Barnack

DS critics is almost the perfect aggregate score imo: 90% Average Rating: 7.3/10 Top critics maybe close to the "truth" (85%, 6.8/10) A serviceable ok time if you are watching it with a big enough crowd that is into the movie, 6.5/7.5 type of movie with almost everyone agreeing that it is the case because of how little outside 100% proven to work trope it does. Close to 0 or close to 100 is about how much they agree, average rating is how they "rated" the movie.

I think that is more because it is really hard to know why we like a movie or not and we tend to come up with reasons ad-hoc. The movie energy, flow, clicking, the ensemble of all the cinematic tool used to told the story/theme matching together, the running time seem to have been made for the story (and not needed to have cut it or added to it), but the movie being 30 second too short, just loving the characters is usually what happen but we need to try to find reason and words to talk about it. Those problem you are talking about would not have mattered in a "good" movie it is true, the very fact that as an audience member we do not get easily over them is a proof we do not like the movie, not the reason, but we will think they are a significant part of why we do not love the movie. In a movie that work for us we will go for crazy proposition and bent our reality to make it work, quite far and vice versa for when we do not like them. Giving an example, in Civil War people fighting in an airport just for fun while destroying for millions of property, breaking people flight schedule, etc... bothered me or Iron Man bringing a teenager still kiddish to the fight when part of is motivation was guilt over the death of a child in Ultron. It would have not mattered to me I imagine if I was excited to see them cosplay fighting and just say let's go who care for reasons, it is not the reason at all I didn't love the movie, it is symptom of not loving it. But if asked to write a review, those are the kind of points I would bring, not being able to know in reality what didn't click for me.

That was my thought seeing that Intl monday was bigger than dbo and that the china + japan could make a bit more than the 100m gap (or at the minimum worst case all of it), it should end up 50/50 or better no ? Or that it is not a good way to see it ?

They can also be harsh on director they love because of higher expectation: https://en.wikipedia.org/wiki/Song_to_Song#Critical_response https://en.wikipedia.org/wiki/New_York,_New_York_(1977_film)#Reception https://en.wikipedia.org/wiki/One_from_the_Heart#Critical_reception https://en.wikipedia.org/wiki/Hook_(film)#Critical_response https://en.wikipedia.org/wiki/1941_(film)#Reception With some of their strength sometime getting taken for granted and getting people asking for more (Spielberg being a bit like that, arguably Micheal Bay also, he got out of the loved auteur with is movies receiving the Criterion format/Champion of diversity after a while). It will be very polite for sure, always pointing at some positive element and not engage in the worst movie of all time type of hyperbole like they would for a Depp / David Ayer / Max Landis entry (and I doubt a Disney movie would fit those, it does not try something that give it a chance to be), but it could still be vastly receiving 4/10, 5/10 score around. There is also a notion about the cause you are mentioning than overpraising can hurt it long term (like it did for female comics in some market in the 90s were big humor festival installed quota, it took year after the talent pool got really good for audience to stop seeing them as the token female comic), doing so would also reinforce the positive critics they gave for projects they really loved and find that it advanced storytelling language like Mudbound. Not saying you are wrong here (Birth of a Nation reviews before and after it became ok to not love it would be an example pointing that you could be right), but once a couple of very successful mostly black cast movie, critically, commercially or both like Compton, Hidden Figures, Creed, Mudbound, Black Panther and so on and that they will stop being an events by itself (arguably getting to be the case) that critics fearing backlash will stop to be a reality, if you can point to 3 recent black cast / director movie you loved just the year before on your rotten tomatoes page you will stop worrying allegation of racism/sexism for just one bad review for just one movie. They will become just movies (and those movies will expend the range of what they will be able to say, they will stop needing to have any positive/representative notion in them and become with larger possible art), I think it is getting close to that, still far from being bold enough to trash/be impolite/bitchy in the reviews and that is not necessarily a bad thing, but not feeling fear to give it a rotten score I would think so (Proud Mary just got a 25% RT score and many thought it would receive an automatic pass for a recent example).

With 3 major market yet to open: Russia 26 February 2018 Japan 1 March 2018 China 9 March 2018 That mean I guess it should end up 50/50 or better right ? Making 1.275b to 1.45b the final target for that movie ?

Apparently some uncertainty about the embargo also ?

Yes, hum I think that picture cancel Cameron deep at 0......

Really depend of your definition of where space start, there is obviously no clear moment you leave earth to enter space, but Howard was quite below what seem to be the most used altitude of 100km of where outer space start.

Ahhhhhh I mixed him with Ron Howard for Apollo 13 and failed at my bad jokes: http://www.movie-locations.com/movies/a/Apollo13.html To achieve the authentic feeling of weightlessness, director Ron Howard filmed the Apollo capsule scenes on a set built inside a KC-135 cargo plane used for NASA training flights. The jet followed a 30,000 feet parabolic trajectory before going into a roller-coaster dive, giving 23 seconds of weightlessness to get a shot in the can.

Ahh so Ron Howard is -10 000 meter deep.

How many meter deep is Cameron and how many meter deep is Chaplin, Kubrick, Scorsese, Hitchcock, Ford and Spielberg ?

