Bombing Runs

Ben Kuchera popularised the term “review bombing” in a 2008 article that discussed backlash to the game Spore having a limited number of installs. This resulted in disappointed gamers leaving negative reviews on sites like Amazon in hopes that bad press would force change. 

Since then, review bombing has become synonymous with a particular type of response to films and TV shows. This is where rating sites like IMDb and Rotten Tomatoes are flooded with negative reviews. They can be used in both sporadic and highly organised fashions. They sometimes happen before projects are even officially released, and are reactionary in their content. For example, see reactions to Ghostbusters (2016), Star Wars: Episode VIII: The Last Jedi, The Little Mermaid (2023), Snow White (2025) and even films like The Promise.

Entitlement and Identity

Many of these reactionary campaigns focus on popular/big-budget action-adventure-oriented media. Using them as vehicles to attack perspectives that have been historically marginalised within cinema. Such as those of women, people of colour, LGBT+ people and those who suffered under imperialism. There are, of course, many blockbuster films that focus on marginalised perspectives and also have political messages. So why are only particular films bombed? 

Essentially, the targets are often chosen because they are new big releases that deviate from a historical “norm” that certain insular in-groups hold as important. Whether it be pre-existing media or historical narratives. A “norm” which didn’t include certain evidence and perspectives because of historical, cultural and political biases. As a result, these in-groups are resistant to addressing social injustice based on historical marginalisation, as it would challenge their view of something crucial to them. Because these projects’ size draws broad attention and deviates from the bomber’s preferred narrative, review bombing is used to assert dominance regarding what stories are told. All done to hold onto a certain high ground. Whether it be through fandom gatekeeping or national pride. This tracks with research suggesting that reactionary sentiment is fostered by the idea that someone’s status of relative privilege may be threatened.

Effects and Response

While studios often ignore review bombing campaigns, many workers and fans, particularly those who are marginalised, can be made to feel unwelcome or can be driven out of fandoms and the industry through the hateful atmosphere they perpetuate. Plus studios are more than happy to abandon social consciousness to make more money if pressure becomes too much. This serves only to embolden the hatemongers and drive away marginalised people. Thus, measures are needed to dilute potential harm.

Both Rotten Tomatoes and IMDb have tried to mitigate the impact through differing measures. IMDb introduced weighted average ratings and a warning label for when it detects unusual voting activity. RT, meanwhile, has a verification system for audience film ratings that requires proof of ticket purchase to be verified. They then allow people to see the difference between raw audience scores and verified ones. Additionally, they limit reviews until the project’s official release date. These approaches have merits but also their own problems. RT’s measures emphasise cinema runs over other distribution methods, and have implemented nothing for TV ratings. IMDb’s approach, meanwhile, is very poorly signposted. Plus, allowing for ratings to take place after one public screening is ripe for abuse.

Something like an improved version of RT’s system is probably one of the best methods to combat the bomber’s impact. It showcases the difference between potential review bombers and those who care enough to be verified. This, along with better community tools to flag potential troll activity, perhaps requiring written contributions for reviews to be accepted and allowing more time after a project is released to verify activity, could help. Ultimately, a comprehensive system transformation is needed to combat this hateful rhetoric.

The post Fan Rage: What Review Bombs Tell Us About Fan Entitlement appeared first on Big Picture Film Club.

In this article, we will examine what his administration has done to roll back protections for marginalised people. We will also unpack what these actions could mean for the entertainment industry and its workers.

Eroding Work Protections

In January, Trump signed three executive orders. These orders mainly focused on rolling back Diversity, Equity and Inclusion programmes. Along with affirmative action and protections for trans people. High, Jordan and Ostrager note that though the orders were aimed mainly at federal agencies, they instruct agencies to make “reports identifying…private sector companies with the most ‘egregious and discriminatory’ DEI programs.” Along with “potential civil compliance investigations of publicly traded corporations and large non-profits.” Meaning they will have wide-reaching effects.

What This Means

These orders are meant to send the message that measures being taken to protect and cultivate better working environments for marginalised people and address systemic hiring biases that often disadvantages people who are marginalised because of, “their race, colour, religion, sex, sexual orientation, gender identity, or national origin,” will be vilified by the Trump administration. Companies that voice inclusive policies even face potential legal action. Meaning this is being done to create an intimidating environment for marginalised people. Crucially, although these orders frame themselves as anti-discriminatory, the ACLU says these orders “weaponize civil rights laws’ to reverse decades of progress for women, people of color and for all communities.”

Company-implemented programmes around diversity measures have been criticised for how businesses often use them to whitewash their image over taking concrete steps to address company discrimination. However, they still help many marginalised people. These orders aim to destroy even these small protections that make businesses consider their hiring practices, employees’ talents and well-being.

How Companies Are Responding

Big media companies like Warner Bros Discovery, Paramount, Disney and Amazon have already changed their policies significantly. Amazon excluded a section from a 2024 report that indicated the company was focused on “diversity and inclusion in hiring”. They also said they are “winding down outdated programs and material,” relating to DEI initiatives. Disney is changing its Disney+ content warnings, shifting its “talent strategy” to centre on business outcomes over fostering diversity and inclusion, and closing a website celebrating the contributions of underrepresented voices at the company. Paramount has rolled back its targets to attract more diverse employees and has removed website content speaking to DEI initiatives. WBD are also changing their language to revolve around “inclusion”. In addition, it is making its application process “uniform and consistent”.

Many of these companies are trying to make it clear that they still value diverse perspectives and inclusive environments. That said, these measures, coupled with Amazon creating content around the Trump family and WBD having reportedly had similar suggestions made, Paramount’s potential merger on the way, and Disney pulling content featuring diverse characters, indicate these companies are just trying to garner favour from the Trump administration to protect their financial interests. All while trying to hold onto marginalised audiences and workers, despite capitulating to policies made to make them feel unwelcome.

The Future

We will have to wait and see how these orders affect the whole American film industry, as well as the film industry broadly and if workers and companies will fight these orders. However, these actions also reiterate a dark truth. The film industry has long dragged its feet on improving on-screen and behind-the-scenes representation. Now that high-profile companies have retreated from commitments to diversity and protecting marginalised groups, it has the potential to alienate diverse creatives from the entertainment industry further. Thereby depriving them of a voice within culture and their workplace. Plus, if these companies bow to pressure, the number of productions pandering to the Trump administration will undoubtedly rise over the next few years. Which will serve to normalise its hateful rhetoric. For that, these companies should be ashamed.

The post How Film Studios Are Responding To Donald Trump’s Attack On Diversity, Equity & Inclusion appeared first on Big Picture Film Club.

Disney

Walt Disney has made many of the fairy tales found in the Brothers Grimm into some of the most beloved children’s films ever made. Its first feature film was Snow White and the Seven Dwarfs, a classic Grimm fairy tale and this film from the 1930s still has a lot of cultural power. Inspired by the 1916 silent film of the same name the animated version would become one of the most important animated films ever made. We can put everything from Cinderella to Tangled in with Disney’s hugely successful adaptations of Grimm fairy tales.

Cartoons

Next, we have Tex Avery’s Red Hot Riding Hood loosely based on Little Red Riding Hood. Cartoon legend Avery presents a twist on the familiar tale, starting the cartoon in the typical rural medieval setting and then changing tone and location entirely; putting the wolf in a tuxedo and Little Riding Hood as a singer at a fancy club. Whilst you may think you’ve not seen this cartoon you almost certainly have at least seen parts of it (let alone the huge influence it had on future cartoons). It has a famous early example of a “cartoon character seeing an attractive woman” and the exaggerated and impossible reactions of the cartoon character.

Horror

The slightly askew interpretation of the fairy tale by Tex Avery is far from the only example, with numerous horror films using them as inspiration. Those who aren’t terribly familiar with the stories could perhaps wonder why filmmakers are using children’s stories for horror films…but there is murder, torture, horrific cruelty and more in the source material.

Hansel and Gretel has served as a great example, with 2020’s Gretel & Hansel as a recent addition, a twisted horror-fantasy focussing more on Gretel and exploring the various themes of the original story. The fairy tale runs the gamut of poverty, parental abandonment, homelessness, kidnapping, gaslighting, child torture, the prospect of cannibalism and burning a witch alive in her oven.

A brief note on 2005’s The Brothers Grimm a fantasy adventure featuring the brothers as the central characters. Rather than being academics collecting stories they are monster hunters, travelling the land fighting evil…well actually, they’re con artists, creating these monsters with theatrical skill and cheap tricks.

The Brothers

It’s hard to separate the Brothers Grimm and their work from their nationality and culture. The brothers were born in the 18th century in the Landgraviate of Hesse-Kessel, part of the Holy Roman Empire. They were German people but the country of Germany did not exist and would not until much later in the nineteenth century. The brothers felt a strong connection to fairy tales as art of the people, traditional and genuine, as opposed to high art which they considered more convoluted and artificial.

So why do these stories, collected by the Brothers Grimm over 200 years ago, based on stories that are far older still connect with people today? In European and American culture these stories are ubiquitous, giving a shared understanding. Reading your children these specific stories is a tradition. Whilst the stories may focus on stories of peasants, monsters and royals you get a lot in them – love, death, betrayal, heroism and usually a handy lesson to learn. Of course, at this point we are now in a feedback loop of cultural understanding, these stories, already prevalent, were stamped on the minds of children through Disney, the stories successfully attaching themselves to the new medium of cinema not long after its inception.

