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Justin4125

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  1. This whole rotten tomatoes bias is bullshit. Joker has what, two 3/5 reviews that are rotten? MCU movies have them too, IW has a 2.5/4 rotten (which is 3.125/5) and Black panther, in addition to 3/5 rottens, has a 7/10 score marked rotten! There are publications posting articles about Joker's unfair treatment, just megaphoning the thoughts of angry fans despite the baseless nature of the claims. Isnt the whole point of rotten tomatoes to give us something more than just a numerical score? Read a rotten 3/5 review and a fresh one, the difference is immediately clear. RT uses the same program to grade each score, Joker's rotten 3/5s are no different than those from the MCU, and I dont remember anyone rallying against RT when Black Panther got a 7/10 marked as rotten On the flip side I for one am proud that Joker is engendering polarizing responses, why not just own it instead of fight with rotten tomatoes to increase the film's score. Though I have not yet seen the film so I cannot say anything, I am reminded of this article https://blog.taste.io/why-great-art-is-inherently-polarizing-what-terrence-malick-and-michael-bay-have-in-common-69c36bf26a6e
  2. I personally doubt it. Critics had some problems with it but audiences largely ate it up. Also better critical reception may have boosted it a bit in the states (maybe closer to the 650m box office pro originally suggested) but at least in Europe reviews were great as was audience response (internationally the narrative was quite different and RT hardly plays a role). Counterfactuals are a bit foolhardy to begin with, but I would argue the film is playing pretty close to its full potential and that 2bn was probably never in store, if cinemascore and social scores across the world (barring China) are any indication, I dont think Disney left much money on the table with this one As an aside I would argue the film is largely the best version of itself. The technology and realism both enhanced the must see nature of the film (pulled in many curious about the the lifelike quality of the animals) and held back its heart. If they had opted for more expressionful and soulful depictions of the animals that would have detracted from the live action component and would have bordered on a 3D reimagining, it may have made fans happier, but it could have risked the justification for the film's existence. TLK was made to be animated, more than anything I think the film affirmed the value of more traditional animation and the limits of realism
  3. Brazil is a relatively mature market, it doesnt experience such crazy market growth. However, the cinema industry only "matured" (or at least hit a state of relatively steady progression) not more than 10 years ago, it makes sense therefore that all the top movies are recent. Also inflation has been unable to offset ER depreciation, so the market hasnt grown over the last 10 years in dollar terms (again, partly because Brazil is not China and is far a more established market). Its far from guaranteed that the top movies will be so easily supplanted, it depends on the upcoming slate and in the next 2 years I think its hardly a given that we'll see such turnover in the top 10
  4. Some great news thanks. With strong runs in France and Japan (at least as high as the first It, which may be unlikely) I think It2 wil smash 500m WW, that would be a big win (227.5 DOM (2.5 multi), 258.5 OS-France and Japan (2.5 multi, I think it will do slightly better internationally legs wise) and 40m+ from France, Japan and other territories still to open = 502.5m+
  5. I agree that blaming Disney is a bit hyperbolic and certainly unproductive, but I take serious issue with your use of the word "flop". It2 is a smashing success expectations be damned, and Shazam and Pika were both successes, albeit on a more modest scale (if you factor in that they were well-liked and that each launched a new franchise, Id even say they were quite successful). Also both movies played around EG, so while its not like EG (and by extension Disney) prevented them from being billion dollar hits, that movie certainly sucked a lot of oxygen out of the box office. KoTM is closest to my heart and I was the most active Ive ever been on this forum when it released. I dont recall a single person blaming Disney for its relative underperformance. Also to clarify again, while its hard to argue that KoTM was a success, it certainly wasnt a flop either
  6. My god you guys. There is nothing Disney is doing that other studios arent or cant. They are unbeatable when it comes to building massive, franchiseable IP, and there is nothing nefarious or underhanded about it. You dont have to like Disney, but to malign them at every opportunity or somehow suggest that they have inherent competitive advantages is baseless. Every studio wants and tries to release Disney-like tentpoles (though I really really like the direction some (mainly WB) are taking in carving out their own niches to dominate (horror, adult-oriented, etc). If you take Live Actions out of the equation (a bit of snake eating its own tail situation) Disney is where it is because of its emphasis on talent and story telling. At the end of the day (over the past almost 100 years) those two things are perhaps the most accountable for Disney's success. Disney cuts no corners budget or timeline when it comes to developing their films, and generally profit through years of old fashioned good will and consistency across sequels. It seems like everyone has a problem with Disney, and I hear more about Disney's malicious tactics than I do about any other studio, but its just too much. Clearly Disney's success hits people at an emotional level not an intellectual