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Ipickthiswhiterose

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About Ipickthiswhiterose

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  1. Those would be awesome holds. BB just a great story and carries on. Jumanji 300 maaaaaaybe not dead. Gentlemen pushing the dial slooowly up and might hit 11. Still looking too niche to breakout but clearly it is being positively received. And Knives Out presumably continues to just be ridiculous.
  2. In 1994 Wynona Ryder was coming off a run of Beetlejuice, Heathers, Edward Scissorhands, Dracula and the Age of Innocence. All in the previous 5 years. That is an A Lister. Ronan and Pugh may be better actresses and they may, hopefully will, become bigger names. But comparing Ronan and Pugh now with Ryder then in terms of marketing is just....no. And contrary to what twitter may tell you, there were just as many feminists in the 90s, being just as relevant, as there are today. And Terminator, Addams Family, Winnie the Pooh and X Men don't have beloved source material? Perhaps the beat comparison for this movie is the 2005 Pride and Prejudice. Another adaptation of a popular classic featuring some up and comers but which nobody really asked for. This has relatively outperformed that by some margin. EDIT: Saoirse Ronan was also in another classic adaptation this year. Of Chekhov's Seagull. This is another beloved literary classic. It wasnt even on anyones radar and its unlikely most have even heard of its existence. That's how tough the market is for period classics.
  3. Little Women will have outgrossed a Terminator film, an Addams Family film, a Winnie The Pooh film, a Charlies Angels film and an X Men film. Those properties were all big in the 90s too. It will finish with roughly the same adjusted gross as the 90s version - which featured a much more established box office draw in the lead (Ryder was a full A lister), in a far more competitive market, having been successfully released abroad which the 90s movie wasn't making the movie more profitable overall A domestic period drama is not the same sell now as it was in the 90s. At that time you could sell period as opulence and spectacle - no chance of doing that now. Crucially it has made more money than Downton Abbey, a hugely popular contemporary period drama that is far more a part of the culture and current zeitgeist than Little Women was and a property lots of fans were excited about, while no lovers of the novel were really asking inherently for another big screen Little Women adaptation as i expect you would know if you knew anyone who loves Little Women. That this version improved financially over last one given how many advantages that had over this....yeah, its a pretty impressive achievement.
  4. I can have a stab at this even though it wasnt my point. Little Women is one of the most confidently shot films of the year. Its lighting and photography is exemplary - very Barry Lydon style tactile environments, with the warmth coming right out of the screen. The meta ending is handled with panache and flair. It takes a lot to deliver the definitive version of a movie that has been adapted 3 times succesfully already and have something new to say and Gerwig managed it absolutely. I understand folks for whom it might not be their thing, but not heard many legit criticisms of it in terms of craft. Joker could have been an incredible film with just a bit more confidence and flair from Phillips in what he was saying. If he had truly leaned into the Wayne-as-elite angle or the social angle more specifically. As it was it was a bit too close to the "Society!" Soup with some unnecessary scenes and an ending scene that seemed to come from literally a totally different film. For me the movie goes from a B/B+ to an A- just by finishing 5 minutes earlier with him on the car. In terms of directing awards, Phillips got to work with the worlds best actor on top form, a top class cinematographer and a first rate score and still made some core mistakes, alongside some great work. Thats good for honourable mention status IMO but not a true shortlist. That said, I think Two Popes, Ford V Ferrari, Midsommar and maybe a few other (Gems, Farewell, Lighthouse and Portrait not out here yet) had claims to the Best Director spots as well. I mean, Id not have the alienating and empathy-void Irishman anywhere even close either - well below Joker - but thats a whole other story.
  5. I've seen the movie here in the UK. I'm British but I'd wager a fair amount that there'd be nothing like the level of difficulty to follow of Lock/Stock and definitely not Snatch. Both of those films used regional British and traveller dialects that are distinct even over here. I suspect American's will only have the very occasional issue, nothing to interfere with the movie experience. Interested to see how it does Stateside. I really enjoyed it and I think the people who actually go to see it will like it, but might perhaps have a niche flair to it that prevents it from breaking out.
  6. "Initial reactions to trauma can include exhaustion, confusion, sadness, anxiety, agitation, numbness, dissociation, physical arousal, and blunted affect." (Trauma Informed Care in Behavioural Health Services) The behaviour of Peter in Hereditary is scientifically one of the most accurate depictions of immediate responses to trauma that a horror film has ever seen.
