TServo2049

This is like the Hollywood equivalent to the ending of Captain America: The Winter Soldier.

Honestly, there are many more potential problems with a Jolie Cleopatra than "whitewashing." Elizabeth Taylor was an egotistical prima donna, but Jolie will be an egotistical prima donna with official creative control. Liz turned Cleo into her movie, but this Cleo will be Angie's from the start... Though out of every possible Cleopatra remake scenario I can envision, one with Jolie would probably be the one least likely to bomb (if only because without a singular STAR as Cleo, a remake would almost certainly tank domestically).

Hacienda Crossings has dual projection, but in the last couple years they have only used film for TDKR and IS (to my knowledge).

I was hoping the success would spearhead a revival of 70mm IMAX exhibition. Probably not happening. I'm sure IMAX print distribution will continue for science museums/etc. that haven't switched to digital. (The Tech Museum in San Jose, for example.)

My local "true IMAX" (Regal Hacienda Crossings) has had a damn good 15/70 presentation, with the exception of a frame of leader showing up at a couple of the "reel" changes...oh, and being so fucking loud that I wore earplugs at my second screening and could still make out the dialogue clearly (I didn't even have issue with not being able to understand the dialogue, like many report to - though it could just be my acute hearing). Though the loudness is a general gripe I've had with IMAX screenings anyway... ...but it's all worth it to see honest to god 2D 15/70 for once. (The only 100% 2D-only, 15/70 only venue around here is the Hackworth IMAX Dome at the Tech Museum in San Jose, but that entails watching movies warped into the dome geometry. Jurassic Park looked really weird that way. Though I still wish I had realized it was all-2D/all-film when Gravity was playing, I would have gone there.)

Spielberg's average is #18.2(!) Cameron's is #8.3(!!!)

Oh, this sounds like fun! And don't worry Coolio, I'll do Spielberg. I'll be editing this post as I progress. The Sugarland Express - N/A Jaws - #1 Close Encounters - #2 1941 - #22 or #23 (I found two different totals for it; the BOM total is lower) Raiders of the Lost Ark - #1 E.T. - #1 [Twilight Zone: The Movie - #25] (only one segment, included just for completeness) Temple of Doom - #3 The Color Purple - #4 Empire of the Sun - #53 Last Crusade - #2 Always - #29 Hook - #6 Jurassic Park - #1 Schindler's List - #9 The Lost World - #3 Amistad - #50 Saving Private Ryan - #1 A.I. - #28 Minority Report - #17 Catch Me If You Can - #11 The Terminal - #35 War of the Worlds - #4 Munich - #62 Crystal Skull - #3 Tintin - #44 War Horse - #41 Lincoln - #13

I honestly wonder if studios and theaters alike would be helped by some kind of family pricing scheme. Aside from child tickets, maybe for G and PG movies, parents could also have their tickets discounted. And maybe everyone's prices could be marked down for each additional child in the group. With how expensive tickets can be, this would be a real bargain for families with multiple kids, or big groups of parents/kids coming in together.

The difference is that DWA's failures could pose a threat to its existence. If things keep up, they could conceivably end up drowning in their own red ink like many a previous indie would-be mini-major (Orion, Carolco, Revolution - even Disney prior to 1984 was close to being broken up, with the theme parks being sold off and the animation studio almost certainly being shut down). Pixar, on the other hand, has Disney's patronage, and there is no risk of them actually ceasing to exist, because Disney as a whole is healthy. Despite WDAS' post-Renaissance troubles, they weren't in any immediate danger of being completely shut down (even if the Orlando and Paris studios were ultimately shuttered).

Yes - the show has to be HUGE, and people have to REALLY want to pay to see the movie. This has only really worked three times: The Rugrats Movie, Pokemon: The First Movie, and The Simpsons Movie. Two of them were at the absolute height of their popularity, and the other was the f'n Simpsons.

