Dejana
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Titanic has its twentieth anniversary this year! The most important thing about the Jack/Rose relationship, IMO, was that it altered the entire course of her life, despite lasting three days or so, much like the trip on the Titanic for so many passengers. It both baffles and amuses me that the "Jack could have fit on the door, too!" debate has raged for two decades! If James Cameron had wanted Jack to live...he would have just written it that way. The movie would have needed a very different structure, though, probably not centered around flashbacks, unless Jack made it to 104 or something.
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He was the voice of the third pilot.
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Future of Movie Stars: Who Will Shine? Who Will Fade Away?
Dejana replied to Chas411's topic in Everything Else About Movies
I don't know if it's entirely that, because Leonardo DiCaprio was also baby-faced into his 30s and directors never stopped casting him in plum roles. Dane even resembles Leo but he's like the creepy, slightly off-kilter cousin, so maybe it's that he isn't cut out to be the leading man movie star anymore than, say, William Mapother ever was. -
July 21–23, 2017 Estimates: 1 (N) Dunkirk $50,500,000 | 3,720 Theaters | $13,575 Avg. | $100M or $150M Budget | $50,500,000 2 (N) Girls Trip $30,370,720 | 2,591 Theaters | $11,722 Avg. | $19M Budget | $30,370,720 3 (2) Spider-Man: Homecoming $22,000,000 | 4,130 Theaters | $5,327 Avg. | $175M Budget | $251,701,581 4 (1) War for the Planet of the Apes $20,400,000 | 4,100 Theaters | $4,976 Avg. | $150M Budget | $97,750,914 5 (N) Valerian and the City of a Thousand Planets $17,020,000 | 3,553 Theaters | $4,790 Avg. | $209.184M Budget | $17,020,000 6 (3) Despicable Me 3 $12,714,475 | 3,525 Theaters | $3,607 Avg. | $80M Budget | $213,322,700 7 (4) Baby Driver $6,000,000 | 2,503 Theaters | $2,397 Avg. | $34M Budget | $84,233,939 8 (5) The Big Sick $5,000,000 | 2,597 Theaters | $1,925 Avg. | $24,539,378 9 (6) Wonder Woman $4,600,000 | 1,971 Theaters | $2,334 Avg. | $149M Budget | $389,003,279 10 (7) Wish Upon $2,477,816 | 2,154 Theaters | $1,150 Avg. | $12M Budget | $10,522,082 International Box Office: PIRATES OF THE CARIBBEAN: DEAD ME TELL NO TALES: $596.6M Overseas Total | $767.2M Global Total DUNKIRK: $55.4M Overseas Total | $105.9M Global Total
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Future of Movie Stars: Who Will Shine? Who Will Fade Away?
Dejana replied to Chas411's topic in Everything Else About Movies
I wonder if this summer will be the last chance Hollywood gives Dane DeHaan to play the leading man roles. Valerian is not only going to flop but many reviews say he's wildly miscast, and Tulip Fever being pushed back and back after filming in 2014 doesn't inspire much confidence either. Very curious to see what's next for Harry Styles as an actor: another supporting role or a star turn, and what genre? He's sure to have tons of scripts sent his way but they won't all be Christopher Nolan awards contenders, plus music will take up a lot of time. In some ways he has the luxury to be pickier about the next thing, compared to the other younger cast from Dunkirk. -
The reviews seem to be praising Mark Rylance the most--people have been nominated for less but it's a strong year for that category, so it depends on how much the voters go for the movie overall. A couple of the other Dunkirk actors have the "Oscar clip" moments and could have used just one or two more showcase scenes to make a real splash in Supporting Actor. I think it will run into a certain amount of "good but not that good" backlash and take hits for not being inclusive enough. Still, it was more diverse than The Beguiled!
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Impressive spectacle and not lacking in sentiment but I can't completely disagree that the script could have offered a bit more in the way of character development... Not backstories, but maybe lingering 30 seconds more here, a minute more there, but I guess Nolan was on a serious mission to lay off the exposition. I heard about the story structure months ago but wonder if I'd have had a problem with the movie, not knowing ahead of time. It added to the sense of initial confusion but that puts you in the shoes of the soldiers in a way. Tommy (I know his name from reading about the movie, but I'm not sure it was said even once onscreen) felt like something of a cipher at times, less through the fault of Fionn Whitehead than the character being seemingly conceived as more of an avatar for the audience. A couple of more dramatic moments (IDK, maybe after the rescue or backing away slowly from Harry on the train) and he'd have seemed like less of a blank slate. It tickled me though that his face was much less obscured by oil compared to the other supporting players. Of course it was! Hardy gliding through the air at the end, then the burning plane on the beach are the images of the movie for me. I didn't see it in IMAX at first because the large format (or 3D) can have a way of masking other weaknesses in the script.
