OncomingStorm93
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Posts posted by OncomingStorm93
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33 minutes ago, WittyUsername said:
This is a little soon for a second trailer, unless they plan on putting out a third one.
That was my first though. I haven’t even seen the new trailer, think I’m going to avoid it as I’m already going to catch it release day. I can tell from the impressions on here that it’s a fantastic trailer.But the first trailer released less than 2 months ago, and we still have 4 months (and a week) before release.
FWIW, WB released the second/main/final trailer for Part 1 exactly 3 months (July 21) before release (Oct 22).
If I were WB I would have waited until after the summer for the showstopper trailer. Would have had a stronger impact after MI7/Barbieheimer were past the hype stages.
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The best thing Gunn can to do help his reboot universe before it kicks off is not feed the social media hype machine years and years and years in advance of every film, as Snyder and the producers who succeeded him did. Every DC film since they first rolled out their “plan” in like late 2013 has been overexposed for the sake of clicks.
Unfortunately, I don’t think Gunn is capable of avoiding this trap. He’s a massive social media presence and he likes playing into it.
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Looks uninspired, but at least competently handled.
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I feel pretty confident that Disney's casting choices with TLM played less of a role in it's underperformance than it's the upteenth Disney Live Action Remake, and while the 1989 original has it's loyal fans, the fact is it was never as popular as the rest of the Renaissance-era animated musicals. It's total B.O. was $211m, compared to B&TB's $440m two years later, and Aladdin's $500m three years later. Not to mention Lion King doing almost $1b five years later. It made basically what the original Jungle Book and 101 Dalmatians did in the 1960s.
The simplest explanation is that The Little Mermaid is not one of the more popular Disney animated musicals, and didn't warrant such an expensive live action remake.
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1 hour ago, cahramel said:
My Spider-Verse screening was packed with teenagers.
My 3rd (now convinced it’s a masterpiece, the definitive ESB of the animation medium) fully sold out (Santa Monica last night) screening last night had me sitting next to what I assume were current sorority sisters, whose reaction to the ending was a very passionate “that’s bullshit”
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5 minutes ago, MovieMan89 said:
I do have to wonder if the whole don’t say gay Disney backlash last year from the crazies in this country has genuinely affected Disney. It would make sense it would hit animation the hardest since these people tend to be your suburban family conservatives who would have lots of kids. Also the type who traditionally loved Disney. I mean, look at what’s happening to Target right now. These bigots are not just some niche or small problem these days, they’re pretty rampant.
They'll forget about it if they haven't yet. Just like their "boycotts" against sports leagues taking social justice stands 3-4 years ago.
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Why did Elemental fail? Because it's another in a long line of animated films about abstract worlds that seem like ours... but seemingly without anything original to say. I'm assuming the film is as uninspired as the marketing made it seem and the 75%ish RT score indicates critics thought (that's "broadly palatable" range)
What does this film do (or even attempt to do) better than Zootopia (or any number of anthropomorphic animal animated films)? Or previous Pixar efforts like Monsters Inc, Cars, or even Onward?
The twist on the formula was... make it a rom-com? Can't imagine how that gets the kiddos on board.
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I’m shocked, shocked I tell you, that this sloppy stew of recycled ideas with Cats-tier CGI is seemingly failing to latch on with general audiences.
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50 minutes ago, AN9815 said:
Maybe I missed it but how does Gwen's father get the multiverse device that he gives her at the end? I watched in English and it is not my mother tongue so I missed the dialogue there. Btw, this was phenomenal
Hobie dropped it off.
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I can understand and appreciate the allegories that both Gwen and Miles had with their respective admission scenes to bookend their film, while recognizing they are separate from the plot specifics of the film.
I did catch the film a second time tonight, and noticed the “protect trans kids” sign in one shot.
My thought? Good for Gwen for standing up for what she believes are rights that need protecting. The sign shows her general passion and her virtues.
I didn’t think anything more of it, and I doubt the filmmakers thought it warranted more thought.
Anyway, Daniel Pemberton’s score slaps so hard. It’s a breathtaking score, on its own and within the film. All-timer. The music of the first film didn’t stick with me much but the Blade Runner vibes that accompany Miguel and The Spot, with Gwen’s punk-rock mixed in, it deserves year-end nominations.
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The ending of this is far more egregious than what Fast X has been accused of.
A lot to love about this movie, but a lack of cohesion. 130 minutes of build up with no resolution. Everything was set up for an explosive conclusion but the last 15 minutes were total anti-climax, and tbh I didn’t find any of the cliffhangers engaging enough to warrant the mic drop.
Animation was pristine as expected, the individual story elements were engaging, I just feel we were robbed of a climax that would have solidified this as a fully fledged film. I’m just left feeling mostly empty. Like I just ate a bunch of delicious empty calories.
Edit with a few more thoughts:
Agree with above commenter about The Spot, and where that character is headed
Gwen Stacy has the only full character arc in this film. And it’s perfectly handled. The extended prologue and wrap up were beautiful, both in the writing and art-style. It’s the glue that holds this sprawling story together.
Film got too meta for my tastes.
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On 3/3/2023 at 3:08 PM, dudalb said:
I 100% agree with you, but from the audience reaction when I saw the trailer, this will be a big hit.
That old saying about how nobody ever went broke underestimating the taste of the American Public comes to mind.
