Barnack

If a movie without thursday previews nor competition would have achieved -54% during the holidays, I am not sure many would have been surprised and calling it extraordinary high hold. News to the world launched at the same time and made 2.4 its OW after the second sunday, Promising Young Woman 2.6, Pinocchio 2.86 not necessarily specially good for the release date in a regular year, but otherwise that would be very solid hold. If we compare with 2009 the latest time Christmas was a friday, it was in that similar windows: Sherlock Holmes was a 2.27 Its complicated 2.67 Tree Idiots 2.9 Chipmunks 3.2 WW was at 1.7, making the HBO Max factor you mention probably a big deal (and a bigger factor, that was not necessarily easy to access it is not like the HBO Max option didn't depress the OW itself as well).

For some platform in some market very soon things could pivot into being able to keep already subscribed account X more months type of metric more than new customer (imagine that already partly the case for a Netflix in the USA/Canada) I think there was talk about them changing their metrics from new subs to simply views in general in recent year in how they evaluated their content value, making the comparison on a mature platform with the very new explosive growth release hard to do with somewhat public metric like new subs. How good a movie did in new sub will be very dependant in when it released and it will probably be hard to compare over time, the second big movie on a platform will have a task of getting new subscriber way harder than the first one and a log model should quickly install itself.

I imagine when Christmas day occur (monday-tuesday, etc...) is an important variable. First weekend had a lot of 25th being a friday boost ? or it hurt it ? Last time Christmas fall on a friday, second weekend holdover were ridiculously good: https://www.the-numbers.com/box-office-chart/weekend/2010/01/01 Seem to be the case this year as well (lot of +, worst case -25%), hard to point out an explanation outside being available on HD at home.

Something called Bitch media (less than 100 review on RT) from Rebecca Long (exactly 2 review on RT both DC movies) is classed has a Top Critic on RT for that movie, the standard seem to be impressively low. Some review I would not say are not out of place to be made and have certainly their place, but maybe not for a movie critic RT ways https://www.mediaversityreviews.com/film-reviews/2021/1/2/wonder-woman-1984 That read like some old video game review (that had score for sound, graphic, etc...) but with gender, race, bonus for LGBTQ to give the score. This can be nice in a database way for movie slate, but looking at individual movie that way and giving some RT score recommandation using metrics like that sound ridiculous, it sound more like those Bechdel test ranking of the past than a movie review to put there.

That probably a very original take, considering that move made them beat the all time opening weekend record and launched an incredibly successful reboot spin. The first movie being all about people trying to make a park happen again like the first one...... it is movie number 4 after all, not that quick, it is not like the things go wrong before the park open didn't got explored a lot in the past.

I imagine typo for svod ? HBOMax is more expensive than some of it's competition (very limited) number as well (but on the reverse it was on platform with way less streamer before it's release, making it easier)

I think the turnaround was that great Mission Impossible trailer (the moustache and the get ready to punch someone move were star making moment)

I feel like remake when there is a technological change behind the format are much easier to pass (like every success got remade when sound appeared in movie I would imagine). Casablanca is an odd/a propaganda trying to convince american society to engage against Nazy Germany in WW2 in more active ways (pearl harbor having occurred between the script amd filming, it changed the get into the war at all angle), you have actual WW2 refugees being the extra and out singing Germans with the Marseillaise, it is doubtful a remake has any chance to compete with that. The we always have Paris line when it was from people than when they shoot the scene, Paris was under Nazi occupation has a punch to it for an audience that cannot be replicated by an actor saying it in 2021. A lot of the movie power come for the very moment it was filmed Specially that the storyline is so nonsensical and not very good, that there is little reason to re-use it, the magic paper that will make the Nazy magically no arrest a symbol of the resistance Macguffin would need quite the rework for a modern production, the funny sympathetic to audience character that is sleeping with woman refugee trying to buy from him a passage. Remaking Casablanca, GodFather or the first Star Wars in live action do feel a step different than remaking the Lion King in that 3d/photorealistic affair, you do not have the issue with seeing different actor, the target audience for it I imagine care way less about being a remake in general and Beauty & Beast many other of that genre were remade, Lion King is close in astheatic/story to the shakespeare and fairy tales that is constantly being retold in a way, and everything is out of place/time/fantastic about it, that make it a good candidate to always be retold a la Cinderella, Arthur. Casablanca is so much anchored to a specific moment in history in comparison.

You could add Up and in 2010 you have Toy Story 3, do not forget you premise of why was those 2 year's the only time we got best picture animated movie nominee in the 2000s. Yes the logic to compete for first place and the way the winner being #1 vote process heavy instead of a weighted affair do make a lot of sense to me as well, you get more controversial pick that way for sure, but for something like movies that make a lot of sense.

The type of movie that could get in those 2 years do feel different it is not only the numbers that end up nominated but the type of movie the change in voting process involved. Now to get nominated you need to have at least 5% first place vote (if I understand the very hard to understand process), so the type of movie that was often in people top list but very rarely #1 got retired, we can assume most had WallE in their top movie but few as the very number 1.

Some of those sound quite expensive, buying Bond (depending what you mean by that), Nolan making a sequel and quite out of control as well. I could imagine that when Amazon rented the right for the TV show that it came with some exclusivity windows language. At that price tags it probably came with condition that no one else can make LoTR containt before and during their run. And probably with some type of language that they cannot be sued to use extension that came from New Line creation and not from the original material.