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July 14–16, 2017 Estimates: 1 (N) War for the Planet of the Apes $56,500,000 | 4,022 Theaters | $14,048 Avg. | $150M Budget | $56,500,000 2 (1) Spider-Man: Homecoming $45,200,000 | 4,348 Theaters | $10,396 Avg. | $175M Budget | $208,270,314 3 (2) Despicable Me 3 $18,947,840 | 4,155 Theaters | $4,560 Avg. | $80M Budget | $187,989,990 4 (3) Baby Driver $8,750,000 | 3,043 Theaters | $2,875 Avg. | $34M Budget | $73,151,857 5 (8) The Big Sick $7,600,000 | 2,597 Theaters | $2,926 Avg. | $16,036,824 6 (4) Wonder Woman $6,885,000 | 2,744 Theaters | $2,509 Avg. | $149M Budget | $380,686,078 7 (N) Wish Upon $5,586,748 | 2,250 Theaters | $2,483 Avg. | $12M Budget | $5,586,748 8 (6) Cars 3 $3,167,000 | 2,049 Theaters | $1,546 Avg. | $175M Budget | $140,031,500[/b] 9 (5) Transformers: The Last Knight $2,780,000 | 2,323 Theaters | $1,197 Avg. | $217M Budget | $124,888,619 10 (7) The House $1,795,000 | 1,633 Theaters | $1,099 Avg. | $40M Budget | $23,129,558 11 (9) 47 Meters Down $1,210,000 | 1,032 Theaters | $1,172 Avg. | $5M Budget | $41,207,107 12 (10) The Beguiled $934,645 | 726 Theaters | $1,287 Avg. | $10M Budget | $9,407,214 13 (13) Guardians of the Galaxy Vol. 2 $512,000 | 399 Theaters | $1,283 Avg. | $200M Budget | $386,574,390 14 (11) Pirates of the Caribbean: Dead Men Tell No Tales $494,000 | 448 Theaters | $1,103 Avg. | $230M Budget | $170,044,886 15 (15) The Hero $343,197 | 315 Theaters | $1,090 Avg. | $3,401,307[/b] Lady Macbeth $68,813 | 5 Theaters | $13,763 Avg. | $68,813 Endless Poetry $28,000 | 2 Theaters | $14,000 Avg. | $28,000 Blind $11,700 | 14 Theaters | $836 Avg. | $11,700 False Confessions $7,670 | 2 Theaters | $3,835 Avg. | $7,670 International Box Office: PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES: $581.5M Overseas Total | $751.5M Global Total DESPICABLE ME 3: $434.1M Overseas Total | $619.3M Global Total SPIDER-MAN: HOMECOMING: $261.1M Overseas Total | $469.3M Global Total WAR FOR THE PLANET OF THE APES: $46.0M Overseas Total | $102.5M Global Total
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The whole season now is a cycle of the reviews leading to nominations, then awards that will serve as publicity to get audiences in theaters, spread out over several weeks. By the time it's all over, several of the Best Picture nominees have very respectable totals, so in that sense awards season is doing its job. Given the squeeze on mid-budget dramas, I suppose it makes more sense for studios to use awards season to sell new movies and that's why there is a glut of prestige titles in the last quarter of the year. It's not like massively popular movies have never won Best Picture and the years for Titanic and Return of the King led to ratings spikes, but those were both December releases. Since 2000, just Gladiator, Crash and The Hurt Locker were in theaters before October, but I wouldn't characterize any of them as immediate Best Picture frontrunners upon release. With the Oscar blogosphere and social media being what they are, plus the brevity of attention spans in general, I think it would be hard for any movie to stay the #1 contender for more than half a year. Even with the fall/winter release dates, you see momentum shifts away from the presumed Oscar frontrunner, even when it ultimately wins. I've seen discussion of that on the awards and movie forums this week, with many contending that by the comparative stage in the cycle, the jig was up with Interstellar. Apparently, the ecstatic social media reactions were from other directors and industry types and not necessarily critics or voters, who were more tepid ahead of the reviews. Also, people who hated it and Nolan movies in general are acting wowed by Dunkirk, but we'll see on Monday (when the review embargo lifts). When the WWII subject matter was announced, I may have joked that he must really want an Oscar now, but it sounds more like he's brought his sensibilities to the genre than suddenly turned into Tom Hooper. I saw many theories about Moonlight pulling out the win over La La Land, including that voters weren't so much swayed by all thinkpieces but didn't think it was 14 nominations-good, either, and that Moonlight had a more masculine POV than a colorful musical. The latter development would indicate quite the change from the Brokeback Mountain days but a lot of those AMPAS members who vowed not to watch it are no longer with us. The new membership will help Get Out, as will Universal giving a good effort with the Oscar campaign, even if they have other contenders later in the year. Expect to see Jordan Peele at lots of screenings and roundtables in the coming months. Probably, though I kind of love how this category doesn't care about the overall pedigree of a film, just the technical achievement (as it should), so you get Oscar winners Suicide Squad and The Wolfman.
