Barnack

Tomato law (if it exist) is more about movie targeting 15-45 white male, say something like a Baby Driver, kids movie, targeting woman, skewing older, action are not affected as much. And yes, not sure what the word flop is already used, it achieved to get so many theater worldwide, if that 50m price point is close to the truth it could be a nice success.

It is a steady 75% or above after 80 reviews: Rotten Tomatoes awards the Certified Fresh™ accolade to films and TV programs that have a steady Tomatometer® of 75% or higher after a set amount of reviews The 70% rules is to keep it once you have acquired if your score go down, atomic blonde is at 73% on RT right now. I think it did reach 75% at 89, but it was not steady I would imagine at that moment.

Domestic market: United States, Canada, Puerto Rico and Guam That why it is not called US market nor north america (Mexico not being in it) but a specific to the box office only term "domestic".

A feel like they would only be a producing partner and would still need someone to do the world distribution at some point. Could be to offer flexibility (or you cannot effectively deal a long term deal without them knowing who you will cast as Bond) for the post Craig shit. I'm really not sure that Disney would have any interest in the Bond franchise, at least not anything similar to what the current deal is. It would burn a release date for them for very little and would probably not like distributing an EON/MGM movie with them calling the shot, and the Disney brand does not match Bond at all and they do not have an alternative sticker a la Touchstone currently active.

This search engine can help: https://www.cinesift.com/#/ Ballistic: Ecks vs. Sever seem to be the only one over 100 review, 50 reviews there is 3 others. Eddy Murphy A Thousand Words, One Missed Call Pinocchio (2002)

You are right At the moment The Mummy: $31.6m Cloudy 2: 34m Ninja Turtle: 35m Emoji should achieve a new record easily, 25m would be great for a movie like that.

True, but they can (and usually do) hire external consultant expert, a type of campaign manager for each movie and give them a budget. Weinstein employee campaign expert get hired to campaign for others studio movie if he does not have a movie to push for him for examples. Some people did their business master degree trying to understand how it work at all in Canada (the price are really high, food or nothing else is special, for a long time they were cash only and did not accept credit card). One aspect of the Tim Horton success is really nice and really clean bathroom, people with a night shift (Cops, ambulance driver, etc...) did start to go there all the time for that reason.

Hollywood studio have enough money to push all really profitable movie they released in a year if the above the line people are powerful and want it (by definition, they simply ad campaign cost to those individual movie marketing, reducing the people getting those award campaign participation bonus in the same time) Every movie being push impact all the others (competition), more so if they are comparable, regardless of the studio.

Must be even a really good first weekend for it (say 30m) would have it put it as the lowest ever I think. (cloud 2 is maybe the lowest PTA opening over 4000 theater right now, at 34m OW) http://www.boxofficemojo.com/alltime/weekends/?pagenum=m1015&sort=theaters&order=DESC&p=.htm

http://www.oscars.org/news/20-animated-features-submitted-2014-oscar-race It was in the official 20 eligible movie for the nomination. That said that does not mean that not some of actual voters in the branch didn't remove it from their consideration because of that element too. But all the others candidate that I saw were better choice than the Lego movie imo.

https://en.wikipedia.org/wiki/John_Wayne_Gacy + that stephen King book It and is tv/movie adaptation iconography ? Oh there is an wikipedia entry about it: https://en.wikipedia.org/wiki/Evil_clown#Origins And for the modern take it does seem to be a combination of Gacy and Stephen King, both would be really american yes.

Sony profit on the bond franchise between 2008-2018 (they do not have home video or tv, so the revenue source stop really fast) Quantum of Solace: 22.65m Skyfall: 57.3m Spectre: Was expected to do around 40m with that performance. Around 120m in 10 year's, 12m a year's type of franchise for them. The Grown Ups Adam Sandler franchise between 2010 and 2014 Grown up: 71 Grown up 2: 49.9m Around 120m in less than 5 year's and investing not nearly as much money. Arguably loosing Sandler to Netflix, year's of Lord&Miller, Edgar Wright and the Russos brothers to Disney were bigger blow to Sony than if they loose Bonds to someone else. Those movie are extremely safe but they give good ROI of 15+% at a box office of like 1.7 billion worldwide for them.

