Eric S'ennui

Sing 2 Greater Philadelphia Area Seat Report T-10 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 1 61 1719 10811 15.90% Total Seats Sold Today: 35 Total Seats WITHOUT EARLY ACCESS: 311 Comp (WITHOUT Early Access) 2.549x of Cruella Thu+Fri T-10 (19.65M) 5.271x of Jungle Cruise T-10 (14.23M) Got a new comp. A little too high at the moment, but should go down quite a bit as we get closer to release.

UGGGGGGGGGGGGGGGGGGG I FUCKED UP BRB EDIT: I fixed it

The Matrix: Resurrections Greater Philadelphia Area Seat Report T-10 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 0 55 1,076 9574 11.24% Total Seats Sold Today: 61 Comp 0.936x of Godzilla vs. Kong T-10 (9.09M) 3.438x of The Suicide Squad T-10 (14.09M) 1.362x of Dune T-10 (6.95M)

Spider-Man: No Way Home Greater Philadelphia Area Seat Report T-4 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 13 223 20,372 40,022 50.90% Total Seats Sold Today: 721 Comp 2.683x of Black Widow's Final Count (35.41M) 3.889x of Venom 2's Final Count (45.11M) Adjusted Comp 1.302x of Star Wars: TROS T-4 (52.06M) The end is near mah bois.

I've gotten the Marry Me trailer a couple times in theaters and it weirdly made me realize something that I'm shocked nobody in Hollywood has done before: why hasn't there been a Blumhouse equivalent for comedy movies? I know comedies are one of the most star-driven genres out there, but I don't think it's that hard to make really cheap comedy films that can serve as low-risk, high-potential ventures. And Blumhouse is able to get solid B-list and even A-list talent for some of their bigger movies, so you could probably still get the likes of John Mulaney or Iliza Shlesinger or Pete Davidson in these films.

Honestly January doesn't seem that bad. There are dumps there, like every January, but even taking out the holdovers and a potential breakout with Licorice Pizza, Scream and Morbius carry a lot of potential. Horror's still big and nostalgia sells for the former, and people basically turn into robots and immediately flock to anything with the word "Marvel" in it. Plus, Morbius will be riding on the coattails of Spidey-Mania. February does look bleak though. Uncharted will bomb big time and I still have zero faith in adult audiences/audiences in general coming back for "regular movies", at least in time for February to prop up Marry Me/Ambulance. The Black Phone could surprise though. The YouTube likes on its trailer are at like 145K, which is about half of what Halloween Kills's first trailer had, and above stuff like Candyman and Scream. That's crazy.

The Sesame Street movie never actually got made and there's now negotiations for that to be a HBO Max exclusive Cyrano's also confirmed for a limited release first on the 21st, before expanding in early February, though maybe that could change since the awards buzz for it is non-existent. I'm also pretty sure Belle's a GKids/anime title, and one that isn't from an established and popular series either, so that's probably a typo too.

That's a fantasy adventure movie with Pierce Brosnan from the director of Bratz and Cats and Dogs 3, and was filmed all the way back in 2014. I can't wait for this disasterpiece lol

Sing 2 Greater Philadelphia Area Seat Report T-11 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 1 61 1684 10811 15.58% Total Seats Sold Today: 24 Total Seats WITHOUT EARLY ACCESS: 276 Comp (WITHOUT Early Access) 5.520x of Jungle Cruise T-11 (14.9M)

The Matrix: Resurrections Greater Philadelphia Area Seat Report T-11 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 0 55 1,015 9574 10.60% Total Seats Sold Today: 53 Comp 0.913x of Godzilla vs. Kong T-11 (8.86M) 3.395x of The Suicide Squad T-11 (13.92M) 1.350x of Dune T-11 (6.88M)

Spider-Man: No Way Home Greater Philadelphia Area Seat Report T-5 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 11 223 19,651 40,022 49.10% Total Seats Sold Today: 644 Comp 2.588x of Black Widow's Final Count (34.16M) 3.752x of Venom 2's Final Count (43.52M) Adjusted Comp 1.301x of Star Wars: TROS T-5 (52.06M)

