It’s now been two weekends since Pennywise the Dancing Clown was unleashed upon unsuspecting audiences, and Hollywood may never be the same. Seriously. The kind of box office numbers we’re seeing right now will inspire, uh, major changes in how Hollywood tries to jump on specific trends. And while two new movies made a sort of solid showing for themselves over the weekend, the fact is this: it’s Pennywise’s world. We’re just living in it. Here’s the box office projections as of Sunday afternoon:
Here’s a funny thought for you: someone is about to be swayed into seeing Blade Runner 2049 by this new batch of character posters. I’ve written before that Blade Runner 2049 doesn’t really have much left to prove to audiences — you’re likely already in or out, and have been for quite some time — but that doesn’t apply to everyone. Somewhere, on some website, somebody is going to look at this international poster of Ryan Gosling and think to themselves for the first time, oh, yeah, I think this might actually be a movie I want to see. Job well done, graphic designers.
Given the fact that the first Kingsman movie was a spot-on homage to James Bond movies, you’d think we’d all be excited for more of the same. More debonair spy sequences, more dangerous undercover double-speak, and more gunfights in famous locations. Instead, 20th Century Fox has flipped the script, giving us a sequel that promises a delightful sendup of American action movies as well. What would happen if James Bond and John Rambo were forced to join forces to solve an international mystery? If the early trailers and credits are any indication, we’re about to find out.
While most of the articles regarding the new Hellboy remake have focused on the lack of involvement by Ron Perlman and Guillermo del Toro, it’s worth nothing that Selma Blair’s Liz Sherman was also an integral part of del Toro’s franchise. Neither fully human nor fully supernatural, Blair’s character served as an important transition point between the film’s two worlds (as well as the main love interest of the titular character). So maybe it’s about time we poured one out for Selma Blair as well; after all, she had just as much involvement in the success of the franchise as anyone.
We’re only months away from Star Wars: The Last Jedi, and already, it’s beginning to feel like a film that will be unbearably sad for all the wrong reasons. The loss of Carrie Fisher will be made fresh by her appearance in the upcoming film, and seeing her alongside Mark Hamill for the last time — one assumes, anyways — will be a touching moment for any fans of the Star Wars franchise. No less touching will be the opportunity for Fisher’s daughter Billie Lourd to share the screen with her one last time. All in all, The Last Jedi will be the ultimate Star Wars family reunion, biological and otherwise.
Let’s brainstorm for a moment. A year ago, I tell you that Sony Pictures is giving $100 million dollars to the screenwriter of Pan and the director of Mama to make a blockbuster summer movie. Furthermore, this $100 million dollar movie will be based on a popular animated television series from the 1980s. What is your gut reaction? Are you surprised? Dismayed? Cautiously optimistic? Now what if I tell you the exact same thing, but instead of Pan and Mama, I mention Wonder Woman and It, two of the most critically and commercial successful movies of 2017? Just goes to show you how much things can change in Hollywood over just a few months.
Well, that’s kinda awkward timing. On Thursday of last week, the New York Times published an article titled “Attacked by Rotten Tomatoes,” an in-depth look at the popular review aggregation site and the role it may have played in this summer’s disappointing box office numbers. The article ends with a prolonged examination of the various ways that studios are trying to “battle Rotten Tomatoes on multiple fronts,” seemingly accepting the idea that Rotten Tomatoes has been bad for the movie industry (despite the fact that Rotten Tomatoes is, in fact, owned by said members of the movie industry). The article may have been an interesting read for those unfamiliar with the controversy, but for those in the know, it was old news, part of an ongoing debate that tried to argue that critics were duping poor, easily misled moviegoers.
Oh, Christian Grey and Anastasia Steele. When are those two crazy kids ever going to get together? There’s is a love story we can all relate to: she, the inexperienced college student and would-be journalist, and he, the millionaire Seattle playboy, willing to teach her in the practice of love. Would their shared appreciation for BDSM be enough to overcome their differences and help them find true love? I don’t know for sure, but based on this first teaser trailer for Fifty Shades Freed, I’m going to venture that the answer to that question is yes.
As we head deeper into September, two things have become pretty clear about 2017 box office numbers: one, Hollywood desperately needs to bounce back a little bit from the doldrums of August, and two, whoever decided to hedge their studio’s bets with a September release date for a movie about a killer clown is looking like a [profanity] genius right about now. We’ll get to all of that in a moment, but first, here are the box office numbers as of Sunday afternoon:
When shouldn’t you release a clip for a movie? I can understand releasing entire chunks of a movie on YouTube when you’re working with an unproven or questionable title; if you’re trying to entice audiences to see some mediocre horror film, then by all means, release one of the movie’s better jump scares in an effort to get them into the theater. But when you’ve got a title as recognizable as Blade Runner 2049, with several excellent trailers and a few smart television spots, why bother? How many people could possibly be on the fence at this point?
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