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Eric the Minion

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Posts posted by Eric the Minion

    Weekend Actuals (Page 96): Dory 73M | IDR 41M | CI 18.2M | Shallows 16.8M | Conjuring 7.7M | Jones 7.6M

    in Numbers and Data

    Posted

    Y'know I actually realized how this summer, all of the movies I have major interest in are at the end of the season. May only had Civil War, Nice Guys, and Apocalypse, while June had Popstar, Swiss Army Man, and Dory, and early July's just BFG. Then from late July, it's packed. There's Indignation, Jason Bourne, Suicide Squad, The Founder, Pete's Dragon, Sausage Party, and Kubo, and I might be missing one or two. Weird.

    • Like 3

    Weekend Actuals (Page 96): Dory 73M | IDR 41M | CI 18.2M | Shallows 16.8M | Conjuring 7.7M | Jones 7.6M

    in Numbers and Data

    Posted

    11 minutes ago, MovieMan89 said:

    I kind of agree there. At least on the quality front it seems like DWA will become far more "kidified" if Meledandri's work in Illumination is anything to go by. They do tread dangerous waters there by only appealing to a family demo. It can be fine if it looks really appealing to kids like a Minions or Pets, but eventually they will find it harder for their movies to be big hits. 

    I don't really think something being really appealing to kids is enough for a kids movie to be a big hit. I mean, the parents have final say on whether to go to the theater or wait for the DVD, right? If a movie looks too kiddie or too noisy for them, they would probably just say, "No, we're seeing Pixar instead. We'll wait until that other movie comes to Redbox/Netflix." At least that's how my family did things.

    Weekend Actuals (Page 96): Dory 73M | IDR 41M | CI 18.2M | Shallows 16.8M | Conjuring 7.7M | Jones 7.6M

    in Numbers and Data

    Posted

    7 minutes ago, WrathOfHan said:

    Illumination is going to have to start settling for 100M-low 200's if they keep alienating older audiences; given the budgets on their movies they should be fine with that.

    I honestly kinda fear what'll happen to Dreamworks with Meledandri in charge. I don't know how much influence he'll have in the creative process, but considering how Illumination's best movie I can really only classify as being "good", I don't really know if DWA's films will have any bump in quality, and when older audiences begin to lose interest in Illumination and likely DWA's schtick, we could go back to Peabody and Sherman numbers.

    • Like 3

    Jack Reacher: Never Go Back | October 21, 2016 | IMAX confirmed. Trailer on page 7.

    in Box Office Discussion

    Posted

    Just now, Robot308 said:

    Django was an exception plus it can out during Oscar season. Jack Reacher is not an Oscar film

    This still doesn't make much sense, though. Thanksgiving last year had Creed and Mockingjay Part 2, while Christmas had Star Wars. 2014 had Mockingjay Part 1 for Thanksgiving, and Hobbit and arguably Unbroken for Christmas. Violent films have been released at those times before.

    Wednesday'number from RTH for Dory 18M

    in Numbers and Data

    Posted

    10 minutes ago, The Pandaren said:

    Also, it's worth mentioning that dumb cartoons like Finding Dory, Zootopia, and Inside Out all had much more mature themes and ideas to say than practically any of the big boy CGI-Fest/Comic Book Blockbusters like Jurassic World, Civil War, Avengers, Batman v Superman, Transformers, The Force Awakens etc.  :ph34r:

    Woah man, don't you dare put Force Awakens in the same camp as BvS and Transformers!

    • Like 7

    The Neon Demon | June 24 | Nicolas Winding Refn (director), Elle Fanning, Christina Hendricks, Keanu Reeves

    in Box Office Discussion

    Posted

    5 hours ago, ky02121 said:

    Some crazy spoilers on why people walked out. 

      Reveal hidden contents

     

    Y'know, I kinda had interest beforehand...now not so much. :sick:

    CoolEric's Cool 25: My Most Meaningful Films

    in Archived Lists and Countdowns

    Posted

    #18

    Aladdin

    Directed by Ron Clements and John Musker

    "Ten thousand years will give you such a crick in the neck!"

    MV5BNTI4ODQ1MzAzNV5BMl5BanBnXkFtZTgwMzU4

    Box Office: $217.4M Domestic, $504.1 WW

    IMDB Summary: When a street urchin vies for the love of a beautiful princess, he uses a genie's magic power to make himself off as a prince in order to marry her.

    Why it's so Meaningful to Me: Everybody has their own funny bone. What one person finds hilarious, another finds obnoxious or dumb, and vice versa. Often a person's comedy tics can be traced by a certain comedian or a TV show or a movie. For me, one of the most important things that have defined my comedy interests would definitely have to be Aladdin.

