Finding Nemo 10. American Honey
  33. 4 points
    It is not obviously as complete as @charlie Jatinder numbers (thank you for your recopilation in the thread about global admissions), but to see the impact of EG (or any film since Titanic) in each market, I like a lot this link (I guess that @charlie Jatinder already knew about it): https://www.insidekino.de/BO/Titanic.htm It is in German, but I think it is easily understandable (figures given are admissions). It gives the ranking in admissions in each country since Titanic.
  34. 4 points
    Toons v Reality I originally placed it below Should You Imagine? when I first read it, but I think Toons holds up more in hindsight. There's some clever uses of the blend between 2D and CGI animation beyond the gimmick of the cartoon characters appearing the "real" world and, in typical Lord & Miller fashion, the gags are snappy, meta and ultimately funny. The film also gets props for tackling a lot of its central themes (workplace exploitation, greed, discrimination, self-doubt) in a mature and respectable manner despite all the cartoon slapstick happening around them, even if I feel the sexism angle is a bit underdeveloped compared to the rest and Amira's subplot, while tying into the rest of the film better than in earlier versions I've read, still gets the shorter end of the stick compared to the rest of the cast. Some of these relatively minor issues aside, Toons delivers on the strength of its premise, humor and cast and is another solid addition in the Endless Animation canon, engrossing for both kids and adults alike. B+
  35. 4 points
    I don’t want Kim possible anymore
  36. 4 points
  37. 4 points
    2002 The No Child Left Behind Act is sent into law, the United States begins its invasion of Afghanistan, and the Department of Homeland Security is established, all one year after the World Trade Center attacks. A SARS epidemic begins in China, the Sierra Leone Civil War ends, and suicide bombers blow up a hotel in Mombasa. Television saw the finales of The X-Files and Family Guy, only for both to return with new episodes years later. Milestone episodes for the likes of Sesame Street, General Hospital, and Jeopardy! debuted, and we saw the premieres of The Shield, The Wire, American Idol, Firefly, and Jimmy Neutron. Eminem, Avril Lavigne, and Nelly were some of the biggest music stars for the year. Vice City, Metroid Prime, Morrowind, and Kingdom Hearts landed in the video game aisles. Plus, 2002 would see the births of Finn Wolfhard, Sophia Lillis, Asher Angel, and Gaten Matarazzo. When it comes to the box office, while Star Wars, Lord of the Rings and Harry Potter continued their box office successes after massive predecessors, the key success story, the #1 movie domestic, was the debut of Spider-Man. Based on the famous web-slinging hero from Marvel Comics, Spider-Man has been an evergreen property ever since its debut. Comics, toys, video games, cartoons. Naturally a film adaptation was inevitable, but it went through a lot of decades of development hell before we got to the movie we know today. In the 1980s, Marvel Comics optioned the film rights to Cannon Films, with the first planned adaptation being directed by Tobe Hooper of Texas Chainsaw Massacre fame. Reportedly, Cannon chiefs Menaham Golan and Yoram Globus did not know or understand the concept of Spider-Man, which meant the original idea for the film would see Peter Parker transform into an eight-legged monster...that did not go over well with Stan Lee or other Marvel executives. This led to a new script that was more in line with the comics, focusing on the villain Doctor Octopus, and would be directed by Joseph Zito, then known for the Chuck Norris film Invasion USA. Stunt actor Scott Leva and even Tom Cruise were considered for Peter Parker, while Bob Hoskins was considered for Doc Ock. Other actors vying for roles included Lauren Bacall, Katherine Hepburn, Peter Cushing, Adolph Caesar, and even Stan Lee as J. Jonah Jameson. Alas, the film was not to be. Cannon was already known for their cheap budgets, but after flops like Superman IV: The Quest for Peace and Masters of the Universe, the project saw its budget slashed to under $10 million. Zito dropped out, more and more rewrites emerged, and the film was canceled. The rights would soon be picked up by Carolco Pictures, best known for Schwarzzeneger vehicles like Terminator 2 and Total Recall, and MGM. This resulted in a scriptment developed by James Cameron. Yes, that James Cameron. His treatment was developed just after True Lies wrapped up filming, and featured the villains Electro and Sandman. However, contract disputes led to the project being shelved yet again. But in 1999, Sony Pictures optioned Cameron’s scriptment from MGM, earning the film rights to Spider-Man in the process. However, Cameron was not going to direct the film, nor would they use his script. And after several promising contenders, the reins were given to Sam Raimi, best known for his Evil Dead trilogy. However, Cameron’s work would be the basis for the actual screenplay, written by David Koepp of Jurassic Park and Mission: Impossible fame. And of course, releasing just a few months after 9/11, this New York-set film went through some major changes during post-production. Not only was the World Trade Center digitally edited from certain shots, one sequence was cut out entirely. A group of bank robbers were escaping with a helicopter, until it got caught from a giant web spun between the Twin Towers, created by Spider-Man himself. This was the initial teaser trailer, debuting in the summer of 2001, and was going to appear in the film. But after 9/11, the teaser was pulled, and the scene was removed for obvious reasons. There was even a poster that had the Towers in the reflection of Spider-Man’s eye, but that poster was also pulled. Yet with all that development hell and the major changes after such a horrific attack, it was all worth it. Upon its release on May 3, 2002, Spider-Man opened to $114.8 million. On that weekend, all the records were broken. It broke Sony’s