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What will win? Who will be snubbed? Which 2017 prestige projects are shaping up as this year's Seven Pounds or Billy Lynn's Long Halftime Walk, i.e., Oscar hopefuls that belly flop once they are actually shown to people? Dunkirk comes out next week and the critics/media/Oscar bloggers who've seen it are absolutely losing their minds. They say Nolan is a strong bet to win even if the movie doesn't, which has been happening a lot lately. Given the box office of recent Best Picture winners, it would also be a bit popular for the Academy's tastes these days. :) I wonder what the awards industry would do with itself in the fall and winter, for a July movie to have Best Picture on lock...probably hype up controversies to keep the race exciting (and the clicks coming).
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Is it too soon to start a thread for the next awards show season, or can there be a standing thread, like there are for the different telecasts? It's July but there's buzz on the rising and falling contenders throughout the year.
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I wondered if Baby Driver would be more frontloaded given that Wright has a small but passionate fanbase, and a shiny new Spider-Man as action competition, though BD skews older. With the boost of summer weekdays, I don't think 80-90+ million is an impossible target for it.
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When Buffy's competitiveness crosses the line, I remind myself that this story is primarily geared to tweens and a sitcom at that, so some of the antics and scenarios will be portrayed in a very over the top way without the audience being meant to make too much out of it. You know, Urkel is just persistent about Laura and not a stalker who won't take no for an answer, the Dursleys are awful caregivers but not so much that they'd ever face jail in the story, etc. I think Buffy is probably just meant to seem spirited and with a bit of growing up to do but fundamentally a good person. Whether one perceives her that way... As a teenager, I remember being in the Andi position, watching the guy you were crushing on date someone else, thinking she was so much prettier, more sophisticated and popular than I could ever dream of being. Given that TV sitcoms tend to paint in broad strokes, the writers probably brainstormed to craft Amber as the ultimate nightmare of a romantic rival. I can't begin to imagine how hopeless it would have felt at 13, to know the boy I liked was dating a high school girl, the horror! Of course, as you mature, you realize that being pretty and popular and getting the guy aren't everything. I agree that Amber seems like a girl who wants to be at the top of the popularity heap and going out with a middle schooler would be perceived as dating down in the social circle she is likely to inhabit, worthy of mockery. I could kind of make sense of their relationship if Jonah Beck was supposed to be, IDK, a singer, or actor in a huge YA franchise who goes back to the hometown school when the movies aren't filming. In real life, male teen stars have had slightly older girls (and much older women) falling all over them, ending up in some frankly eyebrow-raising entanglements. Anyway, Queen Bee Amber would still get some flack for going out with Movie Star Jonah but dating a celebrity (and the accompanying perks) would compensate for it. Since the beginning, Jonah has been able to see that Amber wasn't the nicest person and found her a bit overbearing at times, so I'm wondering what the story was for why he bothered with her for so long. I mean, it's still a Disney show so they couldn't just have him say he stuck with her because he found her hot and she'd make out with him more than girls his own age...