Parsec ! How many meter is Avatar and how many meter is a comparison Tree Of Life, 2001 A Space Odyssey, Gone in the Wind and The Searcher, just to have an idea of the objective deepness.

True (probably would have loved a 21-25) but they didn't hired FLaw for this movie to have that kind of reception and trailers, it is a narrower strip to land what he tried to achieve and didn't fully succeed, that type of movie with a 6/10 is not an easy one to sell (versus Atomic Blond enthusiastic reception, action sequence, comic relief available to use by marketing).

It is a really strange debate, a bit like spaghetti vs pizza almost, so much a pure question of preference is someone do not mind a 25 MBs files vs a 40MBs files level of quality for what they find added convenience (of for example not having to put the disk and experience ads and loading). Has long as bluray quality is not that much above and are slow, even the experience itself is debatable, let alone when you take into account the buying, keeping them, place they take, etc....

Thanks that why I was not sure for some of those (but that prediction was said as if it was a deception so I was pretty certain it was not the OW, even thought 75m do sound quite low for it to me). Those monster movie goes for the OW heavy a bit more than this, would be surprised if it does not achieve 40m OW, 100m dbo, would really need to be a let down. I think there is an appetite for a giant non-sh action movie but not serious at all at the same time like that.

I have a bit of an hard time following people in this thread if they are talking about dbo or OW ? Biggest opening for non-sequel live action without a really strong IP: American Sniper: 89m (still an american hero and helped by the limited release build up) Passion of Christ: 83m (not sure how to rank Jesus in term of IP, I guess a bad example) I am Legend: 77m (not that know of a book ?, really popular genre and peak Smith) Avatar: 77m That is pretty much all the live action movie that achieved 75m without being a giant franchise entry/sequel/book adaptation. I suspect a giant opening over Ted/Martian/Gravity/San Andreas 55m could happen, but obviously it could do under 75m that would be an exceptional number.

Yeah I could sleep at night having money invested in this.

The fact I didn't knew it was a sequel prove your point. That said those movie can be garbage looking minions/Emoji/Boss baby/Angry Bird and still work well enough be in best of the year conversation and flop miserably, begore learning it was a sequel would not have been surprised if it would have done 116m, not be surprised if it would have done 25-45m.

Would wait for Wrinkle in Time to open before saying that, really good shot at it (I think more likely above 100 than below). And Sherlock Gnomes can also do it, big Animation with a Pixar/dreamworks look can always do it, even the Emoji (a small one) got to 86m, Boss baby did 175m and it is from the first Kung Fu panda director with Johnny Depp/McAvoy/Blunt/Merchant/Maggie Smith/Caine/Ejiofor at the voice, could get a really big release (must be a really big budget). Really not sure how to predict those movies, they can leg out.

It is yes, 2016 had Awaken legs + Deadpool + The Revenant to start the year and 2015 had Sniper + 50 shades : Year Est. Tickets* 2018 % change 2017 % change 2016 % change 2015 % change 2014 % change 2013 % change 2018 208.6 - +11.4% +5.3% +4.5% +10.4% - 2017 187.4 -10.2% - -5.5% -6.2% -0.8% - 2016 198.2 -5.0% +5.8% - -0.8% +4.9% - 2015 199.7 -4.3% +6.6% +0.8% - +5.7% - 2014 188.9 -9.5% +0.8% -4.7% -5.4% - - 2013 n/a -100.0% -100.0% -100.0% -100.0% -100.0% - http://www.boxofficemojo.com/yearly/?view2=ytdcompare&view=releasedate&adjust_yr=0&p=.htm

I would imagine sometime those decision are tracking base, for a movie like IT for example those very late embargo, not many screening in advance was because they had nothing to gain, could be a you never know and have nothing to loose situation for this also.

I thought probable the last 50 shades would have a really good retention rate, the first movie became an event and overreached the book fanbase but by the second I felt they were already fully down to the core fan, that will be there for the next one (I mean if after the first you went to the 2 why woud you not go for the 3, Mockingjay part 2 is easy to see why it would be possible to go see the first 2 sequel, but not Mockingjay quite different movie than the previous entry sequel)

Studio selling market (or buying only some from the start) is really common it is not that dissimilar too getting third party investor on board, the general idea is too reduce expense and risk (while lowering reward when the movie blows up, making the business more predictable with smaller noise). It could have many reason maybe one financier was expected to finance half the P&A, didn't not wanted too, so they transformed a 40m with a 65-70m world release they felt could not work at that price tag into a 15m movie with a small 15-25m domestic release. If they would have sold it to theater distributor/world tv rights (like for Suburbicon or like Liongates do for most if not all their movies, Sony for a lot of them) we would have not talked about it (not exact similar scenario. agreeing to an HD version online in just 2 weeks has some impact, but I imagine not that dissimilar to regular market selling Europacorp did on Valerian and hundreds of example), Netflix is a media magnet to think piece.

What goes into domestic cost ?, Theatrical Domestic marketing + Print + WPF DUES cost + Home entertainment marketing + DHE releasing cost + domestic TV marketing ? Possible (60m domestic release for all windows is not that special for a studio movie) but it does feel lower key/cutting their lost than that.