personal record, formerly owned by 1997’s Men in Black. It broke the May record, held by 1997’s The Lost World. But the one shocker, the one thing that amazed everybody, was it dethroned Harry Potter and the Philosopher's Stone and generated the biggest opening of all time, and the first movie ever to generate $100 million in three days. Nobody thought it would do this well. In fact, the idea of a $100 million opening weekend, let alone one well above and beyond that mark, was considered an impossibility. It may seem strange to say this in a day and age where Disney sneezes $100 million openers every other month, but back then, it seemed impossible. Says Rick Lyman for The New York Times, “while industry executives had expected a strong opening for the film because there was little competition in the marketplace and prerelease polling indicated intense interest from all age groups, no one predicted that ''Spider-Man'' would surpass the ''Harry Potter'' record.” That astonishing number continued with astonishing legs in the weeks ahead, in spite of intense competition. Positive WOM spread like wildfire, resulting in an incredible $407 million total, and 5th place in the all-time domestic box office. Even today, the film is still in the top 35, and was Sony’s biggest film domestically for 15 years. Overseas was just as strong, with the film totaling $825 million in all markets. There’s a lot of reasons why the film opened the way it did. Strong marketing, iconic superhero, rave reviews. However, I think the one element that made it so beloved in the summer of 2002 was simple: its heart. Peter Parker, from his very conception, was designed as the everyman. He wasn’t an incredible god like Superman. He wasn’t a rich genius like Batman. He’s not a strong Amazonian like Wonder Woman. He’s a nerdy kid just trying to get by. He’s forced to deal with bullies and school every day, while also being a friendly neighborhood hero. He has the confidence to save New York every day, but not enough to talk to his crush Mary-Jane. He’s got incredible gifts, used them to make money, but soon realized, after losing his Uncle Ben, he has to use his powers responsibly and grow up. We all go through these issues and insecurities. Raimi and Koepp understand that, and Maguire sells it. Sure there’s fun action and joyous energy here but Peter Parker is what makes the film and the Spider-Man mythos itself shine. The success of the film changed everything. It was Sony’s biggest hit ever, and alongside the likes of Men in Black II, Mr. Deeds, xXx, 2001’s Black Hawk Down, and Panic Room, led to Sony hitting #1 in 2002’s market share. To this day, Spider-Man is Sony’s golden boy, their most consistent heavy-hitter, and so important to the studios’ bottom line they had to go through two reboots in order to keep it going. But obviously the film’s biggest legacy is its rejuvenation of superhero movies and comic book adaptations. This was far from the first superhero film to be successful. Superman was huge in the 70s, and Batman was the event of 1989. But once the 90s rolled around, with a couple exceptions, a lot of superhero movies were critical and commercial failures. Tank Girl, Steel, The Shadow, The Phantom. It kind of turned the idea into a joke. Of course, that started to change. Blade saw decent success in 1998, and X-Men was the sixth-biggest opener when it debuted in 2000. But Spider-Man’s record-breaking opening, almost $115 million, showed how much money these adaptations can make. With the right blend of writing, action, direction, and acting, you can make something that will excite superhero fanboys and intrigue new fans at the same time. This created a boom in superhero movie productions all across Hollywood. The next few years saw Hulk, X2, Fantastic Four, and Batman Begins, among others. And of course, thanks to Spider-Man’s success, this soon led to the comic book movie boom we have today. Every CBM release, from The Dark Knight to The Avengers to Wonder Woman to Endgame all pay their success and popularity due to Spider-Man. That film gave executives and producers confidence in these movies, and for better or worse, Hollywood today wouldn’t be the same without Spider-Man, and I think we can all be happy about that in some way.
  38. 4 points
    I just can't get behind this argument. It's like any popular activity - if there are any negatives attached to you taking part in it, then you judge whether it's worth it or not. While I understand that you think a distributor pushing for a long theatrical window - or a theatrical release at all - might be immoral, due to the risks attached, and they shouldn't be tempting people at all, I for one believe in personal responsibility as well. If the medical advice is adhered to and the reopening is done smartly, then the rest is on individuals - to asses the risk and, in that assessment, feel free to include your low opinion on them even opening in the first place. If loads of people feel like you and the distributors and exhibitors suffer, they may further re-evaluate. But don't be so quick to judge people that DO want to watch something on the big screen, but they'd rather wait a couple of months and see how things go. If the movie's out of cinema by then, they miss out.
  39. 4 points
  40. 3 points
    I could be wrong but I think you enjoy monster movies.
  41. 3 points
    While my area has theaters opening next month, someone was genius enough to create and do a drive-in (in an empty parking lot by a restaurant) for $20/car, 1 movie per night from Thurs-Sat. The darn thing is ALREADY sold out every night through July 16 (which is the last showing for now). There is a market for folks to go out and watch movies - some places just might want to keep getting more creative...
  42. 3 points
    Kevin Feige doesn't really seem like the reactionary type. If Tobey is in this, I think Raimi would've already included him into the script before that news.
  43. 3 points
  44. 3 points
    This is my first rank submission in BoT!


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