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July 7–9, 2017 Final Numbers: 1 (N) Spider-Man: Homecoming $117,027,503 | 4,348 Theaters | $26,915 Avg. | $175M Budget | $117,027,503 2 (1) Despicable Me 3 $33,580,425 | 4,535 Theaters | $7,405 Avg. | $80M Budget | $148,771,085 3 (2) Baby Driver $13,002,721 | 3,226 Theaters | $4,031 Avg. $34M Budget | $57,135,793 4 (4) Wonder Woman $9,822,105 | 3,091 Theaters | $3,178 Avg. | $149M Budget | $368,473,296 5 (3) Transformers: The Last Knight $6,376,578 | 3,241 Theaters | $1,967 Avg. | $217M Budget | $118,993,338 6 (5) Cars 3 $5,382,248 | 2,702 Theaters | $1,992 Avg. | $175M Budget | $133,479,660 7 (6) The House $4,778,272 | 3,134 Theaters | $1,525 Avg. | $40M Budget | $18,593,950 8 (12) The Big Sick $3,576,646 | 326 Theaters | $10,971 Avg. | $6,846,969 9 (7) 47 Meters Down $2,714,172 | 1,740 Theaters | $1,560 Avg. | $5M Budget | $38,407,820 10 (8) The Beguiled $2,062,675 | 941 Theaters | $2,192 Avg. | $10M Budget | $7,412,009 11 (10) Pirates of the Caribbean: Dead Men Tell No Tales $1,187,170 | 1,039 Theaters | $1,143 Avg. | $230M Budget | $168,812,467 12 (9) The Mummy $1,185,925 | 1,045 Theaters | $1,135 Avg. | $125M Budget | $77,996,195 13 (13) Guardians of the Galaxy Vol. 2 $860,020 | 660 Theaters | $1,303 Avg. | $200M Budget | $385,560,026 14( 11) All Eyez on Me $606,390 | 599 Theaters | $1,012 Avg. | $40M Budget | $44,316,429 15 (17) The Hero $594,066 | 447 Theaters | $1,329 Avg. | $2,753,061 Beatriz At Dinner $520,142 | 417 Theaters | $1,247 Avg. | $5,981,481 A Ghost Story $104,030 | 4 Theaters | $26,008 Avg. | $104,030 Our Time Will Come $50,619 | 18 Theaters | $2,812 Avg. | $50,619 Lost in Paris $27,162 | 8 Theaters | $3,395 Avg. | $44,828 International Box Office: WONDER WOMAN: $377M Overseas Total | $745.7M Global Total PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES: $565.2M Overseas Total | $734M Global Total TRANSFORMERS: THE LAST KNIGHT: $375.7M Overseas Total | $494.6M Global Total DESPICABLE ME 3: $298.4M Overseas Total | $447.6M Global Total THE MUMMY: $306.6M Overseas Total | $384.5M Global Total SPIDER-MAN: HOMECOMING: $140M Overseas Total | $257M Global Total BAYWATCH: $101.8M Overseas Total | $159.4M Global Total
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The bit in Episode 12 where Andi and Cyrus are both shown giving lingering looks back at Jonah (after Amber says looking at someone that way is a sign of attraction) gave the strongest hint yet that the writers will actually go there. The fallout will be interesting for sure...
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June 30 – July 2, 2017 Final Numbers: 1 (N) Despicable Me 3 $72,434,025 | 4,529 Theaters | $15,993 Avg. | $80M Budget | $72,434,025 2 (N) Baby Driver $20,553,320 | 3,226 Theaters | $6,371 Avg. | $34M Budget | $29,582,425 3 (1) Transformers: The Last Knight $16,880,555 | 4,132 Theaters | $4,085 Avg. | $217M Budget | $101,983,906 4 (2) Wonder Woman $15,706,011 | 3,404 Theaters | $4,614 Avg. | $149M Budget | $346,235,486 5 (3) Cars 3 $9,689,279 | 3,576 Theaters | $2,710 Avg. | $175M Budget | $120,879,378 6 (N) The House $8,724,795 | 3,134 Theaters | $2,784 Avg. | $40M Budget | $8,724,795 7 (4) 47 Meters Down $4,517,143 | 2,250 Theaters | $2,008 Avg. | $5M Budget | $32,426,597 8 (22) The Beguiled $3,163,472 | 674 Theaters | $4,694 Avg. | $10M Budget | $3,482,920 9 (5) The Mummy $3,013,395 | 1,760 Theaters | $1,712 Avg. | $125M Budget | $74,730,235 10 (7) Pirates of the Caribbean: Dead Men Tell No Tales $2,525,546 | 1,674 Theaters | $1,509 Avg. | $230M Budget | $165,581,133 11 (6) All Eyez on Me $1,824,631 | 1,258 Theaters | $1,450 Avg. | $40M Budget | $42,677,094 12 (18) The Big Sick $1,651,958 | 71 Theaters | $23,267 Avg. | $2,208,448 13 (10) Guardians of the Galaxy Vol. 2 $1,539,519 | 966 Theaters | $1,594 Avg. | $200M Budget | $383,383,494 14 (8) Rough Night $1,275,124 | 1,657 Theaters | $770 Avg. | $20M Budget | $20,340,771 15 (9) Captain Underpants: The First Epic Movie $1,114,612 | 1,452 Theaters | $768 Avg. | $38M Budget | $69,260,405 Beatriz At Dinner $1,057,021 | 683 Theaters | $1,548 Avg. | $4,711,504 The Little Hours $61,560 | 2 Theaters | $30,780 