OncomingStorm93
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Posts posted by OncomingStorm93
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31 minutes ago, Durden said:
Ok, I see that.
I'm allowed my opinion that what they attempted is a step down, based on what we have seen so far. I'm allowed to change my opinion after seeing the final product.
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1 hour ago, Gavin Feng said:
My point is, for these movies, committee vision before director's vision. The best result is both studio and filmmaker share the same vision, because filmmakers can do what they're good at while studio could deliver anything they want.
Is DS2 a Sam Raimi's work? My answer is yes. His style is quite distinctive like his classic movies. Is Sam Raimi a better filmmaker than Scott Derrickson? I would say yes. Sam Raimi has proven his unique and great visual storytelling ability with so many good works. But does DS2 a better movie than the previous one? I don't think so. General audience don't think it's better either. And why is that since studio had a better director on the sequel? Because committee's vision go first. I'm not sure what the creative differences between Derrickson & Marvel were, but I think the assemble models for almost every sequel of solo movie under Marvel has restricted to what the filmmakers could do.
In DS2, way more heroes were brought to us. And the movie is considered as a backward step. In BP2, they will show more characters. That's why I think Coogler couldn't do much on this one. Not saying he totally lose control or his style -- because Marvel don't have to hire big names if they don't want their personal signet -- but he couldn't deliver his top talent like his previous movies. Nobody think DS2 could present Sam Raimi's filmmaking talent, right? And I think Coogler has been in same situation.
I was never making the underlined argument. All I said is that the cinematography looks more like the Marvel digital house style than Black Panther, where Coogler had his own DP, not Marvel's person, and it's apparent to me as someone who highly values cinematography. Go back and look at the trailers for the first Black Panther, and tell me the camerawork isn't crisper, more vibrant, better lit, better framed, yadayada than what we've seen from Wakanda Forever.
That's not to say there haven't been some great shots, such as the slow-mo dance ritual at T'Challa's ceremony, and the shot of the new Black Panther dropping down at the end of the final trailer. As a whole though, there's a distinctly digital sheen over everything that I didn't feel in the first film.
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5 minutes ago, WittyUsername said:
From what I’ve seen, many people believe that a big problem with movies like Eternals, MoM and L&T is that their directors were supposedly given too much freedom to do what they wanted.
I've frequently seen Sam Raimi's direction of MoM cited as one of the film's highlights, an opinion which I agree.
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8 minutes ago, Gavin Feng said:
But DS2 was supposed to be a Scott Derrickson's movie? Sam Raimi was the result of committee's vesion.
I'm not talking about the narrative. I'm talking about the use of the camera, the contents of the frame. DS2 looked and visually felt like a Sam Raimi movie. Or do you disagree?
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17 minutes ago, Gavin Feng said:
I think people can reduce expectations for this one if they think Coogler can do whatever he want.
I'm not saying he has no control on this. I'm saying Marvel Studios could even change the entire 3rd act of the first BP movie weeks before its release. And I think the second one would be more of a committee vision, just like DS2.
I have criticisms of DS2, one of them would not be that the director's aesthetic was compromised.
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The post-credits scene is an inferior version of the (second) post-credits scene in Morbius. That one was unintentionally horrible. This one was just uninspired pandering.
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Something hadn't been sitting right with me for a while re; Wakanda Forever, and I just realized what. In liu of Coogler's choice of cinematographer (he brought his Fruitville Station DP on for Black Panther), this time Marvel Studios brought in their Loki cinematographer. And Wakanda Forever has a much more digital visual feel as a result.
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Black Adam Producer Talks About That 'Frustrating' Mid-Credits Leak:
Quote"Oh my God, it is so frustrating... We've been wanting it for so long. It's disappointing that it leaks"
Mr. Producer should take his frustrations up with his film's star, who himself leaked the leak on the red carpet at the film's premiere before it even premiered.
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38 minutes ago, excel1 said:
1) This film does half of whatever it does if someone other than The Rock is the star.
2) Real money comes in future tie over films. Superman vs. Adam could be a $800m hit which should be considered very good.
1: This film’s success (or lack thereof) would also be attributable to a horrendous script and generic directing. You could replace The Rock as well as his handpicked writer (coming from Rampage) and director (coming from Jungle Cruise) and get a better product altogether that could have more BO potential.
2: Superman being a part of the whole discourse about this film is a shame, and emblematic of my issues with The Rock and his approach to marketing himself.
