“radical new take”
Pazuzu and the great-nephew of Father Merrin (who inspired him to go into the priesthood) hug out their differences.
There, I just saved everyone time and money.
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Um… don´t underestimate Mike Flanagan.
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An interesting read. I always thought the analysts that were predicting an $80 million opening were delusional. Fury Road didn’t exactly light the box office on fire back in the day either, so the idea that a prequel almost a decade later featuring little in the way of the star power that Fury Road and the original Mad Max films had going for them was going to lead to box office glory was never going to happen and goes to show just how out of touch the peope making these decisions truly are these days.
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The really disappointing aspect of the reaction towards FURIOSA is this: box office returns are now embraced as an argument for or against the quality of a movie, even by the audience despite no one being part of the financial investment.
In other words: George Miller is a great director, he has crafted milestones in cinema history, and FURIOSA actually got pretty great reviews.
So what if it is not reaching a huge audience in this current climate or even in the best possible situation?
The only question of importance is: is it a good film? Did audiences enjoy it?
If only films were made which guaranteed huge returns on their investment cinema history would be frightfully poorer for it. But that’s what this Netflixation of the art form is leading to: algorithms measure what the majority tunes in and stays for, and everything else will be considered a failure.
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Perfect analysis by that article…I love the part " All I want is a sequel with MG, if I cant have that, I want a sequel with TH " and " hand Miller 75 mil. for a sequel with Hardy and Gibson ". And like I said before, both FR and Furiosa even more so have that weird, fake video game look ( to colorful and clean, too much CGI and so on… ) which is absolutely o.k. for a comic adaption but for Mad Max? No way…
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One assumes it’s going to be more like this:
More alarming to me, there seems to exist a Predator universe…
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Typical clickbait because they really don’t know more than what is already known. But one thing made me feel so happy and envious: written in Johnson‘s deal is the fact that he does not have to use any notes Netflix is giving.
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Why are there only children on this ship?
Fede Alvarez said “Alien: Romulus” is based on a deleted scene from “Aliens”:
“There’s a moment where you see a bunch of kids running and riding a big wheel around the corridors of the colony. And I thought, ‘Wow, what would it be like for those kids to grow up in a colony that still needs another 50 years to terraform?’ So I remember thinking, ‘If I ever tell a story in that world, I would definitely be interested in those kids when they reach their early twenties.’”
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It has flashy visuals. But the narrative seems to be old hat, told with only young people. The main poster also seems to reveal that the original concept is misunderstood: once the face hugger is attached you are not able to try yourself getting it off.
But this seems to sell: Well, these young, attractive people, they fight back, they are not victims, and they kick Alien ass, Mr. Studio Executive! It’s not your father‘s boring ugly old guys anymore, it’s cutting edge influencer aesthetics to juice up your IP!
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If that’s what the film is, I don’t think the trailer does all that well in selling it. Looks like the young people are getting it taken to them pretty well by the Alien(s). 
Now, that said, I have no doubt that, by the end of the film, Cailee Spaeny’s character will end up going full Sigourney Weaver in Aliens and take out whatever it is that’s ultimately chasing them.
I also can’t really fault whatever Fede Alverez has going here, especially without having seen it, when it’s not as though Ridley Scott has exactly lit the world on fire with his last couple of entries in the franchise.
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A sad comment on financing artists like Lynch if no streamer wants to be in business with him. Wouldn’t niches be lucrative, too? They only go for the lowest common denominator.
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Oh dear…
It was apparent that in the current box office situation this film was not drawing enough if any of those young audiences which are needed for a smash these days.
As I was told by an industry insider: teenagers and young adults are the only group driving the box office right now, and they are ONLY responding to TikTok trends. Anything else marketing tries they don’t care about. Reading about upcoming movies? Forget it, too difficult. And actors who are older than they are? Get out of here.
But Costner may be right after all. If his target audience, older than 40, not being part of tracking, come out to see this, it may still be a success with legs.
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Okay - slapping a comedian at the Oscars doesn’t seem to hurt one‘s appeal but bolsters it.
And young males love their macho IP reheated.
The TikTok videos were successful.
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Wanted to post this for some time; commentary that questions Hollywood’s obsession with the cult of the opening weekend…
But the line between success and failure can be quite slim. Furiosa was projected to take $40m in the US over the recent Memorial Day extended weekend, but took $32m. That $8m difference might not seem enormous, but in the case of Furiosa – or The Fall Guy, which underperformed by a similar amount a few weeks before – it means everything . It means that on Monday, Hollywood trade publications like Variety will launch their reports on the weekend’s takings with headlines declaring the film a box office dud. Those reports will be aggregated by the wider media, and the narrative of failure will be set.
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Great find!
It’s really says a lot about the current machinations. Same goes now for the success of one film, Bad Boys no. Who cares, which is reported as SAVING CINEMA THIS SUMMER.
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