Also Read: Horror and Folklore: Movies Inspired by Myths and Legends

The post The Enduring Legacy of The Brothers Grimm: From Folktales to Cinematic Masterpieces appeared first on Big Picture Film Club.

It’s no secret that the film was loosely inspired by true events, or that it wasn’t exactly historically accurate, but you may be surprised by the extent to which artistic liberties were taken. Exactly how much was different, and why does it matter?

Colonial History 101

By the seventeenth century, much of North America was still undisturbed by outsiders. Unfortunately, all good things come to an end. A group of English colonialists under the Virginia Company of London landed in current-day Virginia in 1607 to form Jamestown, England’s first permanent settlement in North America. The first expedition to the settlement included Captain John Smith, a soldier who later became one of Jamestown’s first colonial governors. The settlement was off to a rocky start with insufficient supplies and rough seas, but their fate turned around with tobacco. In 1608, the English merchant John Rolfe landed in Jamestown. He introduced the Orinoco strain of tobacco from Trinidad to Virginia, which became a profitable cash crop.

Pocahontas

The main thing which the Disney film got right is the fact that Pocahontas was the beloved daughter of the paramount chief of Powhatan, a network of tribes in current-day Virginia. Beyond that, the facts get very muddy. First of all, ‘Pocahontas’ was only a popular nickname, her two official names were Amonute and Motoaka.

John Smith

The love story between Pocahontas and John Smith was a purely Disney invention, created in the hopes that a Romeo-and-Juliet-esque storyline would capture audiences. That being said, it’s probably for the best that there was no real romance. In the movie, they met as adults. In reality, Pocahontas was only ten or eleven and John Smith was in his late twenties.

The dramatic scene in which she rescued Smith from execution is impossible to confirm. All accounts of it originated from Smith himself, and it is likely to be a gross exaggeration. Nonetheless, Pocahontas did become a mediator between the English and the Powhatans, helping to smooth relations as the two groups began to exchange goods. In her mid-teens, Pocahontas married Kocoum, a fellow Native American, likely of the Patawomeck tribe. In the film, she was evading a forced marriage to Kocoum, which is an incredibly unfair depiction of their marriage. Kocoum died only a few years later, allegedly around the time of Pocahontas’s kidnapping.

Yes, kidnapping.

John Rolfe

In 1613, Pocahontas was kidnapped and held for ransom by the colonialists to force negotiations with the Powhatan chief amid the then-strained relations over resources. The plan worked. Afterwards, Pocahontas remained close to the English, eventually converting to Christianity and learning their ways. During this time, she met and married the also widowed John Rolfe. By most accounts, they genuinely fell in love. They had one son, Thomas, and stayed in Virginia for two years before travelling to England.

The Virginia Company of London funded this trip to promote trade and settlement in the New World. Pocahontas was presented as a “noble savage” to prove to the English that even Native Americans could be moral, educated and groomed. Disingenuously marketed to the English as a “princess”, she was introduced to polite London society. She fell ill on the voyage back to Virginia in 1617 and died on arrival, aged only 20 or 21.

Implications

It can’t be denied that Pocahontas was a fun film, and fun films sometimes require tweaking of the facts. However, its makers must have known the effect of creating a huge-budget production that was so far from reality. Many people still view Pocahontas as a one-dimensional character in a love story, but she was so much more than that. She was equally a political mediator and a political pawn. She died far too young, with her legacy shrouded by the biased accounts of people who took advantage of her.

Artistic liberty should, perhaps, have its limits. One can view this as just a children’s film about a woman who died over 400 years ago. Alternatively, one can recognise that this is one of thousands of stories that feed into the colonialist-hero trope which has slowly but surely watered down the harsh realities of what the British imposed upon North America.

To tell a story is to shape reality. What reality are you creating?

Also Read: Time’s Up for ‘Steamboat Willie’: A Shift in American Copyright

The post Straying From The Truth: The Historical Facts Disney’s ‘Pocahontas’ Overshadowed appeared first on Big Picture Film Club.

So, why all the drama over a mouse? It’s best to start with the real meat of the matter; copyright.

Copyright and Public Domain

Copyright is a legal protection for original works of authorship expressed in a tangible medium. Tangible media include books, films, plays, music scores, photographs, the list goes on. The purpose of copyright is exclusivity; the author has exclusive rights to claim work as their own and profit from it, unless they choose to forfeit that right or license it to someone else.

Works that have no copyright are considered to be in the public domain. In simple words, they belong to the public and are free for all to use. Once a copyright expires the work enters public domain, because no copyright lasts forever. However, a lot of corporations fought tooth and nail to make it last as long as possible.

The Copyright Fight Behind Steamboat Willie

Steamboat Willie is a seven-minute cartoon that changed the course of film history. One of the first-ever appearances of the beloved character Mickey Mouse, it gained huge popularity upon its release in 1928. Walt Disney’s synchronization of sound with movement was a huge innovation at the time. This little black-and-white film kicked off the Disney empire. Since Steamboat Willie is the basis for the legal rights over the first version of Mickey Mouse, a character that has made Disney an infinite amount of money, its release into the public domain didn’t happen without a fight.

Due to heavy lobbying of corporations (Disney being one of the loudest) the legal lifespan of a corporate-owned copyright has been amended several times. Most recently, the Copyright Term Extension Act of 1998 (nicknamed the Mickey Mouse Protection Act) extended copyright terms for works of authorship in the United States from 75 to 95 years after publication.

That being said, not every version of Mickey Mouse is free to use—only the version made in 1928. The Mickey and Minnie you know from Fantasia or Mickey Mouse Club House are still off-limits. And there are still countless trademarks associated with the brand, so don’t go starting a Mickey-themed business just yet. Regardless, be prepared for a lot of Mickey-inspired remakes this year. And while Disney was reluctant to let Mickey go, this development is a win for the public domain.

Why We Need Public Domain

The main purpose of the public domain is the preservation of culture and the promotion of creative freedom. Countless films have been lost to the passage of time because copyright prevented historians from reproducing copies for preservation. This domain keeps both factual history and the emotional relevance of fiction intact. Think about your favourite childhood movie. Cinderella? A Little Mermaid? One of the dozen iterations of Sherlock Holmes? Hell, even Frozen? All are based on works in the public domain.

Even Steamboat Willie drew inspiration from the 1928 Keaton film Steamboat Bill, Jr, which was in turn inspired by a 1911 recording of Steamboat Bill, a song released in 1910. Nothing is new under the sun. Copyright and public domain circle each other a delicate balance; every author should have the right to their work, but art, as a whole, eventually reverts its ownership to humanity.

Also Read: 7 Interesting Patents Owned By Disney

The post Time’s Up for ‘Steamboat Willie’: A Shift in American Copyright appeared first on Big Picture Film Club.

The story unfolds through the eyes of Freddie Hooke, an RAF pilot played by Ben Radcliffe, known for his roles in CW’s Pandora and Netflix’s Anatomy of a Scandal. As Hooke flies from Germany to England, he encounters complete instrument failure, transforming his journey into a struggle for survival and a series of mysterious encounters.

The film marks a significant turn for John Travolta, who stars as the older pilot, the ‘shepherd’ of the title. This role is a departure from his usual characters and showcases his versatility as an actor. Travolta’s involvement in the film dates back thirty years when he first optioned the novella, envisioning himself as the lead. This long-standing connection adds a layer of passion and dedication to his performance.

Producer Richard Johns and executive producer Bill Kenwright, both avid fans of Travolta’s work, joined forces with Alfonso Cuaron, a long-term admirer of the story, to bring this project to life. Cuaron’s production expertise, combined with Softley’s directorial vision, promises a film rich in cinematic quality.

The film also benefits from Travolta’s personal passion for aviation, bringing authenticity to his portrayal of a pilot. His diverse filmography and recognition in various international cinema circuits add an intriguing element to this project.

The movie, much like the original story, promises to resonate across generations, offering a blend of suspense, history, and the magic of Christmas. This Disney original short film is not just a cinematic experience but a journey into the heart of a night that changed one pilot’s life forever.

Also Read: Best Christmas Movies of the Past Decade

The post The Shepherd: John Travolta’s Aerial Adventure in Disney’s Latest Short Film appeared first on Big Picture Film Club.

Beware Spoilers for Star Wars: The Clone Wars and Star Wars: Rebels

“I’m not so bad am I?”

Ahsoka Tano first appeared in the Clone Wars film, way back in 2008. A prelude to the animated series of the same name (not to be confused with the other Star Wars: Clone Wars) it is set in the galaxy-wide conflict between Attack of the Clone and Revenge of the Sith. Introduced as an apprentice to Anakin Skywalker, the two initially have a rather tense relationship, but bond over the course of the film and early seasons. She was met with a poor reception, as Ahsoka and the film itself were not popular among the fans at first.

As the series goes on, Ahsoka begins to take more of a starring role. Getting much more time to develop and being on equal footing with characters like Obi-Wan Kenobi and Anakin Skywalker. As she grows up and matures, so does the show, with her being at the centre of some of the most beloved story arcs. Ahsoka became central to the show as well as to Anakin’s fall to the dark side. During the series, Ahsoka is wrongfully accused of bombing the Jedi temple. Anakin clears her name, but the events make Ahsoka question her place in the order and leave – a Jedi no more. The final episodes see her take centre stage as she battles Darth Maul, explaining her absence in Revenge of the Sith.

“I am no Jedi”

Although not a main character, Ahsoka plays an important part in Star Wars: Rebels. Acting as an agent for the Alliance, she often does missions with the crew of the Ghost, including Hera Syndulla, Sabine Wren and Ezra Bridger. During an epic confrontation with Darth Vader, she discovers the fate of her old master. Her whereabouts for the rest of the series, and the original trilogy are still a mystery. Ahsoka later turns up at the very end of Rebels, in a scene set after Return of the Jedi.