Well no, I obviously want multiple sides when it comes to discussion of a movie, whether it be its quality, box office performance, etc. The people discussing here are all adults, so they can handle differing viewpoints, and the Wizarding World movies are in a "too big to fail" franchise created by people richer than we will ever be. I think it's fair to knock these movies down a few pegs. If anything, the general discussion of Fantastic Beasts 3 has been very, very, very negative. Even Potter fans are talking about their issues with these movies and the fiscal performance of this one. Which is totally, 100% fine. Healthy even. The issue comes when you just repeat yourself over and over again. And like sure that's not breaking any rules, and Marston's not in trouble, but it's still not something people like. Like Clockwork says, you just say the same thing with little variation, especially in a negative light, it can be tiresome and, frankly, very unproductive. And honestly, unless you really have something to say or want to let out, I think everybody would do better to post less in threads for movies they don't care about. If you don't like Harry Potter or Fantastic Beasts, why go into those threads, post a "lol this is gonna bomb" remark, and then run out? You're just killing people's moods and you seem kind of jerkish. I'll admit I am far from perfect in this regard, and as somebody who really does not care for this series, I have expressed negative sentiment that others may not like. But I still at least try and bring something productive and engaging in my posts and I only really post when I feel it's truly necessary and brings value. Plus, I am trying to do better in curbing my tongue and not killing other people's good vibes.

Wanna talk about Timothee? 👀

Ariana DeBose the MVP. Her last few scenes at the end were simply chilling.

The difference is how much he says it. Marston frequently goes on and on about how a movie's gonna bomb and how a bad movie tarnished the franchise's reputation. If you're repeating the same thing over and over again, what exactly are you trying to gain here?

You hit the nail on the head right there. People love to complain about the studios and streamers for not marketing films or not putting their muscle behind it. I get why, since it's easy to point fingers at the corporate conglomerate for being everything wrong with the world (and they are in all other respects, let's be clear here. Never forget that capitalism will kill us faster than the virus will) But the fact of the matter is that audiences today are the least demanding they've ever been. They actively repel against artistically-minded pieces. Films that aren't designed to sell toys to children or tickle their nostalgia. The idea of something new and bold or from an exciting director is just too much for them. Even on Netflix the biggest films are stuff like Extraction and Red Notice. The idea of a movie being more than a commercial for toy lines or other movies, or anything more than a mildly amusing attraction is just too much for a good chunk of folks. People love to act like Film Twitter is just a bunch of stuffy hipster fuddy duddys who hate all movies, but the fact is they are far more overshadowed by people who do Ant-Man fancams and bring up Harley Quinn or whoever in every conversation. That's Film Twitter. And even when more original titles or non-franchise fare does well and gets a big ad campaign behind it from the studio, it's still not enough. Even movies that do hit and reach the cultural conversation still pale in comparison and gross way less than they would have even a few years ago. If Yesterday or Ford v Ferrari came out in 2006, they would have grossed significantly more than in 2019. Sure there's the occasional 1917, but those are merely exceptions to the rule than anything else. I know we all like to think that there's a clear appetite and that audiences don't want to stick to the same old franchise glut, but it's not the case, and all we can really do is hope that people wake up and realize there's more than just cheap thrills when it comes to film.

Dude we get it

The plan for the top 5 will be in a couple days, AKA when I finish getting the Spider-Man weekend thread up. I know it's another couple day's worth of delays, but I promise the wait will be worth it. And hey, you now get to take some time to predict what you think the top 5 will be. The winner gets my love and affection as a prize, which is truly the greatest gift of all. Hope you guys are having fun with this!