Mr. Peabody & Sherman officially closed on September 4. I have heard of theaters still playing a movie past the studio's official close date, but I have no idea when/if those ever get added in. (I know Algren would always talk about how The Expendables made more money domestically after it "closed", and how Lionsgate never reported that money and how TE1 actually grossed more than BOM and other sites say it did.)

I understand why Katzenberg would be interested in the property, it's subversive and full of potty humor. But agreed with Captain Jack, it should have come out in the 00s. DreamWorks didn't even acquire the rights until 2011.

I never cared much about DreamWorks. I saw Shrek 1, then didn't see another (non-Aardman) in theaters until Kung Fu Panda. They just did not appeal to me. My DWA apathy even caused me to miss HTTYD1 in theaters - I literally did not watch it until the week before HTTYD2 opened, and as with KFP1 my reaction was "Why doesn't DWA make more stuff that is this good?" HTTYD3 is the only future DWA film I have any real anticipation for, and the only reason I have any interest in what happens to them.

Panda, I think Ando81 means dramas without special effects or shoot-em-up "action movie" action. That cuts out Interstellar, Apes, Lucy, Jump Street, Edge, Equalizer, Non-Stop, Exodus, John Wick, possibly Nightcrawler, Tombstones, and X-Men. It is true that wide-appeal (and high-grossing) adult dramas are in shorter supply these days. Not sure whether there is untapped demand and money being left on the table, or if this generation really doesn't want stuff like that.

Brenda Chapman is at DWA last I heard, she was developing a film she would be directing. I wonder why auteur talent like Chapman aren't (to my knowledge) getting their projects greenlit yet, but we're getting more directorial projects from DWA journeymen/hacks (whichever you prefer) like Tom McGrath [boss Baby] and Rob Letterman [Captain Underpants].

I think only Ridley Scott believed that Deckard was a Replicant. Hampton Fancher didn't write him as one, Harrison Ford didn't believe he was one either.

That's not his real name. I had to look him up on IMDB, his actual name is Marleik Walker II. (He's currently sufficiently unknown that he actually has three separate IMDB pages - Marleik Walker, Marleik Walker II and Marleik "Mar Mar" Walker.)

The Schulz family is heavily involved, so I'm comfortable in the assumption that the adults won't talk. The use of kids, and not hiring celebrity child actors, the fact that they got the rights to use the Vince Guaraldi music and Bill Melendez's archival recordings for Snoopy/Woodstock, all bears out that this is going to follow the spirit of what came before.

No, that's Snoopy and Woodstock. Their voices will be edited from archival recordings by Bill Melendez from the older cartoons.

Family films can coexist at Thanksgiving, one does not have to kill the other. Examples: Home Alone 2/Aladdin in 1992, Rugrats/A Bug's Life in 1998.

Doesn't Tokyo Drift take place AFTER Fast 4-7? I thought I heard that somewhere.

I hope GDT goes balls to the wall insane with this like Joe Dante did with Gremlins 2.

It will get released in Japan. Disney usually releases their November animated films in March (cf. Wreck-It Ralph, Frozen's epic run) HTTYD2 didn't get a Japanese release because Fox has largely skipped on theatrical releases for their recent animated stuff. (I am hoping they don't do this with Peanuts, because Snoopy is HUGE in Japan.)

As a kid, just seeing clips of the movies on the Disney Channel, I somehow ended up under the impression that the princes in Snow White, Cinderella and Sleeping Beauty had no lines at all, they just stood around smiling. Eventually, when I got a little older and actually saw the movies, I realized this wasn't true, but this just reminded me of that.

Every time I see this movie, it has excellent audience reaction. Always huge laughter at the same points (Baymax deflating, fist bump, etc.), always applause at the end. Is it having better WOM/legs in places like the San Francisco Bay Area? Yes, San Fransokyo connection, but I believe certain films have played better here than in the domestic market as a whole? (Star Trek Into Darkness, Pacific Rim, Godzilla, Interstellar?)