Avg. | $61,560 Marie Curie: The Courage of Knowledge $18,600 | 6 Theaters | $3,100 Avg. | $18,600 International Box Office: BEAUTY AND THE BEAST: $756M Overseas Total | $1.259B Global Total PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES: $543.2M Overseas Total | $708.7M Global Total WONDER WOMAN: $361.8M Overseas Total | $708M Global Total TRANSFORMERS: THE LAST KNIGHT: $327.8M Overseas Total | $429.9M Global Total THE MUMMY: $295.4M Overseas Total | $369.9M Global Total DESPICABLE ME 3: $116.9M Overseas Total | $192.3M Global Ttotal CARS 3: $53.1M Overseas Total | $173.8M Global Total BAYWATCH: $94M Overseas Total | $151.2M Global Total The Despicable Me franchise seems to have cooled somewhat from earlier heights, but it will still be a huge success for Illumination/Universal. The House, OTOH, is definitely a flop on Will Ferrell's resume. Baby Driver will be Edgar Wright's biggest hit as a director within the week, and I guess Hollywood execs will be rushing to cast Ansel Elgort in everything now.
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A League of Their Own (1992): Women, Baseball, and that Darn Ending...
Dejana replied to Wiendish Fitch's topic in Movies
A League of Their Own was released 25 years ago today! Here are a couple of pieces about it: Esquire on What Makes A League of Their Own One of the Best Baseball Movies Ever Made and from The Ringer, why ‘A League of Their Own’ Is an All-Time Great Sports Film. The latter is more of an oral history of its making and legacy, with Laurie Petty and Kelly Candaele (a writer whose mother and aunt inspired Dottie and Kit) weighing in on the "Dottie drops the ball" debate:- 302 replies
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Season 2 promo:
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Maybe that's an area the show is ignoring because heavy custody arguments would be too much of a downer for a tween sitcom? I remember reading a comment from the headwriter along the lines that they couldn't just have Andi sobbing in her room for a week after learning about Bex being her mother, basically because it would drag down the kind of show they're putting on. Any sort of drama is handled with a light touch. Were this a Freeform show, I don't know if Andi would be adjusting to the parental turmoil nearly as well. :)
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I'm not sure what happened but your quote was attributed to me by mistake. By the time Suicide Squad 2 comes around, I suspect the Cara Delevingne movie star push will have cooled so they probably won't be as desperate to showcase her so much. Well, unless Valerian breaks out next month, which seems like a long shot but stranger things have happened. She and Dane DeHaan could both really use a hit. Valerian is out the same weekend as Dunkirk and Girls Trip, so...it's going for a different audience than either one, and that's something, I guess.
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Like many blockbusters, Revenge of the Fallen came out in a few overseas countries before the US, but this time around the movie debuted more simultaneously with the domestic date. Comparisons of international opening weekends are more difficult because the rollout patterns aren't as consistent. The Despicable Me movies have become overseas monsters but the current one is just under $19M so far because it's simply not out in that many countries yet. Overseas money helps (though this latest one isn't making a billion this time around), but a studio can't like a franchise declining here from $400M or even $300M to $160M (if that's where The Last Knight winds up). I doubt the Bumblebee spinoff is getting canceled but if the other ones end up in the extended universe graveyard along with all those Power Rangers and King Arthur sequels, I wouldn't be surprised. Yes (from Deadline): I know, how many DC adaptations in various eras were leggy box office smashes, but suddenly because critics weren't here for the DECU films (before now), it was this Marvel/Disney conspiracy to bribe Rotten Tomatoes and unduly influence audiences to stay away! So glad WW is shutting down that nonsense.
