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Ipickthiswhiterose

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Everything posted by Ipickthiswhiterose

  1. I don't think the other folks on the threat were talking about new versions. More that their 00s versions were being used as synonym for "any old superhero rubbish". Ghost Rider done well would perform extremely well right now and I don't know anyone would deny that. Indeed I think many suspect it's coming soon after Blade. Venom's success will make that even more likely. Supernatural Marvel is probably just getting started.
  2. I don't think that first point necessarily follows. You can frame any of Citizen Kane, Casablanca or Gone with the Wind as a 'widely regarded greatest film ever made' but I don't know a 2021 sequel to any would make any money. It isn't perceived as the greatest (etc) outside of the US so would be relying almost entirely on Dom and the status is based on contemporaneous US TV critics, not fandom-size. I have no doubt that it has very many dedicated fans but enough interested in a prequel with a bunch of new actors for a $20m opening? I'd argue a Breaking Bad or GOT movie would struggle to make
  3. I don't understand what the business argument for the Many Saints of Newark is. Does it have an ultra-low budget or something? We're talking a completely fresh faced lead actor with no track record, great supporting actors but not with massive profiles, a TV writer, a property that hasn't been mainstream for 15 years and a genre that couldn't possibly be more out of the zeitgeist right now. None of which isn't to say it might not be a great film - given the talent involved it could well be - and of course there is a loyal following of sorts which will bring in some busi
  4. It's also with noting that while Bond generally has positive media coverage, currently it is slavering all over it. If we were outside of the current situation you could even argue the BBC is bordering on breaching neutrality the extent to which it is providing free publicity and going with the 'saviour of cinema' tag. There is no way anyone in the country is unaware this is coming out and that they are 'supposed' to go to it, even if they are non cinemagoers who never watch film trailers on Youtube or anything.
  5. If SS never existed and the same trailer was released pre pandemic it still would have major IP issues. It still wouldn't have had the Joker in it and it still wouldn't have had a star of the level of Will Smith in it. It would still be folly to drop that size of budget on it, given those factors. The first SS squad trailer was an action film trailer: but it also advertised a dark romance, was supposedly part of a continuing story and most of all...had the most reliable box office character in cinema history in it. Deadpool 2 was a continuing story to a previously love
  6. I like the film. And my only major criticism would be the Harley Quinn subplot, not the tone. I am specifically talking about advertising. The jokes I am referring to were perfectly tonal within the film. They were all amusing within the film. My argument is that they didn't work to be taken outside of the film to market it. The tones of Deadpool and TSS are similar. The trailers are not. The first two lines of the Deadpool Red Band trailer are: "I love you Wade Wilson, we can fight this." followed by "You're right. The cancer's only in my liver, lungs, prostate and bra
  7. Thanks to all for the heads up for Green Knight. I have been looking forward to it for a while, but that it was actually out now had passed me by. I think it's been so long I'd just mentally written it off!
  8. No interest in the critique of the film itself particularly. You can critique anything. Although your complaint of the finale being Luke exposing an angry young man by showing him he was just flailing angrily about at nothing is probably the best summary of the philosophies of the original trilogy you can get. This is a story where the OT was resolved by the protagonist refusing to fight. We can slate TFA for being a copy of the original creatively sure. Some people loved that and some didn't, and that's all fine. But what's more significant is what that creative choice did for the
  9. Original Trilogy: Film One drops 30% to Film Two. Film Two drops 11% to Film Three. Prequel Trilogy: Film One drops 34% to Film Two. Film Three RISES Sequel Trilogy: Film One drops 36% to Film Two. Film Two drops 19% to Film Three. In each case the First Film is an unprecedented major cinematic event. In the first two cases the films came out sparingly, with the third film representing what we considered the end of the franchise to the degree they were likely to be the final SW movies ever. With Star Wars (at least when the first
  10. I find this baffling but there we go. Nobody in the history of movies has been put in the position Rian Johnson was in that film as far as I'm aware (ie. no creative control over the first or the third movie in a pre-determined trilogy, just having to make a second). Add to that he had to follow a first film that had simply remade the first SW movie....hardly a "promising" setup no matter how successful financially it had been. It was somewhat contentious (again, less so in my experience than TROS) but no more so than was inevitable after Abrams did what he did with the first film.
