excel1

A push back to December 2024 seems long time. But this would be THE event film of the holiday season. It could challenge $1b global and cement TC and Dune elite series leading into part 3. Just going to put that out there.

Most of you celebrated his return last year LOL if anyone thought the company would be turned around by now, they're very foolish.

zas wtf is this bs

meh no way, see his recent string of flops.

yeah but nobody cares about those films lol Batman >>>> TDK is still very believable at its flimsiest. Jurassic Park requires a much larger suspension of disbelief. And Casino Royale isn't the first Bond film to the kill the girl LOL and did so at the end of the film. Apples and oranges. TDK GOAT

meh what similarly sized budget film doesn't have the occasional suspension of disbelief requirement? Most? other than Batman Begins, what else is even comparable?

I thought Fury Road sucked.

whoa whoa whoa

The most influential film since 2000, and maybe even earlier if we started going backwards. This movie told all of entertainment to think outside the box, to take creative risks, to be different, to make films the break the formula film rules that all movie goers subconsciously know. For example, out of every big film I have seen on the big screen, and that is a LARGE number, the death of Rachel Dawes in the middle of the film remains by far the most visibly shocked I have seen a major audience in a tentpole film. I saw TDK 7 times and the first several all had just stunned silence when she is blown up. Audiences had been conditioned by the numerous superhero films over the years to think she would be saved at the last minute, or she would show up at the end and be OK, etc. But no. They actually blew up the damsel in distress- in the middle of the film! The entire first half of the film was tense, but when they actually killed Rachel, it was legitimate "shit just got real" moment where nobody knew what was going to happen moving forward. "Welcome to world without rules" was the initial tagline for the film and couldn't have been more accurate. The hero doesn't save the girl, she gets blown to bits. The hero doesn't save the city and get the glory, he instead takes the blame and becomes the villain while the true villain is the spotlight. The hero doesn't get any further towards personal happiness by the films end, instead he is even further away from it. We all actually love watching the primary villain, who is both hilarious AND terrifying. There is no giant doomsday set piece in the end, its just some people on 2 boats and we have to see if they will turn each other. Such a positive, inspiring message is buried within the morose, gritty substance of the film. This isn't just a standard popcorn superhero film, it's commentary about society nature and contemporary nurture, it's got something to say about the inherent human condition as well as contemporary results of 2000s foreign policy in America. TDK was creativity unleashed. An all-time great artist thinking with zero restrictions. 'Game changer' is an overused term (especially with clearly 'of their time' films like Matrix), but it fits here perfectly. It was amusing to watch the years that followed where we get films clearly borrowing from TDK in terms of story or tone (or both) such as Skyfall (which is laughably obvious ripoff, but still awesome in its own right), Man of Steel, Godzilla, Star Trek 2, The Winter Soldier, among many others.

A lot of todays 20-28 crowd weren't able to properly follow this film during development and release. Nolan was coming off the film of the century in TDK, but was not a true household name yet. He had a couple of really smaller films, a super high quality popcorn blockbuster in BATMAN BEGINS, and then this insane "superhero crime epic" with one of the greatest performances in Hollywood history. Leo was the much larger draw of the with the general public heading into release. Nobody had any fucking clue what this movie was about until the final weeks leading up the release. Yes, we knew it was about "dream stealers" but that's super vague and again, other than 2 Batman films, Nolan had directed a bunch of smaller tier stuff. The teaser just showed water tilting sideways in a glass, the hallway fight, and the dreidel type thing spinning. Go through the KJ thread and read the initial predictions, nobody knew what to expect. Then were get the final trailers and see cities folding onto of each other, snowmobiles fleeing explosions, cities crumbling into the ocean...and we realize we are getting something completely unique & original, made by a filmmaker firmly in his prime given a seemingly unlimited budget. It was such a unique project. I distinctly remember a TV spot ending with the girl architect walking towards the bridge which builds itself and pops up in front of her she walks and thinking "WTF am I about to go see?". The concept could have been so ridiculous and absurd and created an unintentionally horrific film, but instead it was an instant classic which over-performed expectations from day 1 and then held brilliantly. Nolan choosing such a creatively unique, commercially risky concept as TDK follow up and then utterly crushing it beyond belief solidified him as a mega draw.

Great list and well done Eric. Aside from that everyone knows #2 is really #1. So, so bizarre that WB didn't get some sort of follow up out for Mad Max.

WOM here was clearly really strong. Such a shame on the dead opening.

Blue Beetle really about to be the first sub $30m opening weekend to hit $500m domestic, I can't believe it.

WB was the "serious" studio (for the most part) for many years, so they have true classics. But God Nolan no doubt is peak WB.

Fun fact: domestically, if you combine BARBIE and OPPENHOMEYs numbers, you're at about 95% of TDK's # of tickets sold.

It will be truly amusing if this film is well received and a huge hit.

They are really not competing. That logic holds if the rest of the market is stuffed with other options for moviegoers. That isn't the case here. It is a relatively average number of film options mainly from one studio. I see virtually no risk of cannibalizing each other.

TDK sold more tickets than AVATAR no doubt

if RT stays in mid to high 80s through release, yeah we will see this character again no doubt.

TDK is most iconic film of the century. Barbie is merely a gigantic hit. TDK buzz alone > Barbenheimer collective. It was beyond immense. And then the film was beyond stunning electric high quality. Nothing can or will change the fact that TDK = GOAT.

I would be stunned if the trailer isn't with BB

FLASH had the general public almost ganging up on it TBH. If BB helps move them on, its a huge win.

This movie doesn't need super early marketing. NO WAY HOME's teaser trailer came out on August 23rd prior to the December release.

"Best since Nolan" would mean its better than Wonder Woman...and The Batman? Would be a stunning development.