Seconded. I had no idea this film existed, but it had the strongest audience positive reaction out of my nearly-full FX screening over the weekend. -
Weak-ass cliffhangers. Kinda obvious that the crew in the plane are going to escape in Shaw's cars, and "how's Dom gonna get out of this one?!?!" isn't compelling because we know he clearly will somehow.
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22 minutes ago, AJG said:
Errr… so this was WAY better than the low-point F9 and the crushing mediocrity of F8. Good and bad: it does everything I expect from this series. I laughed at the action scenes, I laughed at the slower scenes, I laughed at the truly horrendous dialogue. I got my fill.
I agree that this one was “so bad it’s good” whereas the last two were “so bad it’s boring”
Mamoa absolutely steals the show. I’d like to think Vin and Lin brought him in expecting the usual gruff villain performance and Mamoa said “screw that, I’m going Jack Sparrow” when cameras started rolling.
Assuming the follow up film(s?) get made, it shouldn’t be that hard to reduce the budget; just write an actual script with a real story and character scenes to supplement action scenes that don’t need constant explosions to drive up tension. Oh, and cut the credited cast down from 20 to maybe 12.
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Considering catching a screening today to gauge audience reactions… I feel like this one of the more boom-or-bust releases of the summer season.
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Is it to early to predict that Mario’s opening record will be surpassed by Shrek 5?
I do think it’s clear that Shrek has become much more ingrained in pop-culture over the past 5 years (after waning starting with S3 in ‘07), as those who grew up with the franchise are now in their nostalgia phases, younger generations have gotten familiar with the characters. I think the pandemic played a big part, with people returning to their favorite childhood properties.
The unexpected critical and commercial success of PiB2 also plays into it. If S5 can match the quality of the first two and PiB2, I sense the next animation record holder.
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Other video game franchises that would make a killing at the box office *if executed properly*:
GTA: Adapt GTA IV, the story of an eastern European immigrant who fled a nation of war in seek of a new life in Liberty City, where he couldn't outrun his past. In the game, his home country is unnamed, but it could easily be Ukraine now. If I were somehow producing this, I'd give Chad Stahelski however much money he wanted to direct.
Red Dead (Redemption): Keeping with the Rockstar theme (honestly, they could afford to produce these blockbuster films in house and avoid studio meddling), who doesn't love a quality western epic?
Zelda: I don't think animated is the right way to go, this would need to be a live action fantasy epic
Kingdom Hearts: Multiverse, so hot right now(?), Disney nostalgia, so hot right always. Would resonate with domestic audiences much more than a Final Fantasy film
Half-Life: Sci-fi military action thriller with a scientist protagonist, adapt it with the care that HBO is giving The Last of Us, and you've got a hit film.
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On 4/7/2023 at 12:11 PM, Last Man Standing said:
Yeah the word is it's a strong movie, which makes sense considering Lucasfilm gave him a Star Wars movie immediately after, without even waiting for the reception.
James Mangold doing James Mangold things.
I'm enjoying this film's asthetic. Can't remember if I read it here or on Reddit a while back, but someone compared it to Sky Captain & The World of Tomorrow, and I can't get that out of my head. I'll take this "digital shine" over Marvel's shoddy green screening or the Lucasfilm Volume's lack of dynamic lighting/shading on a space-limited set.
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TGM's success is important in one critical manner: Everyone who saw the film caught the well-edited first trailer for DR1. I think I've said it before in here, TGM had one of the greatest marketing campaign launchpads we've ever seen.
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Haters get out. This is exactly what I was hoping for from Anderson after French Dispatch (the three plots and newspaper framing was overload. Film had no breathing room whatsoever) and Isle of Dogs (cute, but no Fantastic Mr. Fox). This looks weird, whimsical, visually unique (if you want to call it Anderson's house style and complain it's repetitive, fine, but at the end of the day it is HIS style), fantastic cast as always, and seems fairly self contained location-wise, like Moonrise Kingdom. I loved the bouncing around of Grand Budapest Hotel, but Moonrise Kingdom remains his masterpiece IMO.
Don't need to see anything else. Inject this into my veins.
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I’d still put money down on just over $80m OW.
I know a few people who hadn’t seen any Wick films, but binged the trilogy over the past month in anticipation of 4. It’s pretty clear by the expanding returns of each sequel that the JW series has some of the best WOM in Hollywood. The series probably has a better overall perception than the MCU right now, even before the JW4 review embargo broke
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Catching in Imax in an hour. Most hyped I've been for an opening night since NWH. Made sure to catch a screening that looks to be sold out. 95% on RT is insane, and it can still work its way up another tick or two, the way the trend has gone. I'd be shocked if OW is under $80m.
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Indiana Jones and the Dial of Destiny | June 30 2023 | Very mixed reviews out of Cannes
in Box Office Discussion
Posted
I will forever be a defender of Dead Man's Chest, and At World's End over most of today's blockbusters. Yes, there's significant story issues across both films, and wildly inconsistent characterizations, but Verbinski's direction remains top-tier, the preformances all Stellan- I mean stellar. And the CGI remains some of the best the industry has ever created, even 15+ years later. In fact, I kind of find it weird we don't talk/hear much about ILM anymore. I know they're still chugging along, but Weta has been mom's favorite child over the past decade, and on the flip side of the convo has been the terrible VFX on tentpoles from overworked artists.