Since April three of the biggest movies in history have opened: Furious 7 (with a worldwide gross of 1.5 billion dollars), Age of Ultron (with a worldwide gross of 1.3 billion dollars) and Jurassic World (with a worldwide gross of half a billion after just one weekend, and heading towards a likely record). With Star Wars down the pike in December, we're looking at a record setting year for the box office, largely on the backs of franchise action/adventure films. Mark Harris writes about the new franchise film economy in Park Effects, and relatedly, Alex Pappademas considers the efforts to create a farm league of indie directors for these new billion dollar movies in Mr. DNA.
Do movies that pass the Bechdel Test make more money than movies that don't? Walt Hickey, writing for Nate Silver's new fivethirtyeight site, examines the data.
Den of Geek looks at the MPAA rule that a PG-13 movie can contain only one utterance of the word "fuck".
So what happens when a variety of B-list actors and some extremely strange looking full-body puppets make a movie with a children's marketing expert? You get the worst opening weekend for any movie, ever.
Like James Bond movies? And box office grosses? And visualized data? Then today is your lucky day.
I got an e-mail from a friend asking if I wanted to attend a screening on the Fox lot of Peter Bogdanovich's original cut of At Long Last Love. And the answer in a case like should always be yes. [more inside]
Boxoffice, an industry magazine for the movie theater business, has been posting back issues dating to 1925. Via Trailers From Hell.
So here's what's on tap two summers from now: an adaptation of a comic book. A reboot of an adaptation of a comic book. A sequel to a sequel to an adaptation of a comic book. A sequel to a reboot of an adaptation of a TV show. A sequel to a sequel to a reboot of an adaptation of a comic book. A sequel to a cartoon. A sequel to a sequel to a cartoon. A sequel to a sequel to a sequel to a cartoon. A sequel to a sequel to a sequel to a sequel to a movie based on a young-adult novel. And soon after: Stretch Armstrong. How did Hollywood get here? There's no overarching theory, no readily identifiable villain, no single moment to which the current combination of caution, despair, and underachievement that defines studio thinking can be traced. But let's pick one anyway: Top Gun.
The Day the Movies Died. (via)
The Day the Movies Died. (via)
'In defense of film critics' posits that 'Film critics [unlike food critics, etc] are expected to be cheerleaders.' I guess we're not supposed to think it's odd that the piece was written by paper's resident film critic. He does ask at least one good question, though: why have so many truly awful [and poorly reviewed ] films done so well at the the box office this year?
Fahrenheit 9/11 tops box office If it's posted on Drudgereport, it must be official; This, despite an all out effort from the Vast Right Wing Conspirators to keep if from being shown...
The Box Office Oracle You pick the writer, director, genre, actrons, budget, rating and month of release. You get projected box office receipts, chance of winning an Oscar and critics most likely to praise and pan your movie. There's even a BOO Hall of Fame. [via All Movie Guide reviewer Matthew Tobey]