filmlover

Yep.

Yeah, they won't cancel the release considering they've already been giving it a full-on promotional effort. But I agree, this will likely be one of the casualties this holiday season, why have elected to release it on Christmas Day is odd. Although all of the controversy over this makes me wonder: did the studio not know what they were getting into when the gave it the greenlight and didn't at all think, "yeah, this is so not gonna go over well with North Korea?" Or did they just put their blind faith in Rogen/Franco without hearing a pitch? They should've known that this premise was going to be extremely controversial.

It would be such a waste to lose all that wonderful info they had gathered. Gather around in a prayer circle, everyone?

I think if they make the site's info a part of IMDB Pro there will be blood in the streets. Surely IMDB can't be that oblivious, can they? To paraphrase Selina Meyer, the level of incompetence at that company is staggering!

All of this weekend's wide openers look so blah. I can't build up any enthusiasm either way for any of them.

BOM has always been reliable to find box office for movies so far in the past. I just hope they bring that whole layout over to IMDB if they're combining the two sites into one.

Yeah, I've been following Box Office Mojo since all the way back when it started. Truly the end of an era if it's gone.

I can't even.

Yeah, what on earth is happening with BOM redirecting to IMDB? I'm getting nervous...

Good, they are the only new shows I'm watching this season (Black-ish is definitely a keeper).

The Da Vinci Code and Angels & Demons were perfect cures for insomnia. I expect this one will be no different.

Wonderful start for Gone Girl. I'm thinking it'll hold on really well in the weeks ahead. Also the biggest opening of David Fincher's career (and third biggest for Ben Affleck). Also an excellent opening for Annabelle. Will be interesting to see how The Conjuring 2 does next year. Excellent hold for The Equalizer considering the competition. It's assured to become Denzel's first $100M+ grosser since Safe House at this point. Great drop as well for The BoxTrolls. $55-60M is well within reach. And another superb hold for The Maze Runner. $100M is looking closer and closer to a lock. Left Behind...lol yeah right. Whatever. Dismal opening for The Good Lie, unfortunately and unsurprisingly. The movie has really good reviews, an A-list star, and a heartwarming premise; I can't imagine why WB decided to dump it with little to no marketing. And holy hell that is just toxic for Men, Women & Children. I wonder if they'll scrap the wide expansion. And to think Up in the Air had a nearly $80K PTA from almost the same amount of theaters 5 years ago...

I think the movies themselves deserve a good portion of the blame for the most part by not looking particularly appealing and getting bad reviews to boot. Labor Day looked like a Lifetime movie that somehow managed to attract A-list talent, while Men Women & Children looks like a one-sided diatribe on The Evils of Social Media. Unappealing stories + poor reviews + much more appealing movies out there = no audience left, so it's hard to expect much better. Shame about Reitman though, he's rapidly approaching "flash in the pan" territory.

I have been eagerly anticipating this movie since reading the book late last year, especially knowing David Fincher would be directing and author Gillian Flynn would be writing the script, and it completely lives up to expectations. Like the book, Gone Girl the film is both an intricate deconstruction of marriage and also effectively satirizes the media's almost grotesque obsession with missing people/murder trials. Ben Affleck gives what is easily his best performance yet, but the movie belongs to Rosamund Pike. Amy Dunne is already a very fascinating, complex character on the page, and Pike brings her to life with a mesmerizing performance that holds on to the viewer throughout. I've liked her since I first saw her (Die Another Day), and her sensational work here should lead to bigger things. There isn't a single beat missed among the supporting cast either, with Neil Patrick Harris, Tyler Perry (yes, he's quite great in this), Carrie Coon, Kim Dickens, and Patrick Fugit all delivering superb work. As is usually the case with Fincher, the film is visually striking, while Trent Reznor/Atticus Ross deliver another memorable score. An excellent adaptation that I look forward to seeing again that also makes me want to read the book again. A

A Boyhood Gone Girl The LEGO Movie A- Chef Dawn of the Planet of the Apes Guardians of the Galaxy How to Train Your Dragon 2 X-Men: Days of Future Past B+ 22 Jump Street Captain America: The Winter Soldier Edge of Tomorrow The Fault In Our Stars The Grand Budapest Hotel The Maze Runner A Most Wanted Man Neighbors B Begin Again The Equalizer Get on Up Godzilla Lucy Maleficent Million Dollar Arm Muppets Most Wanted Noah Non-Stop Veronica Mars B- The Amazing Spider-Man 2 Divergent Jack Ryan: Shadow Recruit Magic in the Moonlight Rio 2 C+ 300: Rise of an Empire Jersey Boys The Monuments Men Tammy C A Million Ways to Die in the West Ride Along

Poor number for The Good Lie and downright toxic number for Men, Women & Children. Jason Reitman, get your shit together!

I think Affleck's presence did help Gone Girl a smidgen. Runner Runner came and went with barely anyone noticing because of Gravity last year, so most people probably consider this the first movie he's done since Argo (well, technically it is the first movie he's made since Argo's Oscar glory, but you know what I mean).

Then again a poor Cinemascore didn't stop Lucy from becoming a global beast. Prisoners got an A- from Cinemascore audiences last year and that was also a very long, pretty dark movie.

I actually think Gone Girl should have a relatively healthy increase tomorrow since it's an adult-targeted film with a long running time. Something like a jump from $12M to $15M (or 25%).

Please also keep in mind that in addition to no 3D subcharges, Gone Girl is also an hour longer than Gravity. Thus, I wouldn't expect it to reach those astronomical levels, although $35M is still a really awesome opening.

The movie flopping overseas doesn't seem particularly surprising. Pretty sure the success of the book is exclusive to the US.

Oh, it wasn't a knock towards Netflix (love Orange is the New Black, or what I've watched of it so far). It was more of a knock on the current state of Sandler's career, which seems (to the joy of his many detractors from over the years) to be in an especially dire state right now.

Has Adam Sandler's career really gone so downhill to the point that he's now doing movies for Netflix? Geez.