  11. I'd pretty fundamentally disagree with this: as stated before the only really toxic word of mouth I ever exerienced was RoS, not TLJ. I just feel TLJ was a return to where the franchise always was in the UK following an anomaly in TFA. I always saw the backlash to TLJ as a combination of an American thing and TFA having been such a remake of ANH that a certain degree of dissonance in the turns it took afterwards was inevitable. But that's an old debate not worth addressing here. As for a franchise going wrong so quickly, the Matrix trilogy's trajectory was clearly worse
  12. I think TFA had a big curiosity and nostalgia factor. The next two films are probably more representative of the general UK appetite for SW: high but not rabid. Then in addition to already mixed response to TLJ, TRoS had absolutely toxic word of mouth in the UK in my experience. Potter had a set audience of enthusiasts, even if it was a large one. Bond gets mums, dads, grans and Joe Public out. Huge amounts of non-cinemagoers turn out for Bond. MCU is definitely the biggest in the under 25s. But it was working up from a much lower base. Potter captured Millenials and pr
  13. On opening weekends, Avengers and Star Wars both have 2 bigger openings than any Bond. Potter has one. For overall returns the 2012 and 2015 Bond films do better than anything other than Force Awakens. As a broad premise I'd concur with your list. Though it would heavily depend on generation. It's all totally dissonant with me as I have no personal interest in Bond films and haven't watched any in the cinema since The World is Not Enough. I'd say that in terms of overall cultural exposure *most of the time* the other three franchises are more prominent, BU
  14. One of the greatest Box office performances of all time. Possibly even the greatest. Outgrossed Platoon, Aliens, Ferris Bueller, Rambo First Blood p2, Beverly Hills Cop 2, Three Men and A Baby and Lethal Weapon in terms of film released a year either side of it. Would have been the highest grossing film of the year if it had been released in either the following 2 years, as it was it was second to Top Gun. In fact after its release in 1986, the only two films that would outgross it during the rest of the 80s in the US would be Indiana Jones and the Last Crusade and Batman. Crazy.
  15. I think I'm right in saying its release has been late in 4 of the bigger East Asian markets: Malaysia, Philippines, Thailand, Indonesia. Certainly it's only just dropped in Indonesia. Those 4 markets are usually good for 40-50m for MCU films. Hasn't done particularly well in South Korea. Has done pretty well in HK and Singapore by standards of pandemic (ie. quite a bit better than Widow), but those nations are well below normal still. It's doing about the same as Black Widow in North Western Europe: UK, Fra, Ger, Scandi but last time I checked was doing quite a bit wors
  16. I was expecting the worst for DEH, but that's even worse than the worst I was expecting. Julianne Moore, Amy Adams, Kaitlyn Dever. The waste of premium talent, sheesh.
  17. Worth noting Paw Patrol has gone over $100m worldwide and is now at around x4 its budget. Probably excites not many folks on here, but I know it was 100% on the radar of my parent-of-toddler friends. A reliable brand has been well built up there and the mums, dads and kids showed up very reliably. Here in the UK its going to finish close to both Cruella and Croods. Done great in France and Germany too.
  18. Agree to a degree. I think Scott Pilgrim's biggest issue - as with the recent TSS - was that its creators (and its critics) didn't notice how narrow the film's target demo was because everyone involved, plus both online and print critics, nearly all fell in that group as it's the most visible and vocal demo. The marketing got blamed, but I don't think that was fair. The film just had a ceiling. That wasn't the same for Baby Driver which had universal appeal. Last Night in Soho doesn't have the same roadblock as Scott Pilgrim when it comes to character (ie. If you don't
  19. I think more likely an example of a film that has a hardwired, dedicated core audience of people who are already committed to loving the material. The people who like this show find it VERY important to them, and they are likely to be a large proportion of the first day audience, but there is also a very limited number of them. Not sure we can read anything into the wider reception yet.
  20. Might as well put on a list as a provocation since it might help discussion and I already had a list from a different environment a couple years ago. Just made a few sketchy changes, might come back to it as there are a few things here I've not seen in a while. Any publishing of this sort of thing is opening oneself to critique, nay ridicule, so feel free to taken open season on this or ask any questions. I may come back and change this. I do study horror, albeit mostly live/theatre rather than film, but there's always the balance between importance, objective quality and then just what outrig
  21. Really looking forward to this, the last one was before I joined the forum. Obviously lists of horror will be affected by category-issues and the bigger names, but hopefully we'll get some nice surprises.
  22. The previous two comments are excellent and I wish I'd written them. To slightly address filmlover's point though: I don't think that it's so much film's propensity for naturalism that's the issue, rather how contemporary filmmakers simply don't strategise around the change from that live environment to screen, regardless of how than manifests. And even when they do strategise - such as Rocket Man - the audience only goes with it for as far as they're inherently bought into the material. Indeed two recent-ish transitions from Stage to screen that didn't work are History
  23. It's an incredibly strange phenomenon. Especially given how many genuinely good shows there are, versus the ones that become significant and successful. Seems like an arbitrary toss of a coin as to which shows get deemed 'good'. Theatre culture however is very slow moving and operates as an insular bubble because it kind of has to given the size of the demographic matched against how much money the big shows cost. Once the pieces move in on a show the culture kind of feels it has to go all in in order to get the mainstream to then buy in to enough of a degree. As such you get sho
  24. I'm extremely excited about Dune and really hope it does well. But not getting any buzz over here about it, don't know what basis the idea it would be huge here is based on - doesn't come across to me as being aligned to mainstream British audiences. Maybe I'm wrong. The late opening here really, REALLY won't help. Should have got in before Bond, not waited for after.
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