In our first weekend world, that is becoming more and more true, the just make it good and people will come type of comments is nearly total B.S. But in Apes case, people commenting about the content they saw and was not clearly in the marketing are often talking about the really bad legs, for those the actual content play some part. But yes it is true you so often hear people talking as if people that have seen a movie was because they were liking it, while people pay before having seen the movie and have no idea.

If it is the only think you will be able to watch, life sentence context, you probably want to consider to have one porn star in there (and they can have very large filmography). And actor with large/diverse filmography have a big advantage, Sam Jackson (126 movie), Robert Duval (99 movie), etc...

It is perfectly normal for at least foreign critics, "real" film critics will tend to see 350-400 movie a year I think ? There is around 150-160 wide release in the US, around 500-600 limited. Foreign critic will not really care for the wide domestic release factor and will review hundreds of foreign movie so they have an obvious pass. For movie critic here, if you want to watch just 35% of the non wide release and some festival/foreign stuff than end up never being released (200-250 title or so) you will probably need to filter some of the 150-160 down for your schedule. Maybe reviewer should concentrate on wide release, critics probably not they are more important for stuff that have yet to even get a distributor arguably.

Are you getting old and starting to look at 17 to 24 and think that they are 16 or less maybe ? (R-rated is not under 18, it is for 16 year's old or less) Opening night can be deceiving (specially if it was a week day ?), mine was just adult I think....

Not a bad question, some recent horror hit were PG-13 like Split (138m) But they didn't do more than Get Out (175m), Conjuring (137m) that were R-rated. Did it help a movie like split to be pg-13 ? On is first weekend according to this: http://deadline.com/2017/02/get-out-collide-rock-dog-lego-batman-fifty-shades-darker-box-office-1201964096/ 18-24 audience were close to 33% of the audience over 25 were 61% of the audience So the 2-16 were less than 6% of the OW audience, the unaccompagnied by an 17 or more year's old 2-16 that could not have bought a ticket were less than that..... That under 17 audience is getting more and more extremelly hard and costly to get into theater (need a really costly franchise superheroes, star wars, animation , etc...) and is probably not worth making too much of an effort for most movies and not worth sacrificing much to achieve the rating. Dunkirk was even more 25+ is first weekend (76% of the audience were over 25 and most of the rest were probably 17 to 24)

The G rating completely went away over the year's, almost 100% purely documentary. In 1995 G movies were 8% of the domestic BO (with movie like toy story, babe, pocahontas), they were 0.1% of last year box office. http://www.the-numbers.com/market/mpaa-ratings PG still exist but is really dominated by animation, Top PG movies in 1995: 1 Apollo 13 6/30/1995 Drama Universal $172,070,496 39,556,435 2 Casper 5/26/1995 Comedy Universal $100,328,194 23,063,952 3 While You Were Sleeping 4/21/1995 Romantic Comedy Walt Disney $81,057,016 18,633,796 4 Jumanji 12/15/1995 Adventure Sony Pictures $57,848,637 13,298,537 5 Father of the Bride Part II 12/8/1995 Comedy Walt Disney $52,265,735 12,015,111 6 Man of the House 3/3/1995 Comedy Walt Disney $40,029,009 9,202,071 7 Mighty Morphin Power Rangers: The Movie 6/30/1995 Adventure 20th Century Fox $37,785,198 8,686,252 8 The Indian in the Cupboard 7/14/1995 Adventure Paramount Pictures $35,627,222 8,190,165 9 Sabrina 12/15/1995 Romantic Comedy Paramount Pictures $30,788,670 7,077,855 10 Free Willy 2: The Adventure Home 7/19/1995 Drama Warner Bros. $30,077,111 6,914,278 Many live action movie including something like Appollo 13 2016 top 10 PG movie: 1 Finding Dory 6/17/2016 Adventure Walt Disney $486,295,561 56,219,140 2 The Secret Life of Pets 7/8/2016 Adventure Universal $368,384,330 42,587,783 3 The Jungle Book 4/15/2016 Adventure Walt Disney $364,001,123 42,081,054 4 Zootopia 3/4/2016 Adventure Walt Disney $341,268,248 39,452,976 5 Moana 11/23/2016 Adventure Walt Disney $210,046,114 24,282,787 6 Sing 12/21/2016 Adventure Universal $166,497,820 19,248,302 7 Trolls 11/4/2016 Adventure 20th Century Fox $150,336,645 17,379,958 8 Kung Fu Panda 3 1/29/2016 Adventure 20th Century Fox $143,528,619 16,592,903 9 The Angry Birds Movie 5/20/2016 Adventure Sony Pictures $107,509,366 12,428,828 10 Alice Through the Looking Glass 5/27/2016 Adventure Walt Disney $77,042,381 8,906,633 Just one live action at number 10 2017: 1 Beauty and the Beast 3/17/2017 Musical Walt Disney $504,014,165 58,267,533 2 Despicable Me 3 6/30/2017 Comedy Universal $215,947,125 24,964,985 3 The Lego Batman Movie 2/10/2017 Adventure Warner Bros. $175,750,384 20,317,963 4 The Boss Baby 3/31/2017 Comedy 20th Century Fox $174,481,618 20,171,285 5 Hidden Figures 12/25/2016 Drama 20th Century Fox $167,049,358 19,312,064 6 Sing 12/21/2016 Adventure Universal $103,831,225 12,003,609 7 Captain Underpants: The First Epic Movie 6/2/2017 Comedy 20th Century Fox $71,938,377 8,316,575 8 A Dog’s Purpose 1/27/2017 Drama Universal $64,321,890 7,436,056 9 Smurfs: The Lost Village 4/7/2017 Adventure Sony Pictures $44,986,234 5,200,720 10 Moana 11/23/2016 Adventure Walt Disney $38,710,930 4,475,252