#6 The King of Comedy (1982) 133 pts, 20 lists "Better to be king for a night than schmuck for a lifetime." #1 placements: 1 #3 placements: 2 Top 5 placements: 6 Top 10 placements: 10 Box Office: $2.5 million Rotten Tomatoes: 89% Metacritic: 73 Awards: #87 on Empire's The 500 Greatest Movies of All Time, Cannes Film Festival Opener Roger Ebert’s Review: "Martin Scorsese's "The King of Comedy" is one of the most arid, painful, wounded movies I've ever seen. It's hard to believe Scorsese made it; instead of the big-city life, the violence and sexuality of his movies like "Taxi Driver" and "Mean Streets," what we have here is an agonizing portrait of lonely, angry people with their emotions all tightly bottled up. This is a movie that seems ready to explode -- but somehow it never does." BOT User Review: "My favorite of his films after Goodfellas. Fucking brilliant, eerily phophetic film with possibly De Niro's best performance ever." - @Jake Gittes Its Legacy: A spiritual sequel to Taxi Driver. Opened the 1983 Cannes Film Festival. Jerry Lewis' final film with 20th Century Fox. The spiritual predecessor to Todd Phillips' Joker. Was produced while Scorsese was dealing with pneumonia. Also a major influence for Steve Carell in Foxcatcher. A favorite of Akira Kurosawa. Gave Sandra Bernhard a paycheck. Commentary: I’ll be the first to admit that I thought King of Comedy was going to be in the midrange. I felt that while it was well-loved that the movie was too overlooked and obscure for it to go much higher. You know, similar to Alice or After Hours. But you guys really, really loved this one, just reaching outside the top 5. And I’ll admit, I am half-kidding with why this ranked so highly. With Todd Phillips ripping this movie off and getting away with it to the tune of a billion dollars, The King of Comedy has gained a massive resurgence. And that’s not a bad thing at all. Morbid, horrifying, satirical, and inexplicably hilarious, The King of Comedy is a film jam-packed with qualities and wit. Tackling the toxic ideals of celebrity worship and media culture, subject matters we as a culture are only now trying to take down, it’s anchored by an expert performance by Robert De Niro. Detailing a mentally deranged obsessive of a Johnny Carson type, what’s really incredible about his role as Rupert Pupkin is how his story is still prescient. In the Internet age, people are more fame hungry than ever and feel more attached to the celebrities they’ve never met before. It’s a strange parasitic relationship that only hurts people’s mental health and senses of empathy. In a way, it’s kind of sad how ahead of its time this movie truly is. And when you include a stunning climax that still puts chills down the viewer's spine, it’s pretty great to see this gem of Martin’s filmography get its deserved time in the sun.

#7 The Age of Innocence (1993) 128 pts, 18 lists "How can we be happy behind the backs of people who trust us?" #1 placements: 3 #3 placements: 2 Top 5 placements: 8 Top 10 placements: 6 Box Office: $32.3 million Rotten Tomatoes: 84% Metacritic: 90 Awards: 1 Academy Award and 4 nominations, 1 Venice Film Festival Award, 1 BAFTA win and 3 nominations, 1 Golden Globe Award and 3 nominations, 2 National Board of Review Awards, 1 Grammy Award nomination Roger Ebert’s Review: "I recently read The Age of Innocence again, impressed by how accurately the screenplay (by Jay Cocks and Scorsese) reflects the book. Scorsese has two great strengths in adapting it. The first is visual. Working with the masterful cinematographer Michael Ballhaus, he shows a society encrusted by its possessions...His second strength is a complete command of tone. Like her friend Henry James, Edith Wharton seldom allowed her characters to state bluntly what they were thinking. They talked around it, inhibited by society and perhaps afraid of their own thoughts. Wharton, however, allows herself a narrator who does state the plain truth." BOT User Review: N/A Its Legacy: A rare departure from Scorsese in tone, style, and subject matter. The final appearance of Luciano Charles Scorsese. The film was dedicated to him. Part of the Criterion Collection. One of the final works of Saul Bass. Gave Richard E. Grant a paycheck. Commentary: At the time, this romance story was overlooked during Scorsese’s early 1990s heyday of Goodfellas, Cape Fear, and Casino. But this look into high society is one that is intensely romantic yet also deeply sad. Daniel Day-Lewis and all the other characters are trapped in rigid social codes, one that sees marriage less as a love between others and more as something to follow so as wealth can continue for previous generations. It’s both a glamorous look at rich folks, yet also showcases the 1% as folks stuck in a prison, unable to truly enjoy themselves and the world around them, despite being rich enough to have anything and everything. It’s a stark contrast to the typical middle class, American Dream deconstruction found in other Scorsese films, yet also serves a purpose as a slight against the rich and powerful. That despite getting all you could ever want, you have no choices to make nor can you follow your own dreams. Wrapped up in a passionate love story with exemplary work from Daniel Day-Lewis, Michelle Pfieffer, and Winona Ryder, it’s sure to be a popular film among Scorsese fans for years to come.