During the events of the finale, the Ghost crew attempt to free Lothal, Ezra’s homeworld, from Imperial rule under Grand Admiral Thrawn, a ruthless tactician. Knowing they cannot beat Thrawn, Ezra uses the Force, and his unique affinity with the whale-like Purgill to transport Thrawn’s ship far away, with him on it. After the Empire is defeated, Ahsoka sets out to find Ezra, after he saves her from Vader, with the help of Sabine.

Ahsoka’s quest has led her to cross paths with the Mandalorian and Grogu, as well as meeting up with Luke Skywalker, but now she’s finally getting her own series, she could be going anywhere, even another galaxy…

Also Read: George Lucas: Beyond Star Wars

The post Star Wars: Ahsoka – What You Need To Know appeared first on Big Picture Film Club.

The Rise of Streaming

With faster and cheaper internet speeds in the 2000s, it was only natural for some entertainment content to start moving from cable to online. At first, it was limited to YouTube and small websites. Then Netflix, a small video subscription service, came online. With House of Cards, it broke the barrier and made TV streaming mainstream.

And yet, with pirated video material getting over 230 billion views a year, we are in the Golden Age of digital piracy. Here’s why;

Subscription Fatigue

Back in the day, you just needed to invest in one really good cable subscription and you were set. Now, video entertainment is split over a dozen online platforms each specializing in different genres. Maybe you’re satisfied with the dramas on Hulu but your spouse wants to watch reality shows on Netflix and your kid simply can’t settle for less than Disney+. Regularly paying for three or more costs far more than cable ever did. So the average person does what they can to cut costs.

Streamers Hiking Prices and Tightening Regulations

Over the last couple of years, most streamers have hiked their prices a couple of bucks. This has put more financial pressure on the subscribers already experiencing subscription fatigue. On top of that, Netflix recently created measures to prevent password sharing outside a subscriber’s household. This extremely unpopular move means that an account (even a family account) can no longer be shared among people who don’t physically live together. Once again, streamers are forcing subscribers to spend more money.

Content Deletions

Perhaps the most egregious of all, many streamers are pulling huge chunks of content off their platforms. Netflix is notorious for cancelling shows only one season after their release. This frustration is causing many people to opt out of streaming altogether. Worse than that is streamers like Disney+ deleting swathes of completed TV shows and classic films that only exist online. Many people see piracy of such content as historical preservation of art which would otherwise be completely erased from living memory.

So, what Are Streamers Doing About It?

While the ethical concerns of piracy can be debated, the fact is that the movie industry loses between $40 and $97.1 billion every year from digital piracy. And, of course, streamers want their cut. A few measures are being taken to curb movie piracy. As anyone who uses Netflix knows, you can’t screenshot or screen record any image on the Netflix app. This is a measure applied by quite a few streaming services. Platforms can also embed invisible digital watermarks in their content which helps to identify whether duplicate content has been stolen. Website blocking is used to limit access to the most notorious TV and movie piracy sites. But despite preventative methods and thousands of take-down notices issued to pirates, the issue persists.

All in All,

Streaming has changed the landscape of movie consumption by making TV and film accessible to thousands of more people. But the increased access to the internet coupled with the pitfalls of streaming has also opened the floodgates to rampant movie piracy. What’s your take?

Also Read: The New Hollywood: Streaming Giants

The post How the Streaming Revolution Has Fuelled Movie Piracy appeared first on Big Picture Film Club.

2022s Box Office Top 10

At the time of writing these are the top 10 highest-grossing films at the worldwide box office in 2022 according to Box Office Mojo. 

10. Moon Man (Over $460,237,600)

9. Water Gate Bridge (Over $626,571,600)

8. Thor: Love and Thunder (Over $760,928,000)

7. The Batman (Over $770,945,500)

6. Black Panther: Wakanda Forever (Over $831,942,300)

5. Minions: The Rise of Gru (Over $939,628,200)

4. Doctor Strange in the Multiverse of Madness (Over $955,775,800)

3. Jurassic World: Dominion (Over $1,001,978,000)

2. Top Gun: Maverick (Over $1,488,732,800)

1. Avatar: The Way of Water (Over $1,749,253,900)

In total the top 10 highest-grossing films earned over $9,587,993,700. There were 2 non-English language films in the top 10 (Moon Man and Water Gate Bridge). 4 of the big earners were produced by companies owned by Disney (Thor: Love and Thunder, Black Panther: Wakanda Forever and Doctor Strange in the Multiverse of Madness came from Marvel Studios while Avatar: The Way of Water was from 20th Century Studios), 2 had some involvement from Universal (Minions: The Rise of Gru and Jurassic World: Dominion), 1 was distributed by Paramount (Top Gun: Maverick) and 1 came from Warner Bros (The Batman).

The 2020s At The Box Office

How does this list and its revenue look when viewed next to the rest of the 2020s? Well, comparatively, 2022 was a very solid year. With pandemic restrictions firmly relaxed across many countries cinema-goers have returned to the theatres in good numbers. The top 10 movies this year earned almost 3 times what 2020’s top 10 earned. It even managed to outperform 2021’s top 10 by around $1.9 billion. This year also saw 3 movies cross the $1 billion mark and all 3 came from different studios. Interestingly, this also marked the first year since 2015 (excluding 2020 and 2021 because of the pandemic) when the year’s two highest-grossing films were not affiliated with Disney.

But what does this box office top 10 tell us about the industry and what the future potentially holds? 

Lessons From 2022

2022 showed us primarily that franchises continue to be the big audience draw. So franchises are still likely to produce the biggest hits going forward. However, Top Gun: Maverick and even Avatar: The Way of Water have proven that smaller franchises still have the possibility to attract huge box office numbers. Additionally, the top 3 have shown that non-Disney-made films may have a chance to earn greater attention than in the pre-covid landscape.

Secondly, while international language pictures may be struggling in the box office rankings post-covid, with only 2 non-English films in this year’s top 10 (2021 had 3 and 2020 had 5), 2022 showed they still have potential to pull in good earnings in the future with Chinese language films proving to be a particularly big draw recently with growing interest in international releases. We could possibly see more big international hits if they are given better worldwide distribution.

Finally, while these figures prove the industry has certainly not reached pre-pandemic box office levels it is still in a healthy spot. This year’s top 10 managed to outperform 2016s (over $9,320,848,700) and while it is a way off from 2018s and 2019s numbers those movies were dominated by highly anticipated franchise entries, like the conclusion to Marvel’s Infinity Saga, which will be hard to immediately replicate. Thus 2022 showcases that the industry is on the road to recovery. Hopefully, 2023 will yield even more interesting and healthy box office results.

Also Read: Time To Rethink The Box Office Film Charts?

The post Box Office 2022: Returning To Cinemas appeared first on Big Picture Film Club.

Recently for several weeks, I suffered from an odd form of cognitive mistake. Every Monday I would think to myself, “The new episode of Andor comes out on Monday” and then be very disappointed when I checked and it actually was released on a Wednesday. It seems high praise indeed when so eager to watch a show your mind will repeatedly deceive you. Andor is one of the best tv shows of 2022 and it might even be the best. For most people this was not expected, I certainly didn’t expect it. It’s a different kind of Star Wars, less about light sabres and more of what life is like under a totalitarian regime like the Empire.

Setting The Scene

Andor is a spin-off tv series from the film Rogue One, which featured Rebel Alliance officer Cassian Andor, and shows the story of how the rebels acquired the plans for the Death Star. Andor is set several years before Rogue One and at this point, Cassian is a bit of a crook but not part of the Rebel Alliance, although like most people where he lives, hates the Empire. With Andor we see the first steps of the formation of the Rebel Alliance with another central character being Senator Mon Mothma (seen in Return of the Jedi briefing the Alliance) who is working against the Empire. There is also the mysterious Luthen Rael, something like a criminal or maybe a key player in the resistance to the Empire, but whatever he truly is, he is demonstrated to be utterly ruthless.

Cassian Andor

Essentially the audience is seeing Cassian go from trouble-maker and criminal to becoming a full member of the Rebel Alliance, from being concerned only for himself and his small circle of friends and family to the wider problems facing the galaxy. Usually, Star Wars deals with huge storylines of galactic civil war, planets being obliterated and titanic struggles between good and evil. Andor is very different – at the start of the show the stakes seem to be set ridiculously low and the looming threat is not stormtroopers but incompetent security forces vaguely aligned with the Empire.

There are three stories which encapsulate Andor. The first, Cassian is recruited to rob the cash payroll from an imperial garrison, the second, Cassian finds himself imprisoned, and the third, the funeral of a prominent character. All three of them deal with the idea that is it better to slowly ground down the Empire over years, keeping your head down to avoid attention and having some measure of life, or to risk it in defiance, to risk it for your freedom and a better life? We see various characters in different situations decide the best thing is not to resist but to comply, hoping their obedience will lead to good things or at least not to draw the ire of the Empire. Each time this way of thinking is overturned, and each time they should have failed, the prison was inescapable, the garrison too well-defended, unarmed mourners standing up to stormtroopers.