I think the main reason would be knowing their limitation, using Toys and all clean solid setup (that are much much more easier to animate and render than organics stuff/fur/hair/water and going with the very irrealistic plastic look for human matching them), and a bit like normal movie doing so much of the movie in the same room saved a lot on cost. You see the movie limitation versus something even cheap of today in that first Toy story. It could have costed much less than that without the issues. And that was 1995 money, almost 50m now, Sausage party was 19m, Angry bird 73m, Minions 74m.

Usually yes, if they are an extension/exploration/allegory of what human nature or system incentive could lead people to do (Say like an Hunger Games) it is Sci-fi yes. on Imdb: Mad Max: Fury Road (2015) R | 2h | Action, Adventure, Sci-Fi It tend to be in the soft-Sci/fi (versus hard sci-fi), that deal with social science/sociology.

I think that could how used we are to those element, Jedi are kind of superheroes (they have many superhuman capability, Navy arguably so but they do not really count) As for US centrism, ET is a really american suburb movie, Avatar feature what is for many a clear allegory of the US military of the 2000's, https://en.wikipedia.org/wiki/Themes_in_Avatar#Anti-Americanism

Nope I do not have royal blood (if people are curious why is she getting X opportunity, having powerful family in fashion and publishing will help).

Delevigne is extremely British and not american, kind of in the royalty there: Her godfather is Condé Nast executive Nicholas Coleridge and her godmother is actress Joan Collins. Delevingne's maternal grandfather was publishing executive and English Heritage chairman Sir Jocelyn Stevens, the nephew of magazine publisher Sir Edward George Warris Hulton and the grandson of newspaper proprietor Sir Edward Hulton, 1st Baronet. Her paternal great-grandfather was the Canadian-born British politician Hamar Greenwood, 1st Viscount Greenwood, and her maternal grandmother Janie Sheffield was lady-in-waiting to Princess Margaret. Through one of her maternal great-great-grandfathers, Sir Lionel Lawson Faudel-Phillips, 3rd Baronet, Delevingne descends from the Anglo-Jewish Faudel-Phillips baronets; two of her ancestors on that line served as Lord Mayor of London

A sorry, yes I agree that competition can be overstated sometime (just looking at how well Avatar competition performed did show that you can have a lot of room), in a way competition bring at the same time people in theater that see your movie poster, your movie trailer in the best possible condition, etc... if they liked their experience they can want to come again.

Studies did show that it seem to have a negative affect if you fail at getting award and are perceived as an award player, it is a risk. I don't think it is fair to talk about percentage, maybe a movie like Room made nearly 100% more but that would be just 7 million dbo. http://www.investopedia.com/articles/investing/021116/financial-impact-golden-globes-and-oscars.asp The golden globes has the biggest effect on the domestic box office (by being earlier) in general it would be apparently around 15 million in average if you win, best picture win is clearly a good boost (around 18m). But some category like Best actor historically do nothing for a movie (less than the campaign cost) because those movie already had all the visibility they could have usually.