Cochofles
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Everything posted by Cochofles
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KINGSMAN: THE GOLDEN CIRCLE | Sep 22, 2017 | Trailer on page 15
Cochofles replied to CJohn's topic in Box Office Discussion
Maybe I am not looking hard enough, but I see no hype for this anywhere around me. I wouldn't be surprised by a Now You See Me 2- like drop from the first one... -
KINGSMAN: THE GOLDEN CIRCLE | Sep 22, 2017 | Trailer on page 15
Cochofles replied to CJohn's topic in Box Office Discussion
...and Wonder Woman. -
I would not be shocked if this coming weekend mother! had a 44 % drop...times two, and joined this esteemed group of films: http://www.boxofficemojo.com/alltime/weekends/drops.htm
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All I See Is You (Blake Lively, winter 2016)
Cochofles replied to pretty reckless's topic in Box Office Discussion
LOL She is the new Julia Roberts/Sandra B/Meg Ryan/Jlaw... They better cast her in the Black Canary film... -
All I See Is You (Blake Lively, winter 2016)
Cochofles replied to pretty reckless's topic in Box Office Discussion
#BlakeTrending #JlawWHO #Livelyhoods (that's the name of her stans... ) Seriously, I would be so fucking happy if this film somehow made an impact, despite all the things against it... -
Is Kingsmen 2 really expected to open with 40 m plus? I have a feeling that It will threepeat at the top...
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Here. This is your likely Best Actor in a Leading Role Oscar (and likely third acting Oscar ever given posthumously)... https://www.rottentomatoes.com/m/lucky_2017 "Everything Harry Dean Stanton has done in his career, and his life, has brought him to his moment of triumph in "Lucky," an unassumingly wonderful little film about nothing in particular and everything that's important." The Hollywood Reporter “Lucky” is something a good deal more substantial than the cinematic equivalent of a lifetime achievement award. It’s also a stealthily affecting and unpretentiously thoughtful meditation on community and mortality, and existential dread and transcendence, in the form of a richly amusing shaggy-dog story that features Stanton’s finest performance since “Paris, Texas.” Variety
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I know, right? We can talk about Wonder Woman, Get Out, and Annabelle 2 all we want (and they are all phenomenal box office runs), but It has got to be the # 1 box office story of the year. Also... Kidnap has been followed by a horrible narrative around it since what, 2014? And it has been online ( a decent quality version) for a long time, plus it got awful reviews, and ridiculously bad marketing...and it still managed to make 30 million dollars after posting some not-so-bad weekend drops. Surely not an extraordinary run, but I think it made way more than it had any right to do. This and the much better performance of The Call, makes me think that Halle Berry is truly an appealing screen presence. If she could only find a decent vehicle that is well marketed...
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All I See Is You (Blake Lively, winter 2016)
Cochofles replied to pretty reckless's topic in Box Office Discussion
She built her stardom on "crappy romcoms," and Home Again looked like something that could have found a larger audience if it had been better sold. I am praying that this happens. -
All I See Is You (Blake Lively, winter 2016)
Cochofles replied to pretty reckless's topic in Box Office Discussion
Is that teh film's total theater count? -
All I See Is You (Blake Lively, winter 2016)
Cochofles replied to pretty reckless's topic in Box Office Discussion
I see nothing wrong with it (except the weird-ass music). I think it's fucked up that the circumstances around this film's release weren't aligned in such a way that they would have taken advantage of the momentum from The Shallows. I can totally see a film like this being marketed by a studio who knows how to market films (say, Warner Bros.) becoming a solid performer. Then again, who knows? Maybe this will do a 47 Meters Down and surprise us all. I am rooting for Blake; she is awesome! -
Like @Stutterng baumer Denbrough mentioned, the film was immensely liked by the people who saw it, which explains the WOM and the legs. Regardless of what one thinks of the quality (subjective thing anyway), when Firepower claims that WW was only a financial hit "because feminism and SJWism," I have to laugh at the cluelessness of the whole thing. What does that even mean? That people who hated CBMs and did not give a shit about the character or the DCEU still paid to see the film because the "propaganda from feminists and SJWs" forced them to?