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38 minutes ago, ChipDerby said:
Love people talking budgets when it's literally never been reported (I think Forbes is the only reputable one who mentioned offhand "around $195 mil") nor does anyone ever actually know when a film makes a profit.
I’ve seen the $195m figure in several Variety articles over the past few days, without them attributing the figure to another outlet’s reporting. -
1 hour ago, cax16 said:
People really hate the rock
For me, its the combo of his personal overexposure (he has a freaking sitcom about his youth, and he also plays himself running for President in the future. C'mon, that's all too much), and choice in projects (widely entertaining but hardly groundbreaking blockbusters on a conveyor belt). I used to like him generally, but the burnout is real.
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So Deadline today is projecting a 60m OW, and BoxOfficePro is the same basically with a 55m-65m range.
Shazam opened to 53m, and I’d wager in the end it cost half as much as Black Adam.
There would be little to celebrate with a $60m OW, but if this opens in range of Shazam, that would be a cataclysmic embarrassment for The Rock.
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12 minutes ago, BadOlCatSylvester said:
This movie being a dud also means Man of Steel 2 is probably headed straight back to development hell. At this point that Black Superman movie Hamada was backing might actually be a more financially sound idea.
I don't see what this film's success (or lack of) has to do with a possible MoS sequel. There's no reason to view this film as a referendum on Cavill.
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50% on RT with 42 reviews is a massive yikes. I'd guess Black Adam is on a trajectory for 35%.
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9 hours ago, Fielding said:
These criticisms of the script are amusing. Are we suddenly pretending that all those other superhero flicks represent the pinnacle of the art of scriptwriting?
I can’t remember the last time a trailer repulsed me with dialogue as painful as lines like ”In this world there are heroes and villains. Heroes don’t kill people” “Well I do”
There’s a bunch of other gems but rewatching the trailers just to remember the stilted writing might give me a concussion so I’d rather not.
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It's all good. 3 crimes on his punchcard, he gets the 4th one free.
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54 minutes ago, LonePirate said:
So is Holland's Spider-Man on the shelf temporarily or permanently?
I could have sworn that Holland's contract for NWH also included an appearance in another to-be-announced Marvel Studios project.
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Phase 1: 4 years
Phase 2: 3 years
Phase 3: 4 years (pandemic assisted extra year)
Phases 4-6: 4 1/2 years if it ends with Secret Wars at it's current release date
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I give Feige props for going-for-broke with today's presentation, but I'm not sure what he's trying to achieve here, other than burning out the MCU (which has been heading that way over phase 4). He's about to speed through some of his biggest remaining cards to play. Two Avengers films in the same year is absurd. Absolutely absurd.
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Calling it now, there is a 0% of two Avengers films releasing in the same calander year.
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“Stage 4…. Out of how many stages? 4”
It’s not funny, it’s not remotely clever, and it feels so out of place.
also the Darcy actress/character never had enough nuance to really be on the other end of that convo.
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I don't know if I've ever been more disappointed walking out of an MCU film.
Tonal whiplash. Jokes run six feet into the ground. Forgettable action. Maybe the weakest music ever attributed to Michael Giacchino. Barely constructed plot. A lack of cohesion on most levels.
Which isn't to say there weren't strengths. Christian Bale was expectedly aces. I didn't like the possession angle, but thought his arc wrapped beautifully. Natalie Portman was a welcome return, but I was hoping she would be more involved with the film's comedy instead of being saddled with cancer. I understand that's the source material that was being drawn from, it just doesn't mesh with screaming goats and Crowe as Zeus talking about orgies.
The main problem for me is the tonal whiplash. It was unbearable. Took me out of the entire experience. I don't think this movie ever found it's identity. Never figure out what it wanted to be.
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Just encountered a group of ?schoolers leaving the AMC at The Grove in full suits.
what a time to be awake.
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I’m surprised at how well opening weekend is going
I’m shocked how positive the critical and audience feedback has been
I’m floored by these videos of droves of young people rolling up to the theater in their prom attire or in full Minions getup
Ticket to Paradise Weekend Thread (and also Black Adam): Adam 67 (Rock's biggest leading debut), Paradise 16.3, Smile 8.3, Halloween 8 (80% drop!), Lyle 4.2 | Banshees 45K PTA, second-best of the year
in Numbers and Data
Posted
Always a good idea to have your sequel script locked before you know how audiences are going to react to the first film.
Anyway, I feel like WB can chalk this up as a “success” if it can claw its way to 175m domestic, 450m global. I can see this playing well on HBO Max and adding some value there. And that would be enough to at least keep The Rock around in an ensemble capacity, where he thrives.