  7. Just for a frame of reference for some American-culture specific comedies to reverse this point: Good Boys: 75% of WW total came from the domestic box office 21 Jump Street: 68% Paul Blart: 80% Superbad: 72% Zombieland: 74% Napolean Dynamite: 97% Crazy Rich Asians: 73% Easy A: 78% Scott Pilgrim: 66% Blockers: 64% The Heat: 69% 30 Minutes or Less: 92% Pineapple Express: 86% That's just a few examples across the last decade and a bit. Comedies are more likely to be more culturally specific. Even some of the more universal movies like Lego Movie, Tropic Thunder and Bridesmaids show this trend.
  8. Am I the only one somewhat irritated by the accusations at this film that there wasn't enough "character"? Sometimes I find myself asking whether certain critics (online and print) think that every movie needs a sit down scene in which someone tells a traumatic tale from their past where secrets get revealed, otherwise the movie doesn't have enough 'character'. While I think there are perfectly good criticisms to be had of the film (Mendes' first stab at dialogue is hardly flawless for instance, and I get why the commitment to a single motif is going to mean is simply doesn't resonate with some), the 'lack of character' argument seems bizarre. Character is clearly revealed, through action and to a lesser extent dialogue, throughout the whole film. It's a high stakes action environment in what is essentially a workplace, how much of people's personal lives would anyone realistically talk about? Notoriously The Thing got similar criticisms on release. It strikes me as a remarkably lazy piece of criticism, at least without being supported by clear examples.
  9. But it was a "midrange movie". That blew up masively in the US. Venom was a midrange movie that blew up nassively in China. The other 2 were presented as huge epics. Doctor Strange is the one there that is the best comparison to how Black Panther was presented. And BP outgrossed it.
  10. You are completely ignoring the arguments that have been made back over this. A Madea Family funderal made $73.3 Domestically. It was barely released worldwide. Is this becase it underperformed everywhere else or because nobody outside the US knows who Tyler Perry is, nor has any referent for Madea? The Hate u Give made $30 Domestically and only another $5 Worldwide. Is this becase it underperformed everywhere else or because the novel was a US based novel that dealt exclusively with the police brutality situation in the US? Girls trip made 100m dom and 40ish OS. Did it underperform everywhere else or was it rooted near entirely in US culture, performed by women more known to American audiences? And of course these dynamics snowball. Again, universal movies are universal.
  11. Black Panther earned more in the US due to drastic domestic overperformance. It performed astoundingly OS for a completely unknown property. You might as well complain that American Sniper earned more in the US.
  12. It made the fatal mistake of not solving racism. The true greats like Crash, Green Book and Blind Side know where their bread is buttered. Seriously though I thought Rob Morgan had a great claim to a supporting actor nod, easily over Pacino, Hanks and Hopkins. Outstanding work. But, hey, famous people gonna famous.
  13. No. Sure. I like your posts. And I'm a 37 year old and my favourite horror movies are also classics of the genre. And I write about horror on a daily basis as a PhD candidate. That's why I chose to have a discussion with you that I tried to be paintstakingly even handed about, though it has sadly been taken as some kind of attack, which certainly wasn't intended. The first sentence is cool. The last statement is cool. The middle bit is a bit more questionable and represents the thing I was addressing. Because you are making an objective statement derived from your personal opinion. No. That's why I said "It's likely that these kind of films won't get into our Top 10s." It's why I liked your Top 10 post and wrote a post complimenting you on it. I already have. On the last page. You even liked the post where I did it. Again. I didn't intend to be aggressive in the manner that perhaps you have taken it. Hereditary was simply an example just because it had already been brought up. I could just as easily use Mandy as an example because that's a film I had the equivalent instinctive reaction to. But I have just come to a position that dismissing horror films that take risks/put themselves out there a bit as silly and stupid (which I could say about Mandy, or anyone might and have said about Neon Demon, Hellraiser, Event Horizon, The Lighthouse and so on but people don't tend to say about hybrid thrillers like Get Out and Silence of the Lambs just like they don't say them about dramas) is something we should generally think twice about as horror fans. It was intended as a discussion point, not something attacking anyone.
  14. The most egregious and hilarious example of all of this was a couple of years ago when it was portrayed as a "surprise" that Crazy Rich Asians flopped in China. As if China had never thought about inventing either rom coms or films with Asian people in before.
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