Some things in Japan seem to be extreme covid measure. Being an Island I imagine could help a lot as well.

I have seen 38-39 million before. Australia had only 7 million inhabitants, but when he was still re-released in the 50s,60s,70s,80s, etc.... it was a bigger country. If we take the USA for a model and some of the most extensive work made about it, Gone with the winds has sold nearly 160 million admissions by now (it is still usually at the top when not the top popular old movie in theater every year), only 20 millions occurred during its first release, 20 millions of a country of 131 millions is a good amount considering they were fancy expensive roadshows affair, but most of the sales occured in 1941 and 1954, 67 was a really big year as well. That number seem really big to me (compared to France 16-17 millions, but France was hurt by the war during part of GWTW craze in a way I imagine Australia wasn't nearly), but if something like that occurred there, it is not the equivalent of everyone seeing the movie 6 times the first 3 years it played there, but accumulated over many decade of reruns

I used your numbers, there is much more and complex work made on this that took into account each release, the inflated price they had because it was a prestigious release and so on. Regardless, I think we can all agree that it will be the first movie to look at in most western market, has a movie released in the 1939 and popular among all the 40s: Will be almost impossible to beat in the what % of the population saw it in theater type of question. And that graph is similar in the UK/Australia and so on. Even using half the alleged admissions, it would still be a candidate.

Well 202 million admissions during how many decade, it is in any way an obvious candidate in all those country for the most people seeing those movies in theater versus the population of the time, 1) Movie theater were much more numerous and more than 10 times more popular than now 2) It was the only way to see a movie

Because of how many people saw Titanic more than one time (or even more than 20 times) in theater that a step we can be timid to take, even in a country that count admissions instead of box office revenues like france. For any non France country, it become really hard to know, because we have just a rough idea of admissions to start with. Has for most tickets sold in relation to the numbers of inhabitants at the moment of release, Gone With the Winds is the obvious success and movies before it was possible to see them anywhere else being massively at the top of those type of list. Gone With the winds has 16.73 admissions in France apparently, 1950 release there (41.833 millions inhabitant), 39.99%, maybe it is the record there (I imagine in a lot of the western world it will be a suspected candidate)

A bit like for some spider man release of that era, Return of the Kings opened a wednesday, i.e it's weekend numbers is not only true weekend numbers without thursday previews added to them, but it burned 51.47 millions in demand before starting it's first weekend, combined to the holiday release helping the legs quite alot. Maybe today the whole 124 millions it did until is first sunday would be called it's opening weekend for a 3.03 multiplier. I think people prefer using first 7 days of business versus other title first 7 days to compare legs for that type of title (where the Lords of The Rings still do well, but less specially)

I guess that changed but isn,t top critic lower (76% with an average 6.8/10 rating versus 80% and 6.9/10 all critics score), same for metacritic 6.6 / 10 being a bit lower than RT 6.8/10 overall, does not seem to have any difference between top critic/MC and the rest at the moment, maybe that what you mean by being solid has they are usually lower ? Will be interesting to see how the many court or outside court settlement with major partner will go with WB, unlike Disney, partner tend to be giant affair with those production, maybe act of God type of close could apply, but maybe not considering Japan and other market blockbuster numbers.

That a myth (either it was true in a different I do not know) but not since I follow the movie industry. in 2019 financial year for AMC Admission: 3,301.3 millions in revenues, 1,699.1 in cost = 1602.2 million in operating income (48.5%) Food & beverage: 1,719.6 million in revenues, 278.7 in cost = 1440.9 million in operation income Concessions margins are incredibly higher, they make a large part of their money on it (not far from half), but usually most of the money is their share they keep from tickets. Regal 2017 https://sec.report/Document/0001168696-18-000003/ Admissions: 2,008.1 millions in revenues - 1,067.8 in cost Concessions: 930.2 milliosn in revenue - 123.8 in cost Against not by much, but most of the operating income from admissions. Dollars theater chain is probably a case for which it is true, but the fancy big chains with 3d tickets, that do not seem to be the case.

Ok yes now it make sense and I understand what you mean.

Depending of what you mean by that, would you not love if Jenkins goes purely 100% reliant on CGI a la Disney animation and closer to the first one in style ? It could be an interesting amount in a strict sandbox (like aesthetic choice)

I could be misreading the tone, but that is said like if it does take into account that the Academy TV deal with ABC is 75 millions a year's, it is pretty much their only source of revenues and they just got into a really big debt by constructing their museum (that I imagine is not close to make any revenue for them anytime soon). They are probably indeed hellbent into not missing on that $75M cash entry, it is probably not just an impression. And in the context of the industry hurting, it is a time when they could really use an Oscar season (specially if the different streaming platform are both well implemented and figured out PVOD by then a stream all our nominated movie on our platform during all the season for X could be something interesting at least it is something were claiming was ridiculous to not have for years)

For a Tenet type movie maybe, but you can probably do $450m in China alone right now no (say if Avatar 2 or Endgame type got a release) ?

Interesting, that would make sense, in the past there was a lot of direct to video content made by that type of franchise, they could continue that tradition, with an upscale but a bit lesser than Theatrical concept worthy for them on D+.

People and account is often really different for something like that. Say Disney+ account are shared in average by 2 household, 30% of account would only be 15% of "users", it would still be really high and a bit of an oversimplification, but a bit like those giant account % number of Netflix, those can be boosted if there is many users by account. On a regular basis at least one of the many people that share the D+ account password will have opened the app.