The Imperial Security Bureau

Our window into the Empire is through something we’ve not seen much of so far, the Imperial Security Bureau, these white uniformed intelligence agents are charged with rooting out the enemies of the Empire. They are a collection of rigid, repressed, sinister bureaucrats, who as well as protecting the Empire are fighting their own battles for influence and power within the organisation. Most of the agents seem to have very linear minds which cause problems when dealing with small outbreaks of rebellion across the Empire, the exceptions seem to be Major Partagaz and Dedra Meero, an agent under his command. It is Dedra who leads the hunt for Cassian and others. The ISB is a very odd organisation, with many of their members pale and gaunt, even sickly looking, their sneering faces full of contempt and undeserved superiority.

A Community, Not A Backwater

A lot of the show takes place on the planet of Ferrix, this is where Cassian is living at the start of the show. A small, industrial site, on the fringes of Imperial power. Star Wars often has characters start on similar planets, Luke Skywalker on Tatooine, Rey on Jakku, and usually they just serve as a backwater place that the hero wants to leave. Whilst Cassian is indeed happy to travel, we see things about Ferrix we never see about some of these other planets. We see some of the cultures of the planet, the feeling of community, it can be a hard place to live but people are also proud of their home and their community. This is best exemplified in the funeral that happens in the series finale, we see a number of Ferrix traditions and important cultural signifiers that matter to people, the organisation the Daughters of Ferrix, an organisation of citizens that works for the community. This fully formed community is indicative of Andor as a whole, avoiding simple cliches for more engaging storytelling.

This article has barely scratched the surface of the layers and complexity of this show – I haven’t mentioned Kino Loy (Andy Serkis‘ amazing portrayal of a conflicted prisoner), Vel Sartha (Faye Marsay’s ruthless rebel), the bizarrely compelling Syril Karn, or Brasso, who in a few seconds became perhaps the most bad-ass character ever created. Andor is amazing. Watch it.

Also Read: Now That Disney Has Stated They Won’t Focus On Film Trilogies, What’s Next For Star Wars?

The post How Andor Surprised Everyone And Became (Arguably) The Best Show of 2022 appeared first on Big Picture Film Club.

The Original Trilogy

The story goes that when George Lucas first conceived of Star Wars it was nine films but unable to get funding for such a huge project he settled on making the middle three films – the original Star Wars trilogy. So naturally in the late 90s when Lucas wanted to revisit Star Wars he went back to the idea he originally had and made the prequel trilogy. And when Disney acquired Star Wars it made sense to make another trilogy – the sequel trilogy. But according to Lucasfilm’s president, future Star Wars films will not run in this trilogy format. We’ve already had Rogue One and Solo: A Star Wars Story as well as various tv shows. One of the major problems with the sequel trilogy was that there was no story arc for the three films, suggesting that the whole project wasn’t as thought out as it should have been.

Rogue One & Solo

Many Star Wars fans cite Rogue One as the best of the Disney era films or even the best outside the original trilogy. The story of how the Rebel Alliance came by the Death Star plans could simply have been fan service but the film was a triumph of storytelling and character (with another great droid added to the saga with K2), the only major criticisms I’ve seen of the film are that with it being a prequel there is a lack of jeopardy and using CGI to insert dead actors into it.

Solo was a lot less successful with many fans being disappointed. The change in directors from Phil Lord and Chris Miller to Ron Howard was a bad sign and many didn’t like the actors portraying the major characters. I was disappointed when I first saw Solo but on subsequent viewings I’ve enjoyed it a lot more, seeing it as an enjoyable heist film.

Star Wars has had some big successes on television – The Bad Batch and The Mandalorian have received very positive responses from both fans and critics. Obi-Wan Kenobi was popular (I loved it).

One of the major questions with new Star Wars projects is whether they should focus on existing characters and ideas, or make new characters and ideas. And there is no way for Disney to win. Fans complained about portrayals of Boba Fett and Luke Skywalker when existing characters were used, and when a project uses completely new characters fans complained that they missed the old characters.

Looking at what the next film/trilogy/tv series/bi-monthly box of curated snacks Star Wars takes on there is the question of when it is set. In both the canon established in the films and the huge amount of books, comics, and video games that exist there are literally thousands of years of pre-A New Hope history and stories set after the original trilogy. The period of the High Republic is a fertile ground for ideas, being the period of the Jedi at the height of their power. Personally, I like to see smaller-stakes stories moving away from the main characters, the Star Wars galaxy is huge and providing the bad guys aren’t planning to blow up planets there are very few constraints in terms of canon-Star Wars. There are different nations, hundreds of alien species, crime syndicates, cults, sinister secret organisations, and an almost limitless amount of stories.

Should It Be A Film Or Series?

Something I’ve stated many times but everything needs to be about what serves the story. If a story works better as a film, make it a film, if a story works better as a miniseries, make it a miniseries. Outside of Star Wars, the movie World War Z is a classic example of where a mistake was made on whether it should be a film or tv show, the book is a series of interviews with people who survived the zombie apocalypse, essentially each interview a separate little story. It takes in two dozen countries and characters with no connection to each other – it should have been a tv show but we got a film that tried to push this into less than two hours. The Book of Boba Fett may have been better done as a film as while I enjoyed that series it didn’t always feel there was enough there to sustain so many episodes.

Whatever happens next in Star Wars it is guaranteed an audience and in my opinion, if they want to be continuously making new shows and films they need to try new things and moving away from trilogies will allow them to do that.

Also Read: Iconic Scenes: Star Wars: The Last Jedi – “The Kylo Ren & Luke Skywalker Confrontation”

The post Now That Disney Has Stated They Won’t Focus On Film Trilogies, What’s Next For Star Wars? appeared first on Big Picture Film Club.

Ten years have passed since Revenge of the Sith and Obi-Wan has been living a quiet, anonymous life on Tatooine, keeping a distant but watchful eye on Luke Skywalker. During this time the Empire consolidated its power and started a galaxy-wide hunt for Jedi and any potential Jedi. Obi-Wan being a Jedi Master, a general in the Clone Wars and the guy who sliced up Anakin Skywalker is probably top of the most wanted list. After Leia is kidnapped Obi-Wan goes after her, despite protesting that he is not the man he once was, no longer the legendary Jedi Master. This mission has him meet criminals, storm troopers and the Inquisitors, Jedi who switched sides and lead the hunt for survivors of Order 66. And, of course, Obi-Wan encounters Darth Vader.

A Star Wars Fan’s Opinion

Let me start by saying – I loved Obi-Wan Kenobi. I have wanted to learn more about the story of what happened to Obi-Wan between the Clone Wars and A New Hope for decades. But I will also say this – it wasn’t first-rate television like The Mandalorian, it was a bit shakier, a bit more fan service, and a bit too keen on convenient rescues, but I still loved it. We have seen Obi-Wan go from padawan, to Jedi Master, to recluse, to willingly going to his death and it’s been quite a journey.

When I heard about this show I had actually hoped for some kind of western drama set on Tatooine. Obi-Wan unable to get involved in grand affairs of state cannot help but get involved to help people and fights some evil gangsters on Tatooine. What the show was actually about was much better. The show I envisioned was cool and exciting, the show we got dealt more with Obi-Wan as a character.

Not Obi-Wan Kenobi

The show was also full of great characters aside from the titular one, Vivien Lyra Blair was fantastic as young Leia and wonderfully captured Princess Leia’s (and to be honest Carrie Fisher’s) attitude of not taking bullshit from anyone. Moses Ingram as Inquisitor Reva was an interesting villain clearly dealing with obsession. Kumail Nanjiani as fake-Jedi and occasional hero Haja was another highlight, as was Indira Varma as Tala Durith, Imperial officer turned rebel. Finally, I have to mention NED-B, a loader-droid and rebel, who didn’t even have R2D2’s limited means of communication but whose death was terribly sad. Star Wars has a fantastic ability to get us to connect with droids – from whistling R2D2, Rogue One’s K2 and even The Mandalorian’s IG-11 the bounty/nurse droid.

Obi-Wan & Darth Vader

It is established in this show that Obi-Wan did not know Anakin Skywalker had survived their battle. As the Inquisitors are closing in on Obi-Wan, Darth Vader appears to personally deal with the Jedi and the two meet. The Jedi chose to meet Vader to give others a chance to escape and when he and Vader finally meet…he runs. The fight that follows shows Obi-Wan constantly outmatched by Vader and only escaping because of outside help. To see Obi-Wan Kenobi, the Jedi Master who lead armies, defeated Sith and occasionally fought monsters, run was somewhat heartbreaking. It’s not a question of cowardice, or at least, he’s not afraid of Vader in the conventional sense. Obi-Wan has not recovered from what happened – Anakin’s betrayal, Order 66 and his last battle with Anakin where he left his best friend for dead. Obi-Wan might be sure he did the right thing in fighting Anakin but it broke him. Obi-Wan runs to buy time, because he knows he’s not as good as he used to be, and perhaps most importantly, he cannot face what he did to Anakin.

Over the series, Obi-Wan regains his confidence and drive and when Vader and Obi-Wan meet again things go differently. This time Obi-Wan wins but still, he cannot get over what happened and he even apologises but Vader does not accept his apology. This gives rise to explaining one of the odder things Obi-Wan does in the original trilogy, telling Luke that Vader betrayed and murdered his father. Vader angrily declares that it was he, not Obi-Wan, who “killed” Anakin Skywalker. When Obi-Wan returns to his life on Tatooine it is with a new sense of peace, something he’d been lacking for the past ten years.

This show has given me so much enjoyment and it’s tricky as I recognise many flaws in the programme, ranging from plot holes to dialogue. More than once I wanted to scream at the TV – STOP LEAVING PEOPLE FOR DEAD! MAKE SURE THEY’RE DEAD! As again and again characters do this. Obi-Wan Kenobi is a great show for anyone but a must for all Star Wars fans.

