Celedhring

The unadjusted streak should be doable, though.

If you adjust the grosses for inflation, Star Wars has had a 500 DOM grosser every single decade from the 1970s until the 2010s. They still have 7 years to do it this decade. 250 DOM if you don't adjust.

Yes, but given that they can't negotiate with the actors/writers, I expect that networks will wait on some decisions.

Oooh yeah, I loved how in that same tweet the OpenAI fellow highlighted The Social Network as an inspirational film for tech bros. Because watching that film the first thing that comes to my mind at the end of it is "Yeah, I want to be like Mark Zuckerberg". No wonder we're screwed.

I concur. One of my main gripes of The Imitation Game is how briefly it dispatches all the grief Turing had to endure after the war - it soured me on the film quite a bit. I'm glad Nolan made the conscious decision of explaining his downfall once he became a nuisance, and making it such an important part of the movie. Only showing Oppenheimer at the height of his glory would have diluted his story.

Can't wait for the teamup movie.

Yeah, the biggest issue is that Morales' character is very thinly drawn. Plus add to it that he's essentially a henchman to a main villain that we still don't know exactly what it wants. I'm sure that all of this will be fleshed out in the sequel, but it just convinces me more that making it a two-parter wasn't a good idea. That said, I'm still very surprised at how badly it is performing. Yes, the scheduling was bad (but that's a bit of a hindsight 20/20 thing, I'm sure that a year ago people at Paramount didn't consider a female-driven comedy and a biopic about the maker of the H-bomb as competition for MI's audience), but the opening was really soft given it comes off a franchise (unadjusted) high, and Cruise had earned so much of audience's goodwill (or so I thought) after Maverick.

Yeah, it wasn't a low opening for the era - big December openings are a relatively new development, which is why - at the time - not many studios scheduled big budget movies in December, even with the good legs. One of the reasons why most people thought Titanic would lose a tremendous amount of money even if it was successful.

If a year ago you told me that Barbie grossed 160 DOM and Oppenheimer 80 DOM in *total* I'd have thought they've both done ok. Instead they're doing that on OW.

Gerwig has far more street cred than Nolan among us insufferable film snobs.

The concept of a "guys talking in rooms" movie making 300 million is NUTS. Happy to see it.

Can somebody tell me the rationale behind these review embargos (Barbie is doing the same) so close to release date for movies that everybody expects to get very positive reviews? It makes no sense. I thought these were used to "hide" the reviews of disappointing films.

IMHO, they should create and run their own studio. They could call it something like "United Artists".

Sadly, the only way to get an original pic with a significant budget (yes, 90 million is still significant) greenlit is by looking fairly typical or having immense clout like, say, Nolan. Studios won't take the gamble otherwise. Still, I hope it is successful, since it's all baby steps to get back to a climate where more original stuff can be made.

Family films perform very strongly in the summer over here, and Pixar remains a beloved brand. Not that surprising to see Elemental coming on top.

I thought the way they dumped so much exposition in that scene with Cary Elwes early in the film was so odd. I didn't need it. Nearly all the plot of the film is revealed there, and they could have gone about it more gradually, give it a bit more mystery.

Yeah, that's my rationale. VFX is very easy to outsource (and they do so already) so they could easily see out a strike.

Oh yeah, the VFX sweatshops have to end. It's shameful. Sadly, I don't think the studios will ever agree to an union contract for VFX. Which is proof of why unions are important and need to be protected.

There are classifiers out there that attempt to detect if a text was written by an AI, but AFAIK they are not very reliable. And any sophisticated user will edit the text anyway.

Yeah, this show is extremely puzzling to me. On the one hand, you're right in that it has some of the best dialogue in a Marvel film/show, very human, very real. Add to it that the cast is amazing, and they deliver this dialogue amazingly. In fact, this is the best SLJ performance since Hateful Eight (imho). Yet on the other hand, it has an idiot plot. Everything surrounding the conspiracy is really stupid and half cooked. The twists are cheap and feel like they are just angling for shock value. I just stopped caring. But every time the characters just sit and *talk* I'm totally there.

We aren't against it being used as a TOOL to support our work - like many others we already employ. The problem is producers using it to replace work that otherwise would be carried out by human writers, or turning us into lesser paid editors of AI-written scripts. Actors are in even more danger, imho, given how much AI deepfakes have progressed in just few years. EDIT: I'll clarify that I'm not WGA (I don't work in the US), but I think our feelings are similar in this.

Personally, I loved Kirby in this despite her small role. She's such a great actress. I enjoyed it, particularly the deliciously ridiculous climax, but I prefer the previous two McQuarrie efforts. This one was a bit clumsy in places, and the plot was too confusing in parts - even for the standards of the franchise. But it's still a great popcorn flick. I'm gonna miss this franchise, always guaranteed solid entertainment (except for #2, so glad it didn't kill the franchise).

Yeah, one of the beautiful things of animation is that it gives directors 100% control over the frame. I wish it received more attention as an expression of film language. Miyazaki's films are better directed than many that got best director nods at the time, imho.

Which imho is also incorrect. Stuff like Cutthroat Island and 13th Warrior grossed much less %-wise on huge budgets for the era (I think Cutthroat Island adjusts to something like 40m WW gross on a 200 million budget).

Yeah, but at the same time people calling it the biggest flop of all time are over the top, too. In the end, this thing will gross over 1X budget that while awful, it ain't Cutthroat Island levels of floppage by a long shot.