Eric is Quiet

The Matrix: Resurrections Greater Philadelphia Area Seat Report T-16 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 0 55 621 9574 6.49% Comp 0.847x of Godzilla vs. Kong T-16 (8.22M) 2.642x of The Suicide Squad T-16 (10.83M) 1.161x of Dune T-16 (5.92M) Over the past few days there's been this weird mindset that Matrix 4 is set to bomb big time and only do like 10-20M on its OW. But honestly, while it's not a crazy first day of sales, if you take out the Dune number, which had an insane fan/PLF rush, these numbers seem pretty solid. I know that this is being hurt by Spidey and that it would have done way better in 2022 (telling ya, this would have been a slam dunk on Labor Day weekend if Warner didn't already pay for Keanu's backend deal), but I think these are pretty good results, barring a potential fan rush that doesn't pick up once we head towards release. That idea isn't impossible, but I think we're good for right now.

Spider-Man: No Way Home Greater Philadelphia Area Seat Report T-10 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 6 205 17,035 37,701 45.18% Total Sellouts Added Today: 1 Total Seats Sold Today: 600 Comp 2.243x of Black Widow's Final Count (29.61M) 3.252x of Venom 2's Final Count (37.72M) Adjusted Comp 1.264x of Star Wars: TROS T-10 (50.57M)

West Side Story Greater Philadelphia Area Seat Report T-3 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 0 31 142 4975 2.85% Comp 0.959x of Dear Evan Hansen T-3 and Counting (768K) Well I hate to be the bearer of bad news, but things seem super soft as we near the homestretch. And while I always appreciate Menor's numbers, I don't think Free Guy is a good comp to use for this film. Maybe things will change as we get closer, but I don't have huge hopes.

I'm assuming this is when we're getting the trailer?

Matrix tickets are now up! And you know, since I'm tracking four movies starting today, I feel some "Timothee being cute" content would really raise up my spirits 👀

Sing 2 Greater Philadelphia Area Seat Report T-17 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 1 54 1485 9916 14.98% Total Seats Sold Today: 5

Spider-Man: No Way Home Greater Philadelphia Area Seat Report T-11 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 5 202 16,435 37,428 43.91% Total Sellouts Added Today: 3 Total Seats Sold Today: 1,143 Comp 2.164x of Black Widow's Final Count (28.57M) 3.138x of Venom 2's Final Count (36.4M) Adjusted Comp 1.242x of Star Wars: TROS T-11 (49.67M) So I forgot to add in the two previous sellouts that emerged a couple days ago. But hey, this takes a long time to do, so cut me some slack. And yeah, for whatever reason three sellouts, all at the same theater, happened today. That's kinda weird.

I would assume MTC1 would be doing better. MTC2 is less coastal IIRC, and those are the places where WSS would likely be performing the best.

My main focus when making these lists is to really make sure each entry gets love and adoration and respect, as well as a good sense of historical context. Every movie has at least one fan out there and I want to make sure I make folks happy, even if I myself may not like a film. Thank you so much for the compliment, because my commentary is the one thing I really want to spend time on.

Think that's enough for today. We're about to head into the top 15 now, and this is where we get the real heavy-hitters. The ones everybody know and love and are the films you can't wait to hear me talk about. I won't give any specific day just yet, but know that it's coming and I hope you're excited.

#16 Cape Fear (1991) 93 pts, 19 lists "It's gonna take a hell of a lot more than that, Counselor, to prove you're better than me!" #3 placements: 1 Top 5 placements: 3 Top 10 placements: 3 Box Office: $182.3 million Rotten Tomatoes: 74% Metacritic: 73 Awards: 2 Academy Award nominations, 2 Golden Globe nominations, 2 BAFTA nominations, 2 Second Places at New York Film Critics Circle Awards, 3 MTV Movie Award nominations Roger Ebert’s Review: "“Cape Fear” is impressive moviemaking, showing Scorsese as a master of a traditional Hollywood genre who is able to mold it to his own themes and obsessions. But as I look at this $35 million movie with big stars, special effects and production values, I wonder whether it represents a good omen from the finest director now at work. BOT User Review: N/A Its Legacy: Continued the Scorsese-De Niro friendship. Consistently parodied on television. Inspired Waylon Mercy in the WWE. Features Gregory Peck in his final film role. Gave Robert Mitchum a paycheck. Commentary: One of the more mainstream titles from the director, Cape Fear is arguably one of the rare remakes that is more iconic and discussed than the original. It’s a twisted, anxiety-ridden piece, anchored by some grueling setpieces and a chilling performance from Robert De Niro. At the same time, Cape Fear is not just a tribute to the 1962 original (right down to Gregory Peck, Robert Mitchum, and Martin Balsam popping up here), but also a showcase of Scorsese’s love for Old Hollywood. In particular, Alfred Hitchcock. Not just because of the layers of suspense dripping in each scene. Not just because of the impeccable build-up between Robert De Niro’s Max Cady and Nick Nolte’s Sam Bowden, leading to an unbelievable climax. Not just because of an opening title sequence from Saul Bass. Rather, Scorsese’s Cape Fear approaches a classic Hollywood title and formula, while still making it palatable to today’s audiences and fits into Martin’s style of storytelling. Cady is still the equivalent of evil incarnate, but Bowden is far from a good man himself. To say nothing of the rest of his family. All of this adds tension, depth, and intrigue, without ever disparaging the qualities of the original Cape Fear and why it works so well. This is one of Scorsese’s more popular films of the 1990s and it still holds up today, even if it is somewhat under the shadow of more iconic films that we’ll soon get to. And it also gave us one of the best and funniest episodes of The Simpsons, which is more than you can say for most Scorsese movies.

#17 The Aviator (2004) 91 pts, 18 lists "The way of the future..." #1 placement: 1 #3 placement: 1 Top 5 placements: 3 Top 10 placements: 2 Box Office: $213.7 million Rotten Tomatoes: 86% Metacritic: 77 Awards: 5 Academy Awards and 6 nominations, 4 BAFTAs and 10 nominations, 3 Golden Globes and 3 nominations, 1 Grammy Award nomination, 1 SAG Award and 2 nominations, 1 WGA Award nomination Roger Ebert’s Review: "The women in the film are wonderfully well cast. Cate Blanchett has the task of playing Katharine Hepburn, who was herself so close to caricature that to play her accurately involves some risk. Blanchett succeeds in a performance that is delightful and yet touching; mannered and tomboyish, delighting in saying exactly what she means, she shrewdly sizes up Hughes and is quick to be concerned about his eccentricities." BOT User Review: "My favorite Scorsese-DiCaprio collaborations. It has old-fashioned elegance & hyper-kinetic energy. Another fascinating character study." - @bartonfink Its Legacy: Depicted numerous forms of aircraft. Redefined Howard Hughes for an entire generation. Smartly and sensitively depicts obsessive-compulsive disorder. Got too many accolades to count. Gave Kate Beckinsale a paycheck. Commentary: Like Gangs of New York, this was a film that appeared on a lot of lists and got a lot of awards buzz, but it often didn't rank too highly. However, there were some passionate votes in there, unlike Gangs, including a #1 placement. And unlike Gangs, this is much more highly-regarded and for good reason. As is typical with biopics, the acting is exemplary. Both Leonardo DiCaprio and Cate Blanchett earned raves for their work here, with Blanchett winning the Oscar. But yes, Scorsese is a key factor for why this film works so well. If anything, there’s a bit of a parallel between Hughes and Martin. Both were highly successful men with a strong legacy behind them when it comes to their crafts. Yet at the same time, that legacy is shrouded by mental health issues, addiction, and personal demons that are hard to get away from. Scorsese dealt with cocaine issues and depression in the 1970s and 1980s, not helped by many box office failures. And while he has sobered up, those memories don’t really go away. The Aviator is one of the most famous and accessible Scorsese films for a good reason and has done plenty in revitalizing the name of Howard Hughes for many, specifically among us youths.

#18 After Hours (1985) 91 pts, 15 lists "What do you want from me? What have I done? I'm just a word processor, for Christ sake!" #2 placements: 1 Top 5 placements: 3 Top 10 placements: 7 Box Office: $10.6 million Rotten Tomatoes: 89% Metacritic: 90 Awards: In Competition for Palme D'Or and Best Director win at Cannes, 1 Golden Globe nomination, 1 BAFTA nomination, 2 Independent Spirit Award wins and 3 nominations Roger Ebert’s Review: ""After Hours" approaches the notion of pure filmmaking; it's a nearly flawless example of -- itself. It lacks, as nearly as I can determine, a lesson or message, and is content to show the hero facing a series of interlocking challenges to his safety and sanity. It is "The Perils of Pauline" told boldly and well." BOT User Review: "A very underrated black comedy. It feels like a thriller at times and it's pretty suspenseful. One of Scorsese's hidden gems." - @acab Its Legacy: One of Martin Scorsese's few forays into comedy. First De Niro-less picture of Scorsese's since Alice Doesn't Live Here Anymore. Features a jamming soundtrack with Joni Mitchell and Robert & Johnny. Later became the title of a Weeknd album. Gave Griffin Dunne a paycheck. Commentary: A Plan B after Last Temptation of Christ failed to get funding for a while, this is perhaps the funniest film Martin Scorsese ever made. This surreal comedy of errors has us looking at a guy trying to go home from a long, boring day at work, only for some pure, unadulterated, madcap insanity to ensue. It effortlessly combines screwball hi-jinx with a grimy New York and a peculiar lead protagonist dealing with emasculation and being a slave to the capitalist systems. The film’s satirical humor and frantic energy might not be for everyone, but the movie has an incredibly strong cult following. If anything, this is the movie people point to as one of Martin’s most overlooked and underappreciated titles. With it earning consistently strong rankings here at BOT, it’s clear this will still be an underrated gem for many.

#19 Alice Doesn’t Live Here Anymore (1974) 75 pts, 14 lists "He's even weird for Tucson and Tucson is the weird capital of the world." Top 10 placements: 7 Box Office: $21 million Rotten Tomatoes: 88% Metacritic: 78 Awards: In Competition for the Palme D'Or at Cannes, 1 Academy Award and 2 nominations, 4 BAFTAs and 3 nominations, 2 Golden Globe Award nominations, 10th Place at the National Board of Review Awards, 1 Writer's Guild of America Award nomination Roger Ebert’s Review: "The movie has been both attacked and defended on feminist grounds, but I think it belongs somewhere outside ideology, maybe in the area of contemporary myth and romance. There are scenes in which we take Alice and her journey perfectly seriously, there are scenes of harrowing reality and then there are other scenes...where Scorsese edges into slight, cheerful exaggeration." BOT User Review: N/A Its Legacy: Continued Ellen Burstyn's Commentary: This is a unique film in the Scorsese canon, specifically because of its perspective. This is one of the very few films Martin directed that’s about a woman, in this case Ellen Burstyn as a single mother named Alice trying to restart her life with her son. And thankfully, this film doesn’t skip a beat. It’s a more sentimental and heartwarming piece, something you don’t often see in his male-centric narratives, and is frequently funny. Yet it also serves as a poignant story on womanhood and how all men are trash. Burstyn’s Alice is consistently controlled by the men around her, in subtle and overt ways. Yet for reasons even Alice can’t explain, she feels like she can’t live without a man. It’s a compelling story for sure and one that Scorsese tackles with ease, helped in part to a great ensemble cast. Martin should do whatever he feels happy to tackle, but I can only hope, before he retires from the business, that he has one more film about womanhood up his sleeves.

#20 Gangs of New York (2002) 69 pts, 17 lists "If you get all of us together, we ain't got a gang, we've got an army." #3 placements: 1 Top 5 placements: 2 Box Office: $193.8 million Rotten Tomatoes: 73% Metacritic: 72 Awards: 10 Academy Award nominations, 2 Golden Globes and 3 nominations, 1 BAFTA and 11 nominations, 1 Screen Actors Guild Award, 1 Critics Choice Award and 2 nominations, 1 Writers Guild of America Award nomination Roger Ebert’s Review: "All of this is a triumph for Scorsese, and yet I do not think this film is in the first rank of his masterpieces. It is very good but not great. I wrote recently of "Goodfellas" that "the film has the headlong momentum of a storyteller who knows he has a good one to share." I didn't feel that here." BOT User Review: N/A Its Legacy: A labor of love for Martin, decades in the making. One of two times Martin worked with Miramax (unfortunately). The first collaboration between Scorsese and Leonardo DiCaprio. Known for having one of the worst Irish accents in cinema. Has that one rocking U2 song. Gave John C. Reilly a paycheck. Commentary: A 20-year passion project, Gangs of New York is arguably a bit of an anomaly within the Scorsese discourse. It saw solid box office returns, it earned 10 Oscar nominations, thanks in part to Miramax and H*****, and features a lot of Scorsese’s defining tropes and characteristics. A film based upon his own life experiences and heritage, a look into crime and corruption into New York, a deconstruction on the American Dream. It was even the first of six collaborations with Leonardo DiCaprio. But ultimately, while it has die-hard supporters, the consensus is that the film is good and well-made, but very busy, overstuffed, and featuring characters that are hard to get invested into. And in this countdown, it often appeared near the bottom tier of many lists, with it only propped up by two placements in the top 5. It was very much a film helped by being a consensus pick rather than any strong passion. But that’s not a bad thing. Gangs of New York is still memorable, still gorgeous, and still works as a fascinating history lesson. If anything, the way the film looks at Nativists who go against the immigrants and freed slaves is sadly still a pressing issue and showcases how the American Dream is nothing more than a folly. To say nothing about the incredible acting display of Daniel Day-Lewis, a role he would earn an Oscar nomination for. It’s not considered his best, but it’s hard to imagine Scorsese’s filmography without it.