Also Read: Iconic Scenes: Star Wars: The Last Jedi – “The Kylo Ren & Luke Skywalker Confrontation”

The post Obi-Wan Kenobi: From A Fan’s Certain Point Of View appeared first on Big Picture Film Club.

1. Less Than Shining

Incredibly, upon release, The Shining received quite mixed critical attention. It even got multiple Razzie nominations. So Opinionated Strangers’ sentiment is not unshared. Although since The Shining is now considered a classic, many may view this opinion to be as deranged as Jack Torrance.

2. The Boy Who Bored You Senseless

Harry Potter is one of the biggest film franchises ever and a special part of many childhoods, J.K. Rowling’s horrific transphobia aside. But not everyone could fall under the series’ spell. Jodie’s post proves that.

3. Mars Attacks vs Arrival

Arrival was loved for the interesting way it dealt with the Alien visitation concept. It dealt with language barriers, perceptions of time, and human nature. Nevertheless, according to Vin Hlz Mars Attacks, a critical disappointment, is much better at what it does than Arrival. Sometimes you just want a good old-fashioned alien invasion movie.

4. Oliver Stone’s Unsung Masterpiece?

How can you definitively state Oliver Stone’s best movie when Platoon, Born on the Fourth of July, JFK, and Natural Born Killers are in his filmography? Well, Eric Rowe believes his best movie is actually the underseen Nixon. It’s always nice to see love for an underappreciated film.

5. An Offer Refused

As Family Guy showed, not loving The Godfather is a hard position to hold. And to not like other highly-rated gangster films like both Scarface movies and Casino as well? If nothing else one must admire FKA “Bulletproof Heart” Leo London for being honest. That’s the kind of talk that can leave someone sleeping with the fishes.

6. An Impossibly Underrated Sequel

One mission that mostly proved impossible for the Mission: Impossible series was getting people to praise Mission: Impossible 2. Unanimously considered the series’ low point. Thankfully this goal was finally accomplished thanks to Hasta Lavista Baby.

7. Dragon Wars

There have been several occasions when two movies with strikingly similar themes or plot elements have been released close together. Think Armageddon and Deep Impact. And in this battle, it would be easy to write off Wish Dragon given how high-profile Disney’s dragon animation Raya and the Last Dragon was. But sometimes underdogs can strike a chord with fans. As Wish Dragon did with TheCinematicBandicoot.

8. Defence of the Dead

It’s fair to say from the lacklustre reactions that many general moviegoers were probably expecting something different from what The Dead Don’t Die delivered. But to those familiar with Jim Jarmusch’s work, like Eden Limchawalit-Smith, it provided a unique entry into the zombie subgenre.

9. Not So Quiet on the Sequel Front

Both Quiet Place movies garnered a huge amount of praise from audiences and reviewers. That said ScareCandy Podcast thinks that the second film was much less effective because it felt like a repeat of Part 1. And no matter how good something is repeating the same thing is likely to wear patience thin quickly.

10. Calm Down Raging Bull

Last time we discussed how one Twitter user saw Martin Scorsese as a lesser filmmaker than Brian De Palma. Now we find user Reuben throwing shade at Raging Bull, widely considered one of Scorsese’s best works and the film which earned him his first Oscar nomination for directing. What a left hook sting.

Do you agree or disagree with these hot takes? And what unpopular film opinions do you hold?

Also Read: #FilmTwitter Gives Their #UnpopularOpinion On Movies – Do You Agree?

The post Even More #UnpopularOpinions From #FilmTwitter appeared first on Big Picture Film Club.

Who is Boba Fett?

As a Star Wars nerd of the highest order I know there are multiple answers to this question but we shall stick to the canon made in the Star Wars films. Boba Fett is a clone of the infamous bounty hunter Jango Fett, Jango was used as the DNA template for the clone troopers we see in the prequels. Jango asked for one clone which he would raise as his son – Boba. After Jango’s death, Boba seems to bounce around the galaxy, eventually becoming the most feared and capable bounty hunter in the galaxy, so much so that it is Fett who tracks down Han Solo for Darth Vader. Boba met his death when knocked into the sarlacc pit by Han Solo. Or so we thought. Despite having a grand total of four lines, five if you include his scream, Boba Fett became a fan favourite. The mysterious bounty hunter featured in numerous books and other extended universe material and eventually showed up in The Mandalorian. The brief glimpse of Temuera Morrison (who played Jango Fett and so presumably Boba Fett would be identical to) at the end of an episode of The Mandalorian caused an explosion of fan theories, and indeed, Boba Fett made a huge impact on the second season of that show.

The Reports of My Death Are Greatly Exaggerated

In Return of the Jedi Han Solo accidentally activates Boba’s jet pack, which sends him careening into the sarlacc pit, never to be seen again in the original trilogy. But for such a popular character apparent death is a minor inconvenience. The Book of Boba Fett does explain his escape and how the battered, near death, bounty hunter managed to survive, after all, it’s great to escape the sarlacc, but then you’re stuck in the desert.

Why Do People Like Boba Fett?

Boba first appeared in the Star Wars Holiday Special, then had a pivotal role in The Empire Strikes Back and “died” in Return of the Jedi. From these appearances, he would undoubtedly be viewed as a villain by the audience, and he actually does very little. He had a clever idea to find Han Solo, he shoots at Luke Skywalker a couple of times and has an embarrassing tumble into a giant sand monster. But this figure, completely encased in armour, barely saying anything, with no backstory or explanation of who he is other than he’s a bounty hunter is beloved by fans. Boba was even added to the remastered A New Hope, appearing with Jabba the Hutt’s goons (who was also changed from a human to the famous slug we all know and love). I think it’s because he’s cool. Luke Skywalker is the hero but Han Solo is cooler. Darth Vader is evil but he is undeniably cool. C3PO knows seven million forms of communication and we can’t understand a word R2D2 says but we all know the little trashcan droid is far cooler.

The fact that most of the people the rebels fight are masked lends the bad guys an anonymous quality, I don’t think any of the stormtroopers in the original trilogy is ever referred to by name. Stormtroopers are nameless, hidden, seemingly endless foot soldiers and if a villain with any sort of identity shows up they are latched onto.

The Book of Boba Fett

The new show takes places in roughly the same time period as The Mandalorian, with Boba heading back to Tatooine to take over Jabba the Hutt’s crime empire. He is joined by Fennec Shand, another character from The Mandalorian, a brilliant assassin whose life was saved by Boba Fett. Like The Mandalorian, it explores the chaotic galaxy that has been created by the decline of the Empire, relatively unimportant worlds like Tatooine were abandoned as storm troopers were needed elsewhere. Coupled with the death of Jabba the Hutt a power vacuum exists, one which Boba Fett will take full advantage of.

I’ve watched the first episodes and really enjoyed them and if you want to keep following the story of the galaxy’s greatest bounty hunter you should watch it too.

Also Read: Beyond The Mandalorian: Expanding The Star Wars Universe

The post How Boba Fett Got His Own Show appeared first on Big Picture Film Club.

Some spoilers to follow, mainly for post-credit scenes and Loki

“Welcome to the circus”

The films of Phase 4 have been mostly focused on introducing new heroes. Black Widow, although following Natasha’s adventures in the lead up to Avengers: Infinity War, showcased Florence Pugh’s Yelena, as well as Red Guardian. Yelena is set up for a confrontation with Hawkeye in the post-credits scene. Reaction to the character is very positive, so she could be the lead in any potential sequel.

Elsewhere, Shang-Chi and the Legend of the Ten Rings showcased the martial arts master going up against the Mandarin. Arguably one of the best solo outings in the MCU, the film showcased new characters, as well as expanding and improving upon the Ten Rings. The controversial twist in Iron Man 3 is woven in as part of the villain’s story. Although largely standalone, cameos from Wong, Abomination and Bruce Banner helped fold Shang-Chi into the wider universe.

Eternals, while being divisive, expanded on the cosmic side of the MCU. A sequel seems likely to be set in space, as the characters search for more Eternals. Which opens up many possibilities for the future – Eros meeting Star-Lord and Adam Warlock perhaps? It also introduced Dane Whitman, who claimed the Ebony Blade to become the Black Knight. Blade, the half-human vampire hunter, also has a brief voice cameo.

A Visionary New Age of Television

Phase 4 is unique in that it now features TV shows. While there have been several other TV projects set in the MCU, the links have been vague at best. The Disney+ series though, are as big as the films. Delving into the aftermath of Avenger: Endgame, they have followed familiar characters who were supporting players in previous films. WandaVision is a mysterious, decade hopping sitcom, featuring the Scarlet Witch and the seemingly resurrected Vision. The globe-trotting The Falcon and The Winter Soldier explores the legacy of the now-retired Captain America. Hawkeye introduces Kate Bishop to the universe, while also giving the original archer his time in the spotlight.

While many of these have been mostly standalone, there are hints of an arc. In Loki, the god of mischief works with the Time Variance Authority to preserve the timeline. However, the finale introduced He Who Remains, who keeps the various timelines in check. With his death, things instantly start to change, with Loki returning to a very different TVA. The multiverses are starting to collapse. What If…? explores various multiverses, with changes to the existing MCU timeline having ripple effects, although it is unclear if this will tie in, as the show is animated.