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Wonder Woman passes the triple century mark and moves up the ranks in the DC Extended Universe. The latest Transformers continues the franchise's comedown from its box office glory days: back in 2009, Transformers: Revenge of the Fallen made $62 million in its first day alone! June 23–25, 2017 Final Numbers: 1 (N) Transformers: The Last Knight $44,680,073 | 4,069 Theaters | $10,981 Avg. | $217M Budget | $68,475,562 2 (2) Wonder Woman $24,906,310 | 3,933 Theaters | $6,333 Avg. | $149M Budget | $318,111,468 3 (1) Cars 3 $24,074,497 | 4,256 Theaters | $5,657 Avg. | $175M Budget | $98,782,390 4 (5) 47 Meters Down $7,088,262 | 2,471 Theaters | $2,869 Avg. | $5M Budget | $23,914,194 5 (4) The Mummy $6,060,495 | 2,980 Theaters | $2,034 Avg. | $125M Budget | $68,744,165 6 (3) All Eyez on Me $5,806,975 | 2,471 Theaters | $2,350 Avg. | $40M Budget | $38,599,294 7 (6) Pirates of the Caribbean: Dead Men Tell No Tales $5,396,243 | 2,453 Theaters | $2,200 Avg. | $230M Budget | $160,161,569 8 (7) Rough Night $4,703,261 | 3,162 Theaters | $1,487 Avg. | $20M Budget | $16,638,208 9 (8) Captain Underpants: The First Epic Movie $4,284,115 | 2,328 Theaters | $1,840 Avg. | $38M Budget | $65,747,291 10 (9) Guardians of the Galaxy Vol. 2 $3,023,042 | 1,468 Theaters | $2,059 Avg. | $200M Budget | $380,236,369 Beatriz At Dinner $1,759,977 | 491 Theaters | $3,584 Avg. | $2,953,757 Tubelight $930,058 | 338 Theaters | $2,752 Avg. | $16M Dollars | $930,058 The Big Sick $421,577 | 5 Theaters | $84,315 Avg. | $421,577 The Beguiled $229,292 | 4 Theaters | $57,323 Avg. | $10M Budget | $229,292 The Bad Batch $89,111 | 30 Theaters | $2,970 Avg. | $89,111 International Box Office: BEAUTY AND THE BEAST: $753.2M Overseas Total | $1.256B Global Total GUARDIANS OF THE GALAXY VOL. 2: $471M Overseas Total | $851.2M Global Total PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES: $517.8M Overseas Total | $677.8M Global Total WONDER WOMAN: $334.5M Overseas Total | $652.8M Global Total THE MUMMY: $273.6M Overseas Total | $342.1M Global Total TRANSFORMERS: THE LAST KNIGHT: $196.2M Overseas | $265.3M Global Total CARS 3: $41.4M Overseas Total | $141.3M Global Total DESPICABLE ME 3: $18.9M Overseas & Global Total
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I think it's both to some degree. I follow box office, which is a male-dominated hobby, and the open disdain toward properties that appeal primarily to girls/women is a very real and routine thing (though fortunately other men do call out this tendency for the myopic immaturity that it is). From the other side, there is a lot of IMO overbaked concern about the hoards of tween/teen girls who will thwarted from the path of STEM greatness and healthy relationships by mere act of reading Twilight or Fifty Shades, so their impressionable young minds must be protected from such dangerous ideas at all costs! A great deal of this talk seems to come from women who find these stories regressive and problematic, which is their right and (IMO) not actually unreasonable, but some carry on like their generation didn't have its share of pop culture junk, too, that was ultimately harmless (Sweet Valley High and VC Andrews comes to mind). OTOH I tried the books, felt like Meyer's writing came off like the fan fiction of a more interesting story (that sadly doesn't exist), and finally gave up during the nth chapter of Bella's pining for Edward during New Moon. Fortunately the movie cut this episode down to a short montage. Plus, Meyer literally putting Edward above Romeo, Heathcliff and Rhett (among others) as a romantic lead is really...something. The movies were easier to accept on their own level, such as it was, and lacked pretensions of anything grander. Being geared to teen girls doesn't mean a book or film can't be a Great Work, the Twilight series is not that story.
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IDK, there's raunchy antics but maybe a dead stripper is a bridge too far for people, at least for a comedy. Very Bad Things had an opening weekend in the same range nearly 20 years ago. I'm not really surprised Rough Night disappointed; it's not a good year for ScarJo at the box office. OTOH, the success of 47 Meters Down is even more remarkable considering that it almost didn't get a theatrical release: Friday was Tupac's birthday and the box office trailed off considerably for Saturday and Sunday.