one Also, can we stop shaming audiences here. Its a lot harder to make a movie that everyone wants to see than some of you are making it seem. Every studio is doing everything it can to accomplish that goal, but audiences are fickle. Iger ushered in a new era of M&A, which when combined with Disney's movie making process, has turned Disney into the goliath we see today. Disney is the industry leader for a reason, and it got there without any advantages or villainous intent. Every studio "weaponizes nostalgia". You dont have to like Disney's movies to accept their current place in the pole position (itll change soon, it always does) but just keep in mind that we are in the midst of an unprecedented year. Without genuine competitive advantages, its only a matter of time before another studio beats Disney at their own game, so no need for Disney conspiracies btw lab276, in my limited experience exhibs love Disney because they more often than not respect the theatrical window and rarely ask for 6 week guarantees (as many other studios do, even for smaller releases). Every studio pressures exhibs on their tentpoles, Disney just has more of them. Ive heard some rumblings, but the word on the exhib street (at least between 2008- 2011) was very positive regarding Disney (in stark contrast to what I read on these kind of forums)
  7. It totally is though. Look at gross in USD relative to admissions. Exchange rates in Brazil have over-powered inflation. Go back as far as Titanic's gross 20+ years ago, ATP in dollar terms is close to that of 2019
  8. I don't think it has enough gas left. For some reason this seems to be a contrarian position, but to pass JW it needs $163m more and it just grossed $38m globally. With summer weekdays winding down, I would be surprised if it passes JW. Grosses in Japan and Italy (the two regions it needs to perform well in in order to pass JW) tend to collapse when summer ends. It can do it, but its not a lock
  9. It just had a $38m global weekend and you think it can do $190m more? Especially with summer coming to an end its hard for me to see that
  10. It seems its rank 4 all in Europe (if not its very close). The whole EG underperforming in Europe is overblown. Sure there are some territories where franchises stand out (like the Tolkien films in Germany), but EG is consistently high across each country in Europe. In relative terms its performances in the US, LatAm and Asia are more impressive, but it still kicked ass in Europe
  11. Overall EG is the top 1 film of all time in both Asia and LatAm, top 5 all time in Europe (and of course rank 2 in the US). I think its fair to say that love is shared globally
  12. Deadline is comparing based on today's exchange rates. Same reason why Deadline explained that Hobbs and Shaw opened 1% above Fast 6 despite opening 30% below in dollar terms in comparable markets
  13. When it comes to reporting international BO, especially in Asian countries, Disney (along with WB) might be the least guilty of all the studios when it comes to real BO fudging (as in lying about numbers, not things like double features or expansions). In general Disney seems to underreport more often than they overreport. When it comes to domestic BO, there arent many ways to truly lie about numbers since there are so many third party sources that can verify or challenge your numbers. In some cases studios report numbers that the industry challenges, but I havent heard of this happening with Disney like I have with studios like Paramount. I think Ive seen you make the same post a couple times. Disney has plenty of faults just attack something else.
  14. I think its a little too early to declare the death of non-Disney films. We all knew what we were in for, Disney had so much massive IP playing this year no one should be surprised about the outcome. But for many of the non-Disney under-performers, there were clear reasons for why they disappointed. Did Glass's performance truly surprise anyone? The film's ending was divisive and it failed to match the previous two films in terms of quality. I would argue it performed just fine everything considered. Looking at each of the under-performers individually, they either represented big steps down in terms of quality, were part of fading franchises or played too damn close to some of the biggest movies of all time. Its not entirely the fault of moviegoers for why these films struggled at the BO. IT2 is playing far away from the Disney tentpoles and its offering something different from what moviegoers have gotten from the glut of massive Disney IP this year. Horror has also thrived in this new movie world order and I honestly have no worries about the film's quality thanks to Andy Muschietti and what we've seen in the trailers. Happy with an OW above 80m? I cant believe we have gotten to this point. I personally dont see any trend that would suggest a massive fall off for this movie, instead I see many movies whose performances makes total sense in retrospect. I would be absolutely shocked if this film were to open below 100m and I would not be surprised to see this film take the R-rated opening weekend record. I would stake real money on the former.
  15. I also dont quite understand why so many people are expecting such a steep drop from Part 1 to Part 2. I think a lot of people think the series peaked with Part 1 given the film's outrageous BO, but all I see are indicators of a potential break out sequel (for a horror film, part 1 had great legs and fantastic home ent sales, great trailer reaction and hype, even better release date than part 1 (lack of competition before and after release) and (very much my opinion) an amazing director operating at the top of his game on a project perfectly suited to him)
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