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El Squibbonator

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  1. If you don't mind me asking this question here (if you want me to make a separate thread for it, I'll gladly do so), what might it take to generate an interest in such movies from Hollywood?
  2. That doesn't really tell the complete story. If you just look at the top 50, devoid of context, you'll see that some movies that were very successful in their own time aren't on the list at all. In fact, the only movie on the list from before 2000 is the original The Lion King. More to the point, if we restrict ourselves to only traditional animation, then Demon Slayer is the fourth-highest-grossing traditionally animated movie of all time. As for Demon Slayer itself, I can't really overstate how remarkable its performance is. The only foreign animated movie to have a higher US opening weekend is the first Pokemon movie-- and that was a highly marketable kids' movie that was distributed by a major studio. Demon Slayer is aimed at adults, and distributed by a company that isn't one of the major studios, yet over $19 million worth of Americans watched it in theaters. That means it has the highest US opening weekend of any animated movie this year. Previously, theatrical releases of anime in the united states have been of child-friendly works (i.e. Pokemon) or have been very limited releases. And that brings me back to my original question. Now that Demon Slayer has proven that the market for such movies does, in fact, exist, will American animators step up to the task of making them?
  3. Well, Raya and the Last Dragon had a US opening weekend gross less than half that of Demon Slayer. Make of that what you will.
  4. I think we're all ignoring the elephant in the room here. Demon Slayer's success has proven that there is a large market for theatrically-released adult anime (as opposed to kids' shows like Pokémon) in the United States. Does this mean that American animation studios will be inspired to produce more adult-oriented animated movies that aren't comedies?
  5. Do you think Demon Slayer's success will be enough to convince American animation studios to invest in similar movies? You know, R-rated animated movies that aren't comedies?
  6. And this is what I don't get. If the success of Godzilla vs. Kong is any indication, theaters are becoming, if not as successful as they used to be, then at least more successful than they were when the pandemic was at its height. Surely there's a possibility that with some more time, we could see theaters returning to their former status?
  7. Maybe, but you'd think that would encourage studios to find more books to adapt that the current generation is reading. After all, the trend survived the transition from Harry Potter to Twilinght, and from Twilight to The Hunger Games.
  8. I doubt it'll be that. Manga adaptations have never been big hits at the US box office (the most successful one, Alita: Battle Angel, made a little over $400 million and still barely broke even). I actually think the next big thing besides superheroes is going to be video game adaptations. We get Mortal Kombat, and Resident Evil: Welcome to Raccoon City this year, and other titles in the works include Borderlands, Minecraft, Beyond Good and Evil, Space Invaders, Saints Row and Gears of War.
  9. Do you think we'll ever see another non-superhero IP get a mainstream blockbuster movie adaptation? The Hunger Games is the most recent one I can think of, and it's almost a decade old.
  10. It wasn't too long ago-- in movie-industry terms-- that adaptations of young-adult novels were the big thing in Hollywood. The Harry Potter movies arguably started it, but the trend really kicked off with the Twilight series in the late 2000s, and the Hunger Games movies shortly afterwards. Once those movies became successful, every studio seemed to want to cash in on the fad, and we got things like The Maze Runner, Divergent, Beautiful Creatures, The Mortal Instruments, and The Giver. Some of them were successful, most weren't, but in the end the YA novel adaptation trend fizzled. The most recent prominent entries in the genre were Artemis Fowl and Chaos Walking. Artemis Fowl was shunted onto Disney+ and panned both by critics and fans of the books, and Chaos Walking doesn't seem to be doing too hot either. So what happened? We know the trend ended, but why? What killed the YA novel adaptation boom that lasted from the late 2000s to the mid 2010s? Did the public's tastes actually change? Did studios release too many of them at once? Or did the superhero genre just get so big it swallowed up all other PG-13 blockbusters?
