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Posts posted by Ken
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I was going to point out that there is no "THE" in the title, but then I remembered you all argued about it back when Incredibles II was coming out, so never mind.
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I've always wanted to post this somewhere: here's probably the simplest possible organization of the Fox X-Men timeline, the way I see it.
Old Timeline
First Class
Origins: Wolverine
X-Men, X2, and The Last Stand
The Wolverine
Days of Future Past
New Timeline
PAST: Apocalypse and Dark Phoenix
PRESENT: Deadpool 1&2, [Legion/The Gifted ???], and The New Mutants
FUTURE: Logan
Of course, it all doesn't exactly line up, but pretend like it does.
From what little we know so far about this new film: it would be easier for it to start off in this universe before jumping into the MCU. Interestingly, it'll be handled completely by Marvel Studios and not by Donner, Kinberg, etc.
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I wasn't following much box office or Avatar discussions back in 2010-14, so does anyone remember when exactly people (beyond the Cameron cult) grew less impressed with the first movie and got tired of hearing about the sequels' development?
I feel it had to have been around the time The Hobbit movies were being released and The Force Awakens was gearing up, but I'd be curious if the "no cultural impact" stuff settled before then.
I know that things will be different this time around, now that we know the next movie is actually coming up soon. -
Here is WB's slate next year, as it currently stands:
House Party
Magic Mike
Mummies
Shazam
Evil Dead
The Flash
Barbie
The Meg
Blue Beetle
The Nun
Dune
Wonka
The Color Purple
Aquaman
It's definitely more stacked than the last couple of years, with all but one from a recognizable IP: no almost-straight-to-Max Those Who Wish Me Deads nor risky Don't Worry Darlings here. If they all stick to their planned dates, does anyone think WB can climb out of the gutter? Or will these films end up being too unappealing to the masses? Should any of them be delayed?
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Oppen the house top, click click click.
(Somebody had to do it.)
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But if you all meant working on smaller non-Avengers scale projects, I guess that could work out, but people sadly generally have higher expectations from them now.
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Regarding the Avengers team: I think it's a rather tall order to go to a group of people who had just spent years of their lives crafting not just one but two multimillion dollar-budgeted epics with hundreds of actors and loads of complicated VFX, paying off multiple previous films that had to satisfy audiences around the world... and expect them to do it again and expect the same results.
I know no one really likes their post-Marvel projects, but they seem to be satisfied with making those at this moment.
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Remember when there was going to be a DC movie this month (first Aquaman, then Shazam)?
Remember when next week was going to be Star Wars' theatrical comeback?! Despite all that's changed since the release of TROS, that still would have felt too soon!
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Is it also A New Dragon Tattoo Story?
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I've thought of all the ways WB should appropriately handle this film:
1. Don't spend too much on marketing. This movie's production costs are expensive enough as it is with the many delays and VFX and reshoots and high-profile actors. TV spots, toys, and a soundtrack are enough: nothing like Black Adam's ineffective global tour (I imagine Johnson's scheduling to promote that film was a factor as to why WB didn't move its release date earlier).
2. Keep Miller out of the spotlight. Yes, it's jarring to not have the lead around to promote the film: but in this case, I think people will understand. If they must have the talk shows and press interviews and magazine shoots and red carpet photos: Keaton, Clemons, Calle, and whoever else can still work out.
3. Don't put any sequel/future franchise bait in the film. None of us knows exactly how this film will end: but to avoid another Justice League (or any failed franchise film in general): just handle this as a complete story. Treat it like Iron Man 3 or even Avengers: Endgame, where one can walk out of the film satisfied without needing to see more. [Personally, I'd have Barry sacrifice himself at the end like in the classic Crisis story, and keep him dead unlike Superman, but I don't know what the filmmakers nor the studio want.]
I also wish (if the studio was too ashamed to release it on its own) Batgirl could have been included on the Blu-ray as a special feature "bonus movie" (a practice that was common back in the 2000s e.g. Anchorman, The Darjeeling Limited, Inglorious Basterds, Where the Wild Things Are), but I suppose those days are over.
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I'm reminded of when Disney marketed Dark Phoenix as "the conclusion to the X-Men film saga!" when that was never Fox's plan. If WB is actually serious about starting everything over, is James Wan going to pretend in interviews "I always intended The Lost Kingdom to be the end of Arthur's story"?
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When WB made Man of Steel a decade ago, their only intention for that film was to revitalize the Superman franchise, Batman Begins-style. The decision to make it the launching point for a DC cinematic universe came very late, after Green Lantern failed to do that. That hastiness is why they're still in this confusing mess in the first place.
It'd be like if they decided today to make Barbie (which looks like a standalone film) share the same continuity as the Abrams-produced Hot Wheels film they're currently developing.
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Johnson and his team probably called in favors to convince Zaslav, DeLuca & Abdy, and Gunn & Safran to greenlight a sequel. If that doesn't happen, I guess he'll have more room in his schedule for those Red Notice sequels he owes Netflix.
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In the meantime, Jake Kasdan is directing Johnson's next movie.
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Well, since this movie's done with, what's the next Dwayne Johnson project that's been languishing in development for ages?
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Produced in Spain.
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To be real, what makes me trepidatious about this film isn't the casting or the music, but what the script could turn out to be.
As a kid in the 2000s, before social media took off, TLM was THE Disney film that people around me loved to complain about more than any other: "She risks her life for a MAN? One she hardly knows? At age 16?"
And since a big staple of these remakes, like BATB and Aladdin, are the filmmakers attempting to make these stories more "relevant" by addressing/solving pointless nitpicks folks had about the originals: imagine what they'll do in a vain attempt to try to appease everybody.
But I'm not going to dwell on this subject any longer. As others have mentioned before, Disney's quickly running out of these things, and this era will soon cease like the DTV sequel phase did. It's not like they're gonna pivot the other way and make an animated remake of Eight Below or something.
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Are this and TGM Paramount's only awards players this year? What is the future of their prestige films going to look like anyway, since Apple is doing the heavy lifting with KOTFM, and the Gianopulos slate is almost done?
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Everyone's making it sound like this movie's performance depends on Ariel, when we all know deep down is that Chef Louis is the real dealbreaker.
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5 hours ago, Ledmonkey96 said:
Crazy rich asians i think
Correct.
5 hours ago, eddyxx said:You forgot Avatar 2 and 3 finally got filmed.
I know what happens when someone says the A word around here.
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So in the time since the 1st BP in 2018: there are still no more Star Wars spinoff films, Detective Pikachu ranked only 18th WW in 2019, Mortal Engines and Alita both tanked, CRA didn't take off as a franchise, Depp lost Grindelwald, New Mutants came out during a global pandemic, Gambit didn't get made, Jeffrey Katzenberg's "new TV" venture didn't last a year, AT&T's ownership of WB sputtered, we finally got an Oscar telecast that cut most of the categories, and everybody hated the Wonder Woman sequel.
But through it all: at least James Gunn won in the end.
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I started an account here, 4 years ago, for no good reason. Is the Avengers 4 teaser out?
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The Little Mermaid | Disney | May 26, 2023 | Queen Halle will rule the summer!
in Box Office Discussion
Posted
For anyone that saw Mary Poppins Returns: remember that underwater musical number? That was really vibrant and whimsical. Whoever directed that movie should have been asked to work on this.