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bapi

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    How HV sales used to turn big box office hits into massive box office GIANTS

    in Box Office Discussion

    Posted

    http://variety.com/2016/film/news/universal-warner-bros-theater-owners-early-windows-1201931478/

     

     

    The studios are looking for ways to bolster home entertainment revenue, which is suffering from an 18% decline in DVD sales.
    Bloomberg reported that the time frame being weighed is two weeks to a month and that the price being considered is between $25 and $50. Insiders say that the price is likely to be on the higher end of that range and that a month delay between a film’s theatrical opening and its home entertainment bow is the most likely scenario. Theater owners would get a cut of the revenue in exchange for agreeing to the new windows.
    Screening Room has not factored heavily into these latest talks with exhibitors, insiders say. Part of the reason is that the studios are not interested in giving one platform exclusive rights to content. They want the films to be available on iTunes and other retailers.

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    Arrival | Nov 11, 2016 | Villeneuve/Adams/Renner | First Reviews Have Arrived.

    in Box Office Discussion

    Posted

    8 hours ago, Jake Gittes said:

    Kinda muted on this. Maybe it's cause I'd read the short story first, but I had my problems with the adaptation

     

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    First of all, while compressing the daughter's story to what appears to be a flashback is very clever, but the film then focuses so much on the procedural/mystery aspects of the aliens' arrival, and the subtext of the communication between the species, that the daughter's part ultimately feels tacked on, like the movie didn't have enough drama and decided to add some the fastest way possible. In the short story the two storylines constantly intercut and work together much better, and the reveal that one half of the story is all in her future hit me much harder emotionally. 

     

    The daughter dying an angelic sad death from cancer is the most sanitized, Hollywood version of that plot turn possible, in that no one is remotely guilty of her death. It provokes some uncomfortable questions - like, if Louise saw that her kid would get killed by a drunk driver or randomly stabbed in an alleyway or something, would she still accept it in the end? The short tory makes this work because it has her die when she's 25 and mountain climbing, so at least it makes it clear that she's consciously risking her life. 

     

    I wish we could see some actual attraction developing between Adams and Renner. In the short story, he asks her out and they sleep together, while the movie is so single-mindedly focused on staying on that field and maintaining its mood that it tries to sell this by simply telling us they'll get married and with one bit of laughably hokey dialogue ("It wasn't meeting them... it was meeting you", etc). That whole part really did remind me of Nolan at his weakest - just sterile and sexless and dull. It's not like Villeneuve couldn't do this, either - one of my favorite scenes in Sicario is when Emily Blunt and her partner decide to ditch everything for an evening and go get drunk in some bar. It doesn't break the tension, and it's thrilling in its own way, because you don't normally see that in movies. Sure, then it turns dangerous, but here it wouldn't have to.

     

     

    Also someone should have told Villeneuve that Shutter Island forever owns "On the Nature of Daylight". 

     

    I make it sound like I didn't enjoy it at all, but no - Adams is excellent, Villeneuve knows how to keep the narrative tense and intriguing even when little happens, it's got a compelling message about communication and in terms of visuals and sound it's impeccable. It's solid, and the kind of film studios should be actively doing (I didn't learn until after the fact that it's essentially a big independent movie, which is kinda dispiriting), but it won't really stay with me. As far as Villeneuve is concerned I like Enemy and Sicario a lot more too. 

    Excellent arguments. I thought Arrival was good but not that great and definitely enjoyed Interstellar + last 3 Villeneuve movies more than this one.

    Weekend Numbers: Fantastic Beasts 75M, Strange 17.6M, Trolls 17.5M, Arrival 11.8M, Edge of 17 4.8M, Bleed 2.35M, Billy Lynn 930k

    in Numbers and Data

    Posted

    4 minutes ago, James said:

     

    That is true, but this will still be profitable. And much much more important, it is great advertising for the merchandise and theme parks which is where the real money comes from. Just think that between 2012 and 2016 the Wizarding World brand gained more than 4b in value, reaching an unbelievable 25b (second only to SW). That 4b is as much as brands as LOTR/Twilight are worth overall and without any movie released.

    And even without the insane merchandise revenues, let's be honest, the sequels could make 100m DOM, but they would still do at least 550-600m WW. Which studio wouldn't want such a franchise?

    Well, Warners' last 1B movie is TH1, no? And even that one made 'only' 1021M. So quite sure Tsujihara would like to finally produce a massive, massive hit.

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