Box Office – Birds of Prey, Mulan, Black Widow, Wonder Woman 1984

in the wake of birds of praise
box-office implosion there has been a very unfortunate take away from fans and
haters alike and that’s that men don’t want to see
female led action movies and that women alone aren’t a strong enough audience to
support blockbuster movies I think they’re coming from people just being
incredibly disappointed in having an emotional over response to birds of prey
failing and not looking at the obvious reasons that have failed and that also I
think people are trying to scare and guilt people into seeing in its second
weekend I see a lot of shady tactics for trying to get the birds of prey box
office numbers up but again I broke down birds of prey in my box office report
this week there’s a link down below in the video description as to why it
didn’t work out so many reasons but here we’re gonna talk about female led action
movies in general where they’ve you know you know why how they need to be
constructed to work and what’s gonna happen the rest of this year because
it’s a big year for female led blockbusters let’s hope all right so now
first glance you might think right that these statements are correct right
because birds of prey is the latest female action flick to underperform or
downright fail at the box office and it would seem to be part of a disturbing
disappointing trend if you were just looking at it from the surface or not
taking even a few seconds to think about it alright because it’s a very obvious
and honest answers to what the problem is and that’s these films may be all
made the exact same mistake and that they failed to have strong supporting
male characters now I’m sure that many of you are appalled by that statement
and furiously typing down below why should female lead films need to
cater to men well male led films have been doing that since the beginning of
Hollywood because no single demographic can deliver blockbuster sized box-office
women of course can’t deliver on their own a blockbuster because they’re just
simply aren’t enough of them just like only men can’t deliver a buck a strong
box of blockbuster box office either and on that note every
single major franchise has had strong female characters in each movie
even bond has this Vaughn girls yet that is beginning to seem dated to audiences
and has is having an impact on the box office and now as Hollywood tries to
flip the script and have female characters drive these movies you need
to flip the entire formula I don’t see how people don’t understand something
that’s so obvious you need to flip the entire formula and have strong
supporting roles for men so they feel included just as for again not just
decades since Hollywood began female supporting roles in the past
strong female supporting roles have made women feel included now flipping the
whole script the whole formula is why trailblazing female life franchises like
alien and Hunger Games worked they had strong male supporting characters
especially in the first two alien movies which were the most successful and then
more recently Wonder Woman Captain Marvel and even the new Star Wars
trilogy did the same very important there are of course exceptions to
everything and here you have Lord of the Rings which has almost no female
characters it was very successful ah that’s almost like a fantasy war movie
though so I think that kind of works for that reason and then also the recent
Joker film Joker really didn’t have strong female roles either even though
they did try to play up Zazi beats and his mother not really in the movie but I
think Joker transcended that because of the mythology and the mental illness and
its larger message you know in terms of it really resonated with a lot of people
across the globe we saw it multiple times Dobby helped push it into the
billion dollar club and then I’m with all women films right now the first sex
in the city was a pop culture moment so it did particularly well and then you
have Kill Bill which was generally well-received perhaps due to Quentin
Tarantino’s very strong male energy behind the camera even though he well
sometimes he appears on on screen but he has such a strong presence in his movies
no matter what even when he’s not on screen although I have to add Kill Bill
was very low at the box-office very very low like that was like before I think
people pay close attention to box-office as they do now and Kill Bill couldn’t
even get to a hundred million the century mark which is really a mark that
shows a movie has even done moderately well at the box
office domestically now as I said 2020 is supposed to be a big year for women
in front of and behind the camera when it comes to blockbuster films Ana’s
birds-of-prey kicks things off with a big disappointment many are wondering
and are fearful if the whole damn year is going to be that big of a bummer so
let’s take a look and remember this is a business and the best thing in Hollywood
can do for these female led movies is to have them be successes
alright so Mulan like birds of prey Mulan is expected to have a much smaller
debut than other entries in its same franchise and I’d like to point out that
both those films have very strong male and female characters and on that note
Mulan has made many of the same mistakes that birds-of-prey has made and while
the original animated film featured strong supporting male characters and
not just strong supporting male characters but big male energy and I’d
like to point out they did not overshadow Mulan but both li Shang and
wushu have been cut from the live-action movie now to be fair Donnie freakin Yin
is in this new movie he’s fantastic and he’s a huge superstar she still has a
love interest this time a fellow soldier the same level as her not not above her
like Shang was and then yowling and chin Poe also returned but none of them have
been played up in the trailers really only Donnie Yen has made kind of an
appearance the rest of them really not at all
the new love interest did get a poster to his credit he looks super cool but
you know Disney has already released the final trailer for this movie so maybe
they could do some TV spots to play these characters up so they don’t have
the same problems at the box office the birds of prey I had I don’t know why
they would hide these characters they’re so great now next up Black Widow this
film has strong male supporting characters in place creatively it did
the work but marketing wise it’s not doing the work right they have not
really advertised them at all sure Scarlett Johansson Florence Pugh and
Rachel Weitz all look very cool in this new movie but David Harbor is a fan
favorite and he’s been in the trailers but not as much as I think he should be
especially post birds-of-prey he is a fan favorite actor and he’s playing a
very cool and interest character russia’s version of captain
america i can’t believe they’re doing red sun first some degree a taskmaster
isn’t getting nearly the spotlight that he should despite intense interest from
the fan base now some of you think taskmaster is actually rachel whites but
it’s OT fag manly and he hasn’t been shown at the trailers at all even as the
other character he’s playing to kind of I think throw you off right he was a
Comic Con it’s not a secret that he’s in the movie why isn’t even put in the
trailers Ray Winstone and William Hurt are also in the film and they should be
played up as well Black Widow has probably at least one
more trailer left to go and hopefully they fix this marketing mistake it has a
bit of a cushion that it’s part of the MCU but you don’t want to be one of the
ant-man’s of the MCU right it would be an ant-man and the wasp you want sure
that Black Widow needs to be another Captain Marvel which means it needs to
get into a billion dollar club or at least pretty darn close Wonder Woman
1984 this movie is in excellent shape just as the first one was thanks to
Chris Pines Steve Trevor and patty Jenkins and Warner Brothers know how
important it is as they brought him back from the dead for the sequel my dad
loved Wonder Woman not just because of Galka doubt he thought she was wonderful
but he really liked Pines Steve Trevor he could really relate to him and after
that movie he in fact became a huge Chris Pine fan watch I am I am I am the
knight from Jenkins and pine pine starring it’s very very good and my
family watched it because my dad loves Chris Pine so much from that movie and
you know and we were rewarded as they said it’s very good but I do not
underestimate with Chris Pine brought to that first film and I what I believe
he’ll bring to the second as well pines Trevor is truly Wonder Woman’s Lois Lane
but even better as he gets to be in on the action and this dynamic make no
mistake about it is what helps Wonder Woman stay at the front of the pack
success wise Pedro Pascal is also in one room in 1984 but I think you can’t just
it would be very bad if they only up the only strong male character in the movie
was the villain because that’s the mistake birds of prey mate I think birds
of prey felt and had male representation but it wasn’t it made them all the bad
guys now Eternals I’m including this film because it has an indie female
director and many strong female characters
but as you can see from this cast lineup and has the kind of balanced cast that
would make Thanos proud right it’s perfectly balanced dissolve things
should be and we’re talking not just in terms of gender but also ethnicity and
as Feige has promised sexuality well see how the movie does but from a business
perspective it’s beautifully constructed and then finally one division o fans are
chomping at the bit for this Disney Plus series or Elizabeth Olsen’s Wanda will
finally get to be front and center and her most iconic comic book story will
finally be adapted for the small screen will also seek Monica Rambeau all grown
up very also very well known Marvel character
well kat dennings returns to the MCU and kathryn hahn is going to be in the cast
and is rumored to be playing Agatha Harkness and immortal which cool
character but again Paul Bettany’s vision is also front and center he’s in
the freaking title well Randall Park also returns we haven’t gotten a full
trailer for that and I’m sure they will play up all of those characters Wanda
envisions twin boys are also set to debut wicked one of the most famous
LGBTQ characters in comics he has powers similar to his mother and that his twin
brother speed who of course takes after Wanda’s dear departed our departed
brother Pietro so it would seem I think that Milan isn’t going to similarly
underperform to birds of prey unless they can fix the optics on that because
it’s shame because it does seem to be in the film itself and of course the
relationship with her father I think that’s all really beautiful but they
they’re not playing up enough I think Black Widow is in some danger we’ll see
but I think wonderful in 1984 eternals and Waterman Wanda vision are all in
very good shape business-wise and I think you’re poised to do much better or
it just do well at all at the box office after birds of prey bombed so what do
you think share your thoughts down below subscribe today and of course as always
you can check out some more videos right now

Bad Movies That Made Tons Of Money At The Box Office

Which movies will succeed and which will fail
is a mystery. Most of the time, though, we’re happy as long
as a CGI creature fights stuff. Yes, Hollywood drops a lot of turds and the
viewing public rewards them for it. Here are the terrible movies you had no idea
were blockbuster hits. It takes a lot of effort to be the most poorly
reviewed entry in the Alvin and the Chipmunks series. Still, somebody’s gotta do it, and that somebody
is Alvin and the Chipmunks: Chipwrecked. Directed by Deuce Bigalow: Male Gigolo’s Mike
Mitchell and featuring a cast that includes Anna Faris and the kid from those Apple commercials,
the globe-trotting threequel takes viewers on a whirlwind adventure when the CGI Chipmunks
decide to take a vacation and go on a cruise. All told, Chipwrecked pulled in $342 million. Not bad, considering it only cost $80 million
and David Cross’ remaining mental health to make. The Mr. Show star suffered a small meltdown
on Conan when asked about the film, calling the shoot the, quote, “most miserable experience”
of his career. Somehow, his character didn’t show up for
part four. Not to be confused with 1954’s Godzilla or
2014’s Godzilla, 1998’s Godzilla, aka “the Taco Bell one,” failed to hit home with most
audiences. “Hey. Godzilla. Want something to drink?” Where did Roland Emmerich’s adaptation of
the beloved Toho kaiju franchise go wrong? Was it when he junked the creature redesign
created by special effects demigod Stan Winston in favor of a bulldog/iguana hybrid? Was it when he abandoned motion capture and
practical effects, confident in the fact that it was three years after Toy Story came out
and pure CGI would probably carry the movie just fine? Could it have been when he outright stated
that the production was washing its hands of nearly everything that fans liked about
Godzilla in the first place? “The hell is that?” No, if you ask producer Dean Devlin, the real
issue was that audiences didn’t get the subtleties of the film, or the team’s decision to make
Godzilla more animalistic than supernatural. That’s your bad, film critics. Flying in the face of overwhelmingly negative
reviews, Godzilla made $379 million when it was released in theaters. Meanwhile, back in Japan, the Americanized
version of the beast was so reviled, it was renamed “Zilla” and got good and thoroughly
exploded by OG Godzilla in Godzilla: Final Wars, taking the Sydney Opera House with it. Roland Emmerich’s little engine that could
got another crack at the glitz and glamour of Hollywood with the 2004 disaster film The
Day After Tomorrow, a movie that bravely said, “You know what’ll make people take climate
change seriously? Turning it into a science fiction disaster
movie where none of its real world effects are portrayed accurately.” It was sort of like how Star Trek IV drummed
up sympathy by saving the whales, only not fun. The Day After Tomorrow was based on the book
The Coming Global Superstorm by Art Bell and Whitley Strieber of the paranormal and conspiracy
theory-themed radio program Coast to Coast AM, and yes, it was heavy-handed. But your hands would be heavy too if they
were carrying over half a billion dollars. That makes it the most successful adaptation
of a radio host’s book ever produced, probably. Roland Emmerich is back, not content with
the massive piles of money Godzilla and The Day After Tomorrow made. As fate would have it, he was granted another
turn at bat with 2012. So, you know. Here we go again. 2012 told the story of a series of plucky
humans trying to outlast the apocalypse foretold by the Mayans, who somehow had a blind spot
the size and shape of their civilization’s unceremonious decline but kept a solid bead
on the end of days. Now mostly remembered as a reminder John Cusack
hit his sell by date right after America’s Sweethearts, at the time it felt more like
an Oliver Stone-esque catastrophizing of people’s actual concerns about the end of days. “Kate, California is going down!” It’s been a busy decade, so you’ll be forgiven
if you don’t remember how freaked out some members of the public got about the 2012 end
of the world predictions. It was brought up by talk show hosts, televangelists,
and New Age religious leaders, nearly all of whom must have been around for Y2K and
known better. So when the ad campaign for 2012 was played
as a straight-faced warning of humanity’s coming doom, it allegedly led to young people
contemplating self harm to avoid the event and a lecture from NASA on responsibility. “The widespread rumors that there will be
a catastrophe or even a doomsday on December 21st are wrong. This is simply a big hoax.” All told, 2012 raked in $788 million worldwide,
making it the fifth highest grossing film of the year, with Avatar taking most of the
other four spots. You may remember Roland Emmerich from…look,
the guy tends to have one speed, and in 2008, he released 10,000 BC, one of the blessedly
few movies about cavemen without Ringo Starr. Written, directed, and produced by Emmerich,
10,000 BC was all about a surprisingly well waxed early human hunting prehistoric CGI
animals in a region of the world we’ll call The Uncanny Valley. When his lady friend, another exceptionally
well-groomed cave type named Evolet, is captured by bad guys, he’s forced to do action things. There’s a prophecy involved. It’s something you can really relate to if
you, too, are a messianic prehistoric Homo sapien that found a package of Gillette razors. The movie cost just a bit over $100 million
to make and wound up making nearly three times that amount back after DVD sales were factored
in. And here’s the extra bonkers part of the story:
it spawned the name “Evolet,” which started popping up as a baby moniker that same year. That means that somewhere out there, there’s
a tween living blissfully unaware that she’s named after a scantily clad cavewoman from
a movie that Richard Roeper once listed as being only slightly worse than The Love Guru. 2001’s Planet of the Apes seemed like a solid
bet at the time. The inarguably oddball franchise had been
handed over to acclaimed weirdo Tim Burton, chronologically equidistant at this point
from the 1992 masterpiece Batman Returns and the soulless 2010 cash grab Alice in Wonderland. It could’ve gone either way, basically. What it turned out to be was rough. While the makeup was on point and most of
the cast was rock solid, the movie also featured a not-quite-done-cooking-yet Mark Wahlberg,
an ending that didn’t make a lick of sense, and frankly, a whole lot of boring. Still, it made $362 million, so there you
go. “How the hell did these monkeys get like this?” “What other way would they be?” “Be begging me for a treat right now.” And you know what? It’s important to talk about not only how
bad it actually was, but how astonishingly bad it could have been. Arnold Schwarzenegger was on board to star
and Oliver Stone was slated to write and produce an Apes revival in the early 90s, which SyFy
quotes him as describing thus: “It has the discovery of cryogenically frozen
Vedic Apes who hold the secret numeric codes to the Bible that foretold the end of civilizations…My
concept is that there’s a code inscribed in the Bible that predicts all historical events.” Count your blessings. Hey, remember back before Marvel managed to
reconstitute itself into an unstoppable, all-encompassing gelatin of crowd pleasing properties? Remember how, for a little while, there were
movies that took place in a universe where there was only one superhero? How, within that story, a single guy dressed
in a skintight onesie shot sticky goo at people and everyone in New York was like, “It’s cool
with us, go Jets!” Things were simpler back then. “I’m Peter Parker. I’m a photographer.” “Yes. I can see that.” And they were huge. The Spider-Man movies were a cultural phenomenon
that, arguably more than any other picture since Superman, validated superhero flicks
as a viable money printing machine. With Spider-Man 3 being the most blandly reviewed
entry in the series as well as the one that slaughtered the franchise, you might think
that it was a commercial failure. Nope. Spider-Man 3 pulled an $890 million worldwide
haul on a $258 million budget. Sony was reportedly stoked on the idea of
three more movies, but Sam Raimi pulled out of the series for creative reasons, and the
plans were scrapped. There’s an argument to be made that Tim Burton’s
Alice in Wonderland could have been a great movie if he’d made it 10 years earlier. Burton fatigue wouldn’t have set in yet. The push to up a movie’s box office take by
shoehorning in 3D effects wouldn’t even be a bubble yet, let alone one on its way to
popping. Studios wouldn’t have had that Harry Potter
light in their eyes, pushing them to turn every recognizable property into a potential
tween-centric fantasy franchise. Sadly, what we got was a real drag of a movie,
which took a purposely nonsensical universe and tried to apply big budget, Narnia-adjacent
logic to it. Critical reception was tepid. Burton, once maybe the closest thing to a
post-70s blockbuster auteur, brought all the artistic vision of a Spencer’s Gifts manager
decorating the front window display. Johnny Depp, his returns well on their way
to diminishing, wore a silly wig and a big hat. Audiences suddenly realized that this was
his only trick, and the world was a less innocent place for it. But then Earth, as one, seemed to shout, “Well,
that popcorn’s not going to eat itself,” and Alice in Wonderland made over a billion dollars. “Three coins from a dead man’s pocket. Two teaspoons of wishful thinking…” Then it spawned an even harder to watch sequel,
which, while not the mattress stuffed with money that Disney was probably hoping for,
still pulled in nearly $300 million. You’d think that the reason people love animals
so much might be because we want something alive that doesn’t talk a lot, but that theory
flies right out the window when you realize that we’ll spend inordinate amounts of money
on movies about critters that won’t shut up. Not a lot of people saw Garfield 2 and walked
away feeling anything but irritated. So it speaks to the human race’s deep sense
of self-loathing when you look up how much money the Ice Age franchise made. Here’s a thought experiment: if you had to
put a dollar amount on how much the world wanted to listen to Ray Romano’s dulcet tones
coming out of a hairy elephant, what would that figure look like? It’s more than that. It’s obscene. The franchise has raked in $3.2 billion across
five films, with the third movie, Dawn of the Dinosaurs, pulling in the lion’s share
at $886 million in 2009. Now ask yourself, and be honest: did we really
love Scrat that much? It would be nearly impossible to find a unique
series of words to describe Batman v Superman which, in the infinitely shuffled deck of
the internet’s lexicon, hasn’t already been dealt. Critical response was abysmal. Comic book fans were distraught. In a Wall Street Journal piece, the movie
was described as such: “It’s a clash of cultural icons. It’s about the politics of military intervention
and terrorism. It’s inspired by W.H. Auden and Umberto Eco.” In reality, two computer generated cape guys
punched each other until they found out their moms had the same name. “You’re letting him kill Martha.” The bittersweet result was a movie that made
$873 million worldwide and was reported to have the fourth biggest opening weekend ever
at the time of its release. However, it also failed to hit that ever so
tasty billion dollar mark, and was considered a box office disappointment. Thematically, it was weak sauce enough that
even other DC productions made fun of it. “What’s your mother’s name?” “Martha.” “My mommy’s name is Martha, too.” Maybe it seems rude to call Suicide Squad
terrible. Some people probably really liked Suicide
Squad. Some people probably liked scraping their
knees on the pavement when they were kids. People are weird. At just under $750 million in ticket sales,
David Ayer’s opus might seem like relatively small potatoes compared to most widely released
superhero pictures. But one of the more incredible aspects of
the movie’s release was that it raked in that kind of money without ever being officially
released in China, a country that Hollywood has widely regarded as their personal ATM. Forbes pointed out a Chinese release would’ve
likely meant a box office take that would’ve dwarfed Deadpool and Guardians of the Galaxy. Still, three quarters of a billion is nothing
to sneeze at. Check out one of our newest videos right here! Plus, even more Grunge videos about your favorite
movies are coming soon. Subscribe to our YouTube channel and hit the
bell so you don’t miss a single one.

Box Office – Bad Boys for Life, 1917 & Dolittle TOP The Gentlemen

hello and welcome to this week’s movie
math where this weekend in a rare instance Hollywood was not focused on
getting you to pay to see their movies instead their laser focused on sundance
well maybe laser focused is a bit much because over the past few years Sundance
has waned in popularity and importance with fewer and smaller deals coming out
of the fest it’s actually turning into a bit of a pipeline to streaming which is
a sad commentary not just on Sundance but small phelps but one of the problems
is is that the biggest movies out of last year’s fast never really landed the
biggest being honey boy in The Farewell but they didn’t land like Sundance hits
like Sundance hits used to land so Hollywood’s kind of Hollywood’s doing
what audiences are doing this weekend they’re both kind of picking over a
garage sale right and so because they were focused
elsewhere they weren’t yeah they didn’t really try this weekend it’s where
Hollywood rarely does that they do that with the Oscar weekend is also the same
way and then also sometimes like at the end like you know it’s a late August
September they’re like we need to take a vacation too but you know that’s about
it even streaming was weak this weekend with only Netflix delivering Sabrina
part three and two Toyotas Hollywood come on I mean like remember in December
just a month ago when there was too much to watch some of that stuff could have
gone here I really do feel that eventually the whole calendar will be in
play but interestingly we’re not there yet
anyway as I said there was still money to be made as Hollywood picked over
Sundance and audiences picked over leftovers at the multiplex there were
some new releases we’ll talk about them but the more interesting stories are
actually with the left overs all right so bad boys for life easily
held on to the top spot and while it’s drop was a tad higher than I think Sony
would want considering the lack of competition it still sailed past the
century mark and only at second weekend but bad boys for life still has two
important countries to hit Brazil and India and there couldn’t be pockets of
cash there particularly Brazil but no matter what happens globally bad boys
for life will soon is grossing entry in the franchise not
accounting for inflation which is not in their favor but anyway this will help to
further guarantee that fourth installment
although Sony and brookheimer better locked down are bein foie as Marvel is
already talking to the directing duo they do love a directing duo over there
then 1917 also held on to the number two spot from last weekend as it continues
to pick up a ward after a ward on what is looking more and more like an Oscar
March just crossed the century mark slow and steady like its protagonists and the
world war one flick should continue to do strong business until the Oscars on
February 9th and probably the weekend after as it’s looking like it’s gonna
win Best Picture and everyone who still hasn’t gone will go well I guess we
better go that’s Universal plan and it’s about the only thing going according to
plan for universal as you’ll see from the rest of today’s discussion all right
so of course doolittle dolittle might be an animal whisperer right but it seems
our DJ is finally an audience whisperer why was this skill before he’s been you
know out of Marvel a little bit and ever really clicked for him before but for
some reason this movie is clicking as Doolittle shockingly had an okay second
weekend drop it did not plummet worldwide the flick is almost at the
century mark right and it still has a number of very big countries to go
box-office wise it could make some real cash here by the end of its theatrical
run and after streaming the movie might might actually break even and perhaps
perhaps turn a slight profit I know that’s a little bit aggressively
positive because I’m just so surprised at this turn of events but at least I
don’t think it’s going to shape up to be a huge embarrassment like initially
seemed and with the up with his upcoming Sherlock in good hands with Dexter
Fletcher well this is quite the hat trick for our DJ let’s hope Downey and
his wife’s lunch business partner realized this but this was a close call
and that they’re lucky to have survived it rather than have the takeaway be
we’re invincible or maybe they are right I mean Abby CinemaScore these numbers
like whoa what do you think audiences are okay with Doolittle have you seen
Doolittle do you secretly think it’s okay
you can tell us alright so yes some new movies were also released this weekend
but it wasn’t pretty the gentleman which has really sought
our t-score just couldn’t entice audiences to pay to pay to see it with
the lowest debut for Guy Ritchie ever from highest to lowest
ouch Disney if Ritchie’s been playing hard-to-get with the Latin – I bet he’ll
sign now they’re like ah excellent his price was just moving down and I will
Swiss by the way just went up it’s a tough business but I don’t get me to my
suit on the cheap as well sadly although if they keep waiting maybe he’ll sign a
deal I hope he does but anyway it’s really a minute Matthew McConaughey’s
fault here though because this is a high debut for the Oscar winner who’s had
trouble attracting an audience a paying audience for quite some time now the
entire cast really has this problem as talented as they are Ryan Gosling he
should have been in this movie as nobody wants to pay to see him either I know
some of you are big fans of certain talent and you can’t upset but it’s just
a it’s a harsh reality of the business you know it’s not just important for
them to do a good job in the movie but there’s a Salesman element to their job
they have to sell tickets and nobody in this cast can sell tickets it’s one of
the reasons that even though I adore Colin Farrell I get worried every time
he’s in a big movie because he’s got a bad track record as a salesman so I
don’t know why these people are all so talented even Ryan Gosling I don’t know
why nobody wants to pay to see him but it’s a sad but true fact uh I’m not
saying it can sometimes be turned around but it’s difficult alright so anyway
then the embarrassments just keep on coming for universal who followed abdul
little with the turning 12 percent on Rotten Tomatoes F cinema score enough
although we just had one for the grudge – so the F is becoming less rare as a
cinema score yeah but it’s still managed to pull in 7.3 million which shows when
Hollywood loves the horror genre but with a budget of 10 to 14 million uni
universal even overspent here as for the rest of the box office some of you are
left wondering over bring up Jumanji Grace well here you go
jewel on shoot is hit 721 million worldwide
now that’s 200 million behind the last installment but Sony will definitely
make another one that’s excellent and speaking of franchises the rise of
Skywalker finally crossed 500 domestic clue now it still won’t be able to catch
rogue ones 532 at this point it looks like but it’s hard to reach 500 million
putting the rise of Skywalker at number 15 all time domestics that’s
not bad leave with your head held high Kathleen now is the time to go where
everyone can win right I really feel this is this is we can all feel it this
is the moment and speaking of Star Wars redemption knives out is now at two
hundred and eighty three point three million worldwide off of an incredible
40 million budget now of course that doesn’t include advertising but sticks
didn’t spend that much on advertising they spent a good amount though that was
advertised very much but also very effectively we and John Rian Johnson
might be in denial about ever making that a Star Wars trilogy he keeps saying
oh it’s still in the mix yeah right but he’s definitely found himself a new
franchise that he’s created himself that’s an excellent counterbalance to I
ruined Star Wars but I think Kathleen Kennedy will ultimately end up wearing
that t-shirt because she’s the one who led him the buck stops at the head of
the company now as for this coming weekend it’s Super Bowl Sunday and I of
course will be covering all the new trailers reactions and breakdowns but
that means no movies again because you know Hollywood feels everyone will be
watching the Super Bowl on Sunday and planning for it on Saturday so typically
nothing comes out this weekend right except for the Fast and Furious 9
concert on Friday when they drop the trailer a little bit early because Super
Bowl spots are expensive and you don’t really need them that that much anymore
we’ll see how many trailers do debut Disney is a big spender though and
that’s what everybody wants to see so we should have some good stuff now only two
female led Pixar trying to counter program the Super Bowl the rhythm
section and Gretel and Hansel but neither expect is expected to counter
program successfully so that’s this week’s movie bath thanks for going over
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How Aamir Khan Conquered The China Box Office | FC Dissect | Thugs of Hindostan | Film Companion

Did you know that in China this year, an Indian film about a teenage girl with dreams of being a singer, made on a modest budget of 15 crores went on to earn more than international juggernauts like Marvel’s Black Panther and Disney’s Star Wars: The Last Jedi? On this episode of FC Dissect, we look at what the recent spate of successes of Indian films at the Chinese box office mean. Before the slew of successes in the past few years the most famous Indian film in China was Raj Kapoor’s Awara. In the 1950s the film had become a success especially in communist states like the Soviet Union and China where people connected with it strongly because of its core socialist values. Post the Chinese Cultural Revolution which ended in 1976 Indian movies once again had a resurgence in China. Awara was re-released along with another 50s film Do Bigha Zameen more than two decades after they released in India After this period apart from the 1971 Jeetendra-starrer Caravan and the 1979 film Noorie few other Indian films made significant waves in China. Fast forward to the 21st century. Although Aamir Khan’s Lagaan did get a China release in 2002 Khan only started to become a household name in 2009 after pirated versions of 3 Idiots were highly viewed by the Chinese. When the film officially released in Mainland China in 2011 it earned approximately 2.9 million dollars or rupees 15.5 crores. By then Chinese audiences were actively seeking out Khan’s other work. Khan had tapped into a goldmine that other Indian filmmakers had failed to recognize. In 2014 Dhoom 3 received the largest ever release for an Indian film in China at the time and ended up grossing approximately 3 million dollars or rupees 18 crores. Capitalizing on the growing interest in him Khan personally promoted his next film PK with local superstar Wang Baoqiang who dubbed for his character in the film. The satirical film scored India’s first wide theatrical release in China earning a then-record approximate 19 million dollars or rupees 123 crores, more than any Indian film had ever earned anywhere outside of India. Which finally brings us to Dangal. By the time Nitesh Tiwari’s film about the two wrestler sisters was up for release Khan was already a bonafide superstar in China. Chinese media started calling him ‘India’s conscience’. Fans lovingly referred to him as ‘Uncle Aamir’ or ‘Nan Shen’ which means Male God. Once again, Khan extensively promoted the film across the country And although experts didn’t doubt the film’s commercial viability, many, even internationally, were taken aback when the film went on to do unprecedented business. Dangal became the highest grossing Indian film in China with its final count being about 193 million dollars or more than 1,200 crore rupees. Khan has opened up new avenues for other Indian films. Kabir Khan’s Salman Khan-starrer Bajrangi Bhaijaan which released there in March this year, earned approximately 46 million dollars, around Rupees 300 crores. Saket Chaudhary’s Hindi Medium starring Irrfan, followed in April, earning approximately 33 million Dollars or Rupees 220 crores. And then Secret Superstar, which Khan starred in and produced, became the first Indian film to get a coveted revenue-sharing slot, eventually earning approximately 118 million dollars or rupees 753 crores. But what explains these staggering collections in a country that, until a while ago, didn’t even seem like a viable market? Here’s our hypothesis: Screen Count Although India has a population of approximately 1.35 billion, we are the world’s most under-served country in terms of number of screens. According to a 2018 FICCI-EY report, as of last year we had 9,530 screens, including single screens and multiplexes in the whole country. That’s approximately one screen per 1,42,000 people. By comparison, China, whose population is 1.4 billion has a about 55,000 screens. That’s approximately one screen per 25,000 people. The widest release a big Bollywood film can get in India is anywhere between 4500 and 5500 screens. But according to Yash Raj Films, Salman Khan’s Sultan which recently released had as many as 40,000 screenings on 11,000 screens in China. Couple that with the difference in the average ticket price and you will find that purely financially, there could exist a bigger box-office for Indian films in China than in India. Secondly, the two countries share many of the same social and cultural values. “Why they connect to our films, is because they, for them also the family is important the filial relationship is important and ‘father’ and ‘mother’ play an important part. Family vs individuality, girls vs boys, and opportunities rich vs poor, rural vs the urban; all of that is so similar to India. I think they connect to the social context of some of the better Bollywood films which have been shown there. I realized this After going to China a couple of times, Mainland China, that we are actually similar people. We have been kept apart by the Himalayas and the Himalayan blunders our leaders both sides of the fence have done.” Gupta was invited by the Xiamen University, in the Fujian Province of China to teach Indian Cinema to its students of Journalism and Communication. Lastly, Chinese audiences are more welcoming of foreign films. Director Kabir Khan, who traveled to the country to promote his film Bajrangi Bhaijaan had this to say – “They want to see films from outside one of the reasons could be because they have a huge exhibition space but maybe their production space is not matching up to it. they are very open to watching films, actors, directors, work from outside. And that’s a great thing. Because just look at the parallel over here. Suppose, the Bajrangi Bhaijaan of China were to release here, honestly I don’t think it would do half the business that we’ve ended up doing there Over the past few years, India and China have also expressed interest in taking advantage of this growing market. In 2014, Viacom 18 signed a letter of intent to co-produce Kung Fu Yoga, a film featuring Chinese superstar Jackie Chan alongside Indian names like Sonu Sood and Disha Patani. The film went on to earn more than 250 million dollars in China but failed to make any buzz in India. In May 2015, Eros International, announced a biopic on the monk who is said to have brought Buddhism to China. The film Xuanzang, had Sonu Sood playing king Harshavardhana. It was China’s official entry to the Oscars that year. 2017’s Buddies in India starring Wang Baoqiang was line-produced by Yash Raj Films. Eros International has announced two more upcoming co-productions. One is Kabir Khan’s Panda and the second is director Siddharth Anand’s cross-cultural romantic comedy, Love in Beijing. Unlike previous China-India collaborations, the two stories are being developed simultaneously through two teams of writers – one in India and the other in China. As is evident, the top players in film production and distribution are already exploring all options to make the most out of this ever-growing market. With a combined population of more than 2.7 billion, the list of possibilities is endless. Co-productions with Chinese companies will essentially help films bypass the import quota, allowing them to score a higher percentage of profits. In Hollywood, studios have been already tailoring content for the Chinese market. There have been instances of actors being cast solely because they were more recognizable Chinese superstar Fan Bingbing in X Men: Days Of Future Past excessive Chinese product placements being force-fit into films like dairy drinks and smartphones in the Transformers series and also entire locations being changed. When Beijing based DMG Entertainment financed 40% of the 2012’s Looper, a part of the movie which was originally supposed to be set in Paris, was moved to Shanghai. Are we headed in this direction too? Arun Gupta warns against this – “I think the more local you are, the more global you become. So long as films are about life and death – the primary emotions, they will succeed and I don’t think Indian filmmakers need to redesign their films.” And this is evident in the kind of films that have worked. “Ultimately, China was not even on our minds when we were writing and making Bajrangi Bhaijaan. So I think you just have to be true to the story and if the story is good it’ll appeal, all across the world. Why China? You know it might work in Nigeria too.” The release of Aamir Khan’s Thugs of Hindostan will prove to be the next big test of his super stardom in China. Will the film, which seems to be more of a visual spectacle than a story rooted in social values, break all records? Only time will tell.