The Multiverse of Madness

Phase 4 seems to be heading in a multiverse direction. With What If…? offering a simple but effective starter course in what exactly the multiverse is. Loki encountered “Variants” of himself, Loki’s from other universes during his series. These included Sylvie, Kid Loki, the classic Loki and an alligator. This sets up the possibility for multiple versions of the same character to exist. Spider-Man is set to encounter various villains (and maybe other Spider-Men) from the multiverse in Spider-Man: No Way Home. From the trailer, it looks like Doctor Strange is partly responsible for the multiverse trouble, which is likely going to be explored in Doctor Strange and the Multiverse of Madness.

Scarlet Witch has been confirmed to have a substantial role in the sequel, which will likely follow the events of WandaVision. Strange seems to be emerging as a potential leader for the new Avengers team, whatever that ends up looking like. It’s possible that the sequel could end up being like Captain America: Civil War, having a large impact despite being a solo film. Or Strange could end the multiverse plotline, perhaps leading the world open to a greater threat…

While the MCU might not have headed straight into another 10-year arc after Endgame, it isn’t resting either. Phase 4 isn’t even halfway through yet, so it’s almost impossible to tell where it’s going. Returning favourites like Ant-Man, Thor and the Guardians of the Galaxy will likely have their own stories to continue, as well as introduce new characters. Kang the Conqueror, a variant of He Who Remains is set to debut in Ant-Man: Quantummania. The Guardians are set to face Adam Warlock. As well as all-new heroes like Blade, Moon Knight, She-Hulk, and the Fantastic Four making their debut in the MCU. Phase 4 is doing exactly what it should be.

Also Read: Has The Marvel Cinematic Universe Reached Its Peak?

The post Marvel Cinematic Universe – Phase 4: So Far So Good? appeared first on Big Picture Film Club.

Another Father of the modern-day musical was George Edwards, the managing director of London’s Savoy Theatre in 1881, who brought modern dress, original songs, family-friendly themes, & romantic banter to the genre, and replaced the bawdy burlesque atmosphere with one of respectability.

While all this was taking place in Europe, the Americas gave rise to several famed musical writers and writing teams, including Harrigan & Hart, Rogers & Hart, Rogers & Hammerstein, George Bernard Shaw, & George M. Cohan.

But the age of musicals began in earnest at the onset of WWI, when the world’s need for escapism gave rise to a never-ending flood of musicals by such as “Shuffle Along”, a Broadway hit with an All-Black cast in 1921 (You didn’t think “Hamilton” was the first now, did you?), “Porgy & Bess”, another all-Black show in 1935, “Oklahoma!”(1943), “Carousel”(1945), “South Pacific” (1949), “The King & I” (1951), and one that I’m sure we’re all familiar with, “The Sound of Music” (1959).

And although musicals never really died out, each decade having its own string of hits, by the 1990s their popularity was waning. That is until Disney became their new purveyor.

With hits like The Little Mermaid, Beauty & The Beast, The Lion King, and Aladdin, Disney recaptured the hearts of the older generation, while enchanting those of the younger. So it’s no wonder that most of the highest-grossing musicals were produced by none other than Disney Animation & Disney Studios. But raw numbers don’t tell the whole story.

So I present you with two lists: A straight-forward, highest-grossing top ten list, according to Wikipedia, and a second (and I believe more accurate) one adjusted for inflation:

Highest-Grossing Musicals (Not Adjusted for Inflation)

As you can see, most of the films on this list were released pretty recently, between 2013-2019, with the original animated Lion King being the only exception. If we were to go by this list— full of Disney sequels and Live-Action remakes, we’d miss out on the depth, breadth, and rich cultural history of the musical as a whole.

Collectively, Disney has produced an endless amount of profit that stems from their musicals… too much to even calculate. Suffice it to say, with toys, merch, costumes, etc., it’s in the BILLIONS. Hundreds of billions. It’s dizzying. But does that mean they have mastered quality as well? That’s… debatable. With many of the high-grossing remakes falling astonishingly short of the magic of their originals, many of the films on the list above feel more like nostalgic vanity projects than works of art. As I said, raw numbers can be misleading.

Highest-Grossing Musicals (Adjusted for Inflation)

On the opposite end of the spectrum, is a beautifully varied inside look into the constantly changing cultural priorities of the consistently mercurial human race.

At the top of this list, with no surprise, is:

1. The Sound of Music (1965)
$1,362,273,686 (adjusted from $163,214,286)

2. My Fair Lady (1964)
$652,645,154 (adjusted from $72,000,000)

3. Grease (1978)
$602.892.685 (adjusted from $181,813,770)

4. West Side Story (1961)
$533,899,997 (adjusted from $43,700,000)

5. South Pacific (1958)
$456,211,764 (adjusted from $36,800,000)

6. Fiddler on the Roof (1971)
$408,170,029 (adjusted from $80,500,000)

7. Funny Girl (1968)
$376,454,194 (adjusted from $58,500,000)

8. The King and I (1956)
$359,118,000 (adjusted from $21,300,000)

9. Oliver! (1968)
$240,691,792 (adjusted from $37,402,877)

10. Chicago (2002)
$239,112,061 (adjusted from $170,687,518)

Also Read: What’s Next For Disney?

The post The Highest Grossing Musical Films of All Time appeared first on Big Picture Film Club.

10. Chinese Doctors ($197,143,218/£142,009,160)

Despite only seeing a major release in China, Australia, and New Zealand this tale of a group of doctors working together in Wuhan to combat Covid-19 has become an unlikely hit at the box office.

9. The Conjuring: The Devil Made Me Do It ($201,965,074/£145,472,413)

The latest instalment in the popular Conjuring franchise, based on the real-life trial of Arne Cheyenne Johnson, was the first main series entry not directed by James Wan. Instead, it was directed by The Curse of La Llorona’s Michael Chaves. And although not as highly regarded as the other main Conjuring movies it definitely encouraged horror fans to return to the cinema.

8. Cruella ($222,184,131/£160,035,897)

Released simultaneously on Disney+ and in theatres this origin story for everyone’s favourite dog skinning maniac managed to outperform Disney’s previous live-action reinterpretation of an animated classic, Mulan (2020). But it remains one of Disney’s lowest-performing live-action adaptations of an animated movie.

7. Free Guy ($242,943,984/£175,030,208)

Free Guy follows a videogame NPC (Non-Playable Character) called Guy as he slowly becomes self-aware and breaks out of his predetermined path. Currently, Free Guy is one of the highest-grossing original IPs of the year.

6. A Quiet Place Part II ($297,372,261/£214,243,332)

While not quite as successful as the original, A Quiet Place 2, which takes the Abbot’s into the wider world outside their home, still performed admirably after a long release delay. And is currently the year’s highest-grossing horror film.

5. Black Widow ($372,376,568/£268,328,969)

Marvel’s highest-grossing film this year follows Black Widow as she goes off-grid and confronts her dark past. But its release has been mired in controversy. The film’s star Scarlett Johansson announced she would be suing Disney (Marvel’s owners) over Black Widow’s simultaneous streaming release. This is because it allegedly breached Johansson’s contract, which said the film would be released theatrically with her salary being tied to its box office earnings.

4. Godzilla vs. Kong ($467,863,133/£337,135,156)

The fourth entry in Legendary Pictures’ MonsterVerse managed a higher income than its prior entry, Godzilla: King of the Monsters. And it also marked the second time the classic movie monsters have fought. The first being in 1963’s King Kong Vs Godzilla.

3. Detective Chinatown 3 ($686,257,563/£494,506,906)

Chinese cinema continues its presence in the top 10 with the Detective Chinatown series’ highest-grossing entry so far. This time detectives Tang and Qin are involved in a battle with the strongest detectives across all of Asia to solve a case in Tokyo.

2. F9: The Fast Saga ($710,873,160/£512,244,536)

F9 follows Dom and his crew as they battle against a new threat. Dom’s estranged brother. F9 is the highest-grossing Hollywood movie so far this year and the highest-grossing Hollywood film since the Pandemic started.

1. Hi, Mom ($822,009,764/£592,327,906)

So far the highest-grossing movie of 2021 is not a huge blockbuster, instead, it’s a small movie about a young woman travelling through time, who befriends her own mother and tries to give her a better life. It’s exceptional taking also makes Hi, Mom the highest-grossing film ever made by a solo female director.

This concludes our look at the highest-grossing films at the 2021 box office so far. And while the receipts for the high scorers are not as high as those of 2019 they are still higher than those of 2020 and the films are an interesting mix. With 3 foreign language films (all produced in China), 3 films not based on pre-existing material, 2 horror films and only 3 Disney/Disney affiliated movies being included. It shows that cinemagoers are looking for different film experiences to sit alongside big blockbuster releases. Let’s hope for even more diversity when the year-end list comes.

Also Read: Did High-End TV Replace The Mid-Bidget Indie Film?

The post Top 10 Highest Grossing Films At Cinemas Worldwide In 2021 (So Far) appeared first on Big Picture Film Club.

1. Method and Apparatus for Synchronising Photoplays

During sound animation’s early years, Walt Disney, Wilfred Jackson, and William Garity developed the following method to perfectly match movie images and soundtracks. Once the musical director gave the production an idea of the film’s sound the animators and artists would begin animating story segments and preparing synchronisation sheets. These provided precise timings to synchronise actions and particular musical beats. The developed animated film also contained beat marks to provide timings and remove distractions when the musicians were recording. Music and animation were then combined. Several early Disney animations used this method. And despite its challenges, this method helped animation and sound become more closely synchronised.

2. Control Device for Animation

Another innovation William Garity helped Disney develop was the Multiplane camera. This invention positioned a camera above several transparent layers. Different scene elements were then put on the layers. Creating the illusion of depth within the scene. While filmmaker Lotte Reiniger had been using similar methods of creating depth, Disney patented the invention. Using visual depth to great effect in short (The Old Mill) and feature films (Snow White and the Seven Dwarves). 