  11. Walking With Dinosaurs: The Cinematic Experience Production Companies: Fossil Record Pictures (CGI animals), Silvertree Studios (live-action backgrounds) Director: Richard Diamond* Release Date: Friday, May 10th, Y8 Genre: Documentary Rating: PG (some scary natural violence) Budget: $15M Theater Count: 1,977 Runtime: 120 minutes Narrator: Morgan Freeman The film starts with a scene of a British forest, with the narrator explaining that this location, just like the rest of the world, was once inhabited by dinosaurs. As the narrator describes this, the background begins to fade, with the traces of humanity-- roads, telephone wires, and buildings-- disappear. The same forest is shown in the late Jurassic, 165 million years ago, and zooms in on a mound of soil and leaves on the ground. The mound of debris, the narrator explains, is the nest of a Cetiosaurus, a giant sauropod dinosaur. As the ground begins to move, four juvenile Cetiosaurus--or "sauropodlets"-- dig there way out of the ground, each of them no bigger than a kitten. As they do, they attract the attention of an immature Eustreptospondylus, a fifteen-foot predatory dinosaur. Three of the sauropodlets manage to flee, but the fourth is caught and eaten by the ten-foot-long predator. We cut to a rocky outcrop overlooking the sea, where a male Ramphorhynchus pterosaur is preening himself and preparing to migrate north for the mating season. He takes off, accompanied by two other males. There follows a detour from the main plot as the male pterosaur makes his way to the same island where the Cetiosaurus lives. The Ramphorhynchus spot a school of fish, and dive to catch them. The narrator comments on how, rather than merely skimming the surface of the water as they were once believed to, these pterosaurs dive after their prey in its own element. One Ramphorhynchus, however, is suddenly snapped up by a Liopleurodon* while diving for fish. The Liopleurodon is a female, and she, too is ready to mate. A male approaches her, and the two of them curiously circle around each other, poking and prodding each other with their snouts. The female is then shown touching her belly to that of the male, with her flippers overlapping his. The creche of sauropodlets have grown, and all of them are now about the size of a sheep. They still remain together for safety, but predators are not the only danger they face. As the creche forages along the edge of a river, they encounter a Lexovisaurus, a member of the stegosaur family with a pair of large spikes protruding from its shoulder. The Lexovisaurus is, as the narrator remarks, "not particularly bright", and begins to swing its spiked tail in anger at the sight of intruders. Before the sauropodlets can flee, a full-grown Eustreptospondylus appears. It ignores the sauropodlets, and instead confronts the Lexovisaurus. The Eustreptospondylus dodges a swipe of the Lexovisaurus's thagomizer, and rushes at the stegosaur head-on. The Lexovisaurus simply lowers its head, presenting its massive shoulder spikes to its attacker. The Eustreptospondylus bites down on one of the shoulder spikes, and the Lexovisaurus desperately tries to shake it off. The sauropodlets flee into the deeper forest. The next day, the same scene is shown, and there is no sign of either dinosaur, save for a broken-off piece of the Lexovisaurus' shoulder spike. Months pass, and the Liopleurodon female is ready to give birth. She ascends to the surface of the water, and as she does, her five-foot-long baby emerges from her cloaca. She gently nudges her newborn to the surface, where it takes its first gulp of air. However, she will provide no care for him beyond this-- he is able to fend for himself immediately after being born. Meanwhile, the Ramphorhynchus are also mating, and the particular male who we last followed has found a position for himself in the middle of a giant mating group, or lek, of male pterosaurs. When a female arrives, they mate briefly, and then the female flies off to lay her eggs on her own. For the moment, it seems as though things are perfect. But these good times are about to come to an end. A massive hurricane sweeps the island, leveling forests and destroying delicate shallow sea environments. Two of the remaining young Cetiosaurus are killed in the storm, and when the skies clear a further casualty is revealed-- the female Liopleurodon. She has washed up on the shore, and her body is being picked over by scavenging Ramphorhynchus and Eustreptospondylus. The narrator remarks that, although she is dead, she was a successful individual: her baby is still alive, and she has given birth to many young over the course of her life. The movie cuts to ten years later. The last surviving Cetiosaurus is now a twenty-foot-long young adult, and has found a herd of his own to join. As he does, he is being watched by a Eustreptospondylus. The predator attacks him, and the young Cetiosaurus attempts to scare it away by thrashing his tail and rearing onto his hind legs. The predator, however, is not repelled, and continues its attack, only to be knocked off its feet by the tail of a much larger, fully grown Cetiosaurus. The young male joins the adult’s herd, and the camera gradually zooms out on the Cetiosaurus grazing, while the Ramphorhynchus flies overhead. *shown at its correct 21-foot size, not 80 feet as in the original series.
  12. Walking With Dinosaurs, if it hasn't already been done. I want to give it a proper theatrical documentary, not the in-name-only 2013 movie.
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