     

    I grew up not only as a huge Disney fan, but also a Robin Williams fan, so Aladdin was easily one of my favorite movies growing up. The Genie's wisecracking antics and his celebrity impressions that I didn't recognize had me in stitches as a kid, which meant that I would watch it again and again and again. And as the years have gone by, I've noticed a lot of what makes me laugh comes from this movie. A zippy pace with a hundred jokes a minute? Genie in a nutshell. Funny facial expressions and creative visual humor? Throughout the film. Self-referential humor? "Psst. Your line is 'I'm going to free the genie'." Lewis Black-style comedians? Gilbert Gottfried as Iago. From pretty much one movie, my entire understanding of what's funny was defined by this animated musical comedy.

     

    Of course, there are plenty of other things that made me come back to it, which also helped define my film interests: Romance, adventure, magic, musical numbers, far-away lands, etc. However, I think what really makes Aladdin so strong to me and possibly others is its humor, and I still consider it one of the funniest movies ever made.

    • Like 7

    2016 100M Films - 30 down, 6 to go! (Passengers Played The Long Game)

    in Box Office Discussion

    Posted

    3 minutes ago, MovieMan89 said:

    Unless marketing is misleading though, I can't see Storks getting remotely good WOM. Peregrine on the other hand definitely has the possibility for good WOM. Also I think Kubo has a solid chance to beat Coraline and become Laika's highest grosser. It looks far more CG than the typical stop motion film, which will inherently give it more appeal. 

    Eh, I think Storks looks good. In Stoller I trust. Besides, I felt the Hotel Translyvania movies had much weaker marketing, and if they're able to make more than $150M, I think Storks can do the same thing if it was able to impress me. Of course, this is all my subjective opinions, and doesn't represent the GA, so let's see what happens.

     

    I'm actually still unsure about Peregrine though. I see it somewhere in the $25M range, but I don't really know if it'll be too weird or freaky for the GA. Of course, let's see what happens.

    2016 100M Films - 30 down, 6 to go! (Passengers Played The Long Game)

    in Box Office Discussion

    Posted

    16 minutes ago, MovieMan89 said:

    Storks looks on the level of The Nut Job or worse. You guys really think it's cracking 100? Angry Birds barely did it and I'd say had a lot more going for it.  

    The difference I feel is release date. Angry Birds was surrounded by Jungle Book, Alice, TMNT, and Dory. For Storks, the last major kids movie will be Pete's Dragon, which likely won't be a huge moneymaker, and an entire month all to itself, outside of Miss Peregrine and Middle School, and neither seem like they'll cross $100M. Add in the studio's connection to Lego Movie, the next animated movie being in week 7, and the past success of other CG animated films in the same timeslot, and you've got something that seems destined for at least $100M.

    CoolEric's Cool 25: My Most Meaningful Films

    in Archived Lists and Countdowns

    Posted

    #19

    Mad Max: Fury Road

    Directed by George Miller

    "Oh what a day; WHAT A LOVELY DAY!"

    MV5BMTUyMTE0ODcxNF5BMl5BanBnXkFtZTgwODE4

    Box Office

    IMDB Summary
    Why it's Meaningful to Me: It's time to set the scene: You're 17 years old and a couple weeks ago, you finally got your driver's license. You're practically an adult, and so it's time to pick your first movie to drive yourself to. Beforehand, you were always with some family member who more often than not played a part in the decision process. But now, you're an independent chooser, all on your own, and what better way to kick it off than with a high-octane adventure, with car chases, creepy pale dudes, and two badass-looking characters saving the day? Hell yeah!

     

    Of course, what I got out of it was some of the most fun I've ever had in a movie. Furiosa's determination and Nux's questioning instantly made them fascinating and relatable for me, and Max as the outsider helped me be sucked into this crazy world even more. Its looks at survival, home, and even religion all were deeply unique and wonderful, as they are subtly hidden in an action movie that could have easily been "all flash, no substance".

     

    Although, maybe if it fell into that category, it wouldn't matter, as this is the movie that really made me respect filmmakers. George Miller took his cast and crew into the desert with little water, scorching heat, and a lot of dangerous cars and explosions and managed to create some of the finest action setpieces ever conceived on film. Every single shot was done practically, and every single frame works wonders as its own unique painting. And it is all thanks to Miller's incredible vision. Everything from the background to the character introductions are just perfectly sequenced and timed, and every explosion and scene of carnage is done so beautifully I'm impressed on how Miller was even able to do a good majority of these scenes.

     

    George Miller's one of the greatest directors of all time, and Mad Max: Fury Road was my first witness to his work, my true respect for the craft and presentation of filmmaking, and my first solo adventure.

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