3. Method of Creating Cartoon Effects

Some Disney patents were revolutionary, others, are mundane. This patent focuses on creating rounded effects like shadows by placing a layer of transparent material with a uniform colour in the shape of an effect over a drawn animation cell and photographing it. Essentially superimposing an effect rather than drawing it. Though underwhelming, this method certainly saved the artists time as they would not need to painstakingly draw every aspect of an effect. Which also saved on production costs.    

4. Sound Reproducing System

Synchronising animation and sound was not Disney’s only auditory advancement. When making Fantasia William Garity and John Hawkins developed the idea of a sound system that used multiple speakers around a venue. Allowing for a surround sound experience. Some now also consider Fantasound, as it was known, to be the precursor to stereo sound. As such it has had a real lasting impact on the film industry.

5. Photographic Animation Transfer Process

David Spencer’s invention involved photographing a rough sketch of a character or scene. The film negative was then placed over a transparent cell sheet with light-sensitive dye on it. The dye was then cured through exposure. Thus replicating the original sketch. This process was faster than the previously used Xerox method. But later computer advances and Disney’s implementation of the CAP system made this process obsolete.

6. Method for Flattening Acetate-Based Films Using Steam

Despite modern Disney’s intent to remake and replace its older properties, Disney also patented a way to help with film preservation. One of the biggest problems with acetate-based film is its tendency to become damaged by heat or humidity over time. However, Disney developed a method that used a specific amount of steam to flatten the film. Allowing for playback to capture its soundtrack. With many films shot on acetate stock, this method is invaluable for preservation. 

7. Real-Time High-Quality Facial Performance Capture

One of Disney’s most talked-about recent innovations is its advancements in facial capture technology. Disney’s technology now allows for the capture of more detail in an actor’s facial performance. Thus allowing the animated characters they are playing to display more emotion. But will this patented method lead to more great performances, like with Thanos in Infinity War? Or will they simply use it to recreate deceased performers e.g. Peter Cushing in Rogue One? Only time will tell. 

And this is just a glimpse into Disney’s patent collection. That said, no matter your feelings on the company or the results of their inventions, it’s undeniable that Disney, from its inception until today, remains an innovator (for better and worse) in the film industry.

Also Read: Disney Shifts Its Focus Away From Cinemas

The post 7 Interesting Patents Owned By Disney appeared first on Big Picture Film Club.

“There was an idea…”

It’s important to remember that Marvel Studios was not always the huge player it is today. Back in 2010, when Romanoff was introduced in Iron Man 2, there was a lot of uncertainty about whether they would ever get to the first Avengers film, let alone Avengers: Endgame. Back when Marvel was selling the rights to their characters, Lionsgate developed a film with David Hayter set to direct, but after the poor reception to films like Æon Flux it was cancelled, and the rights reverted back to Marvel.

In 2010, Scarlett Johansson was cast as Black Widow (after Emily Blunt had schedule conflicts) and appeared in Iron Man 2, as an ally and intermediary between Stark and Nick Fury. Johansson had some impressive acting credits, including Ghost World and Lost in Translation, but was not the household name she is now. She appeared in the team-up The Avengers where she was the standout to many, which furthered talks of a solo film. Johansson’s deal was for multiple films, which included her following appearances in Captain America: The Winter Soldier and Avengers: Age of Ultron. Around 2015 she noted that her original contract had been extended due to the character’s unexpected popularity, and Kevin Feige repeatedly saying a solo film was in development.

“Whatever it Takes”

In 2015, Marvel Studios underwent some restructuring. Instead of Kevin Feige reporting to Marvel Entertainment CEO Ike Perlmutter, he now reports directly to Disney. Rumours have often said that Feige and Perlmutter clashed frequently. One of the notable decisions Perlmutter was against was the deal with Sony, meaning Spider-Man was almost not a part of Captain America: Civil War, which would have knock-on effects for the series. While Feige was pushing for films like Captain Marvel and Black Panther, Perlmutter was of the belief that these films would not do well (he was very wrong, as both grossed over $1 billion). With Perlmutter no longer having a say in the movies (but still being involved in TV), Fiege has more freedom and creative control with regards to what films are made and which characters appear

Unfortunately, Marvel Studios can be like a runaway train at times, once it starts it’s hard to stop. When Marvel initially announced Phase Three in 2014, the plans detailed films up until what was eventually revealed as Avengers: Endgame. Although the plan did change slightly, as Spider-Man: Homecoming was added due to the Sony deal, as well as Inhumans becoming a (poorly received) TV series and replaced with Ant-Man and the Wasp (another effect of the corporate shakeup). The presence of Captain Marvel in this original announcement signalled the first MCU film to star a solo female superhero. In theory, this slot could have been filled by Black Widow, but with Captain Marvel having a role Endgame and likely being already developed, it was chosen instead. As the two Avengers films were shot back to back, Johansson was likely not available to shoot a solo film during this time.

Of course, even when the film finally was about to be released, it was delayed by the pandemic, like many other big films, by over a year.

While it’s hard to argue that Black Widow shouldn’t have been released sooner, it’s good that it finally has arrived. As one of the original Avengers it was odd she hadn’t been given a solo outing (Hawkeye is receiving a series), it’s likely the last time Johansson will play the character and goes some way to adding context to her controversial fate in Endgame. The film implies that her legacy will continue, and it seems lessons have been learnt. It’s a shame but sometimes it really is better late than never.

Also Read: MCU Storylines That Are Still Unresolved

The post The Journey of Black Widow appeared first on Big Picture Film Club.

Gamera copied Godzilla

Of course, rip-off/copy movies aren’t a new phenomenon, as this entry proves. Gamera was Daiei Studio’s answer to Godzilla and both movies have similar plots. Both are about giant monsters, awakened by atomic devices, attacking Japan while the government tries to find a solution to get rid of the monster. Gamera’s initial outing failed in comparison to Godzilla’s (Gamera (1965) has a critical rating of 20% and an audience score of 32% on Rotten Tomatoes. But Godzilla (1954) has a 93% critical rating and an 89% audience rating). Nonetheless, the giant fire breathing turtle has since found cult success with his own franchise.

Battle Beyond The Stars copied Star Wars and Seven Samurai

Produced by the low-budget film kingpin Roger Corman and written by future Oscar-nominated screenwriter John Sayles, Battle Beyond the Stars has a simple premise. Remake Seven Samurai with Star Wars’ sci-fi fantasy aesthetic. Despite BBTS’ cult following the general impression it left wasn’t favourable (Critics: 45% Audience: 41%) especially compared to the gargantuan success of Star Wars (Critics: 92% Audience: 96%) and Seven Samurai (Critics: 100% Audience: 97%).

Contamination copied Alien

But copies and rip-offs are hardly exclusive to the American and Japanese market. The 1980s Italian film industry produced many films to capitalise on international hits. Contamination was one of several releases produced to capitalise on Ridley Scott’s Alien. Mostly through its use of alien eggs which wreak havoc on the human body.  Needless to say, Contamination was unfavourably received compared to Alien (Contamination- Critics: 40% Audience: 29%. Alien- Critics: 98% Audience: 94%). But Contamination attained its own legacy when it became part of the infamous video nasties list.

Ator: The Fighting Eagle copied Conan the Barbarian

Speaking of Italian copies. Conan The Barbarian (1982) inspired many sword and sorcery films in the 80s and Ator: The Fighting Eagle is incredibly close to Conan in terms of story elements. Focusing on a musclebound sword-wielding hero’s quest for revenge against an animal-themed cult leader who killed his parents and kidnapped a young woman. Although Ator couldn’t copy Conan’s success with audiences (Conan has a 74% audience rating, Ator has 14%), Ator acquired 3 sequels. A lot more than the Conan series.  

Mac and Me copied E.T.

Now we get to one of the weirdest rip-offs on our list. This movie focuses on an alien that comes to Earth and befriends a child while a shadowy organisation pursues him (sound familiar?). What makes this title weird is that it was created to promote McDonald’s and its charities. Predictably this knock-off suffered poorly (Critics: 0% Audience: 38%) in the shadow of the classic movie it copied (Critics: 98% Audience: 72%).

Snakes on a Train copied Snakes on a Plane

Snakes on a Train is very emblematic of most of The Asylum film studio’s output. Their titles are made to lure people in by being as close as they can to other films. Both this and Snakes on a Plane concern snakes coming after people in confined spaces. Snakes on a Plane didn’t receive rave reviews (49% Audience Score on RT). Even so, Snakes on a Train was hated (18% Audience Score).

Ratatoing copied Ratatouille

Video Brinquedo was one of the most shameless modern mockbuster companies. Released to bank off the success of Pixar’s Ratatouille, both movies deal with a rodent obsessed with making food. However, Ratatouille won an Oscar and is loved by audiences (87%) and critics (96%). While everyone dislikes Ratatoing’s ugly style and cheap animation (27% on RT).

Thank you for joining me on this excursion into the land of copies and rip-offs. What rip-offs do you hate? Have you ever mistakenly bought any copycat titles? Conversely, are there any copycats that are better than their inspiration? Please let us know.

Also Read: Online Film Festivals Are Here To Stay

The post From Blockbuster to Mockbuster: Big Films and Their Copies appeared first on Big Picture Film Club.

The canvas Star Wars has to work with is big – a quick google lists the number of populated planets in the Empire in the millions. There are films and TV shows showing the time around the civil war that made up the original trilogy, but references are made to thousands of years of space travel capable civilisations. So with millions of planets and thousands of years to work with the possible stories within this are essentially endless.

Going Solo

Several characters are getting their own series – Ahsoka Tano, Obi-Wan Kenobi, Lando Calrissian and Cassian Andor – all of whom are potentially very interesting protagonists. Kenobi’s show seems to be set on Tatooine in the period between Revenge of the Sith and A New Hope and given that this is a planet that will not only have storm troopers but Jabba the Hutt there will be a lot for him to do. Details about the Calrissian project are virtually non-existent to the extent we don’t know who will be playing him and all we know about Tano is that Rosario Dawson will play her and it will be set in roughly the same period as The Mandalorian. Cassian Andor appeared in Rogue One as a Rebel Alliance intelligence officer and presumably he’ll get up to similar spy shenanigans.

Rangers of the New Republic & Acolyte

Rangers of the New Republic is set in the same time as The Mandalorian and Ahsoka – perhaps suggesting some future crossover. Acolyte is perhaps the most original of all the shows as it is set in what is called the High Republic era, this being the several centuries before the birth of the Empire which, at least in film and television, is untouched ground. It’s worth noting that there are many books, graphic novels, computer games and more that have been made since Star Wars first came out that have dealt with what happened before, after and during the films. Grand Admiral Thrawn who appeared in Rebels and has been mentioned in The Mandalorian first appeared in a trilogy of novels set a few years after Return of the Jedi. The vast majority of these books, games etc have been declared non-canonical but are still a rich area to mine.

Animated

Two new animated shows were announced The Bad Batch and Visions, the first being a spinoff from The Clone Wars tv series about a squad of Clone Troopers working as mercenaries in the early days of the Empire, and Visions being a series of short anime-style films.

Why focus on television?

Disney also announced a Rogue Squadron film but most of the focus has been on television – and this is a lot of television. The Disney Star Wars projects have had mixed success with some fans thinking the recent trilogy worse than the much derided prequels. Star Wars fans have proven difficult to please and it’s certainly impossible to please all of them. Some want the films to make references to the original trilogy, some want them to be completely new and original. Some only want new characters, some want to see the old characters. This might be Disney’s strategy – provide a wealth of shows and people can pick the ones they want.

As big a fan of Star Wars as I am, I do think this might be too much and my worry is that the quality will diminish. Ever since the term “franchise” came to surround films there has been an idea that seemingly they will never stop – there will never not be new Marvel superhero films, there will never not be new Terminator films and maybe now there will never not be new Star Wars. I am sure great shows and films will come out of this approach but it does not sit well with me – it’s hard to get excited about Star Wars Project #17 that feels like it’s more about filling a quota than telling a story.

Also Read: The Mandalorian – A New Hope For Star Wars

The post Beyond The Mandalorian: Expanding The Star Wars Universe appeared first on Big Picture Film Club.

The Mandalorian

The show stars Pedro Pascal as the titular character, an exceptionally good bounty hunter always hidden behind his near priceless Mandalorian armour. The character’s bounty hunter code is challenged when sent after a morally difficult target and he chooses to do the right thing. The show is set in between Return of the Jedi and The Force Awakens and is heavily focused on the chaos that follows the death of the Emperor.

The Golden Age Of Television

There was a time when film was the perceived cultural superior to television but in the last twenty years things have changed – this is the Golden Age of television. Film and television can tell stories in different ways – in my opinion, Goodfellas and The Sopranos are the high-points of the portrayal of gangsters in their respective mediums but have different strengths and weaknesses. The Mandalorian has a main story arc but within that are numerous smaller stories, characters who get to shine in a particular episode. It often felt with the Star Wars films you are getting a glimpse of a huge universe, whilst and TV shows can go into depth.

One benefit to doing a TV show over another film trilogy would be that a film trilogy would inevitably feel it had to be about saving the galaxy and with some even bigger ultimate weapon. The Mandalorian is about saving one child and a smaller story can actually be more engaging.

The Trouble With Trilogies

I don’t think I’ve ever been as excited about a film as I was about The Phantom Menace and like many, I convinced myself it wasn’t that bad, but that couldn’t last. The prequels were a disaster with a few redeeming features – there are many, many problems with them ranging from casting to too much CGI to just being boring. The text crawl at the start of The Phantom Menace talks about tax disputes and while I do think a movie could be made about war sparking from something that dull The Phantom Menace failed.

It’s hard to even discuss the sequel trilogy without being overwhelmed complaints of the fans – they’re too much like the original trilogy, they’re too different to the original trilogy, Rey is a Mary-Sue, they ruined Luke, and then there’s the torrent of sexism that was also present in much of the criticism. For what it’s worth I think the sequels have problems but are much better than the prequels. The Last Jedi is an uneven film yet it has amazing parts to it – Luke and Kylo Ren’s confrontation is incredibly well done and a brilliant way to deal with their history. The biggest problem might have been it felt that the different directors had different ideas of what they wanted to do.

The Star Wars Universe

There is a wealth of material for more television shows. Aside from the films, there are a variety of TV shows, dozens of books, graphic novels, computer games and more:

The Old Republic – The Empire overthrew the Galactic Republic but there would be wars, conflict and interesting stories throughout this period. It could explore the time when the Jedi were at the height of their power.

It’s not all about the war – There’s a lot more going than just the civil war between the Empire and Rebel Alliance – there are bounty hunter guilds, crime syndicates, strange religions and more.

So Many Characters – There are a wealth of interesting existing characters. What about Chewbacca’s life before Han? Or ace rebel pilot Wedge Antilles – the only pilot to have fought in both Death Star battles? I was genuinely thrilled when Nien Nunb (pictured above) turned up in the sequels – for those who don’t know Nunb is the small alien who co-piloted the Millennium Falcon with Lando Calrissian in Return of the Jedi and would love to see more of him. If they’re willing to embrace the Dark Side, Disney could explore Darth Vader’s war against the Jedi.

Whatever happens next we all know Disney aren’t going to stop making Star Wars films and tv shows – let’s just hope they’re worthy additions.

Also Read: Was It Really That Bad?: Star Wars Episode 9: The Rise of Skywalker

The post The Mandalorian – A New Hope For Star Wars appeared first on Big Picture Film Club.

Disney’s Restructuring

Last week Disney announced a huge restructure with its Content creation and distribution being separated. Content creation will now focus on creating big franchise content for theatrical and streaming distribution, as well as general entertainment and sports content for Disney’s streaming platforms and TV networks. Meanwhile the “Media and Entertainment Distribution group” will handle monetisation and distribution of all the company’s projects. And with Disney reporting over 60 million Disney+ subscribers worldwide their efforts have shifted towards creating content for and distributing content on their streaming platforms.

How Will This Affect Cinemas?

Disney movies attract incredibly large cinema audiences. And with Cineworld’s recent closure due to the lack of big releases needed to sustain themselves during the pandemic, this move could be rather damaging. Especially since studios like WarnerMedia and Comcast are seemingly following Disney’s lead. Recently they reorganised to focus on streaming service’s HBO Max and Peacock.

However, despite Disney shifting focus to streaming, analyst Rich Greenfield said, “nothing can achieve the per picture economics that Disney…generate through a global theatrical release”. Showing that Disney still needs cinema distribution to ensure their projects make their money back. This move may be meant to recoup losses further down the line. With projects aimed at attracting new customers to Disney’s subscription services and keeping people subscribed; paying for content, as they proved they could do with Mulan (2020). And as Disney has access to a huge amount of resources, and bankable studios, it’s hard to see this becoming an industry trend. Not every studio has the resources needed to shift towards streaming over cinema. Cinemas still matter but can they remain open without the support of many big tentpole releases?

How Can Cinemas Survive?

There are no concrete answers, but cinemas currently have a lot of avenues available. For example, the largest audience for UK cinema releases is consistently 15-24-year-olds. Other statistics show that BAME and LGBTQ filmgoers, as well as adults with children under 18, make up a high percentage of cinema audiences. Cinemas could target these audiences by providing discounts or exclusive screenings to encourage certain demographics to keep returning (similar to how The Light and Odeon cinemas currently offer discounts for former Cineworld customers). Rewards can also be offered to make customers feel valued. And classic and recent content could be offered to draw in BAME and LGBTQ audiences.

Also, recently smaller movies like After we collided and Unhinged have done relatively well at the UK box office. Showing that smaller films can do well with a bigger platform. And with many smaller releases still on the horizon, cinemas have an opportunity to encourage audiences to try something new. They can do this by increasing social media awareness. Offering discounts/rewards. Or perhaps even organising local cinema clubs, as many of the previously mentioned groups are more likely to respond to the idea of a film club. Plus the localised nature of film clubs could be a great comfort to regions in higher lockdown tiers.

Of course, if cases spike cinemas will have to close. But other options are available. For example, during the lockdown, Sheffield’s Showroom Cinema partnered with various streaming and VoD sites. Offering free trials for their members, and virtual screenings that split the money evenly with the Showroom if you used their site. These options allowed people to watch films safely from home. And helped keep the Showroom on its feet.

Conclusion

Despite Disney’s shift to focus more on streaming, many studios don’t have Disney’s money and resources. So it’s hard to see this becoming an industry trend. Cinema distribution will still be needed to cover big-budget production costs.

But cinemas must adapt to survive without huge tentpole releases. There are many independent productions out there to entice audiences. And offers and rewards, targeted marketing, film clubs, virtual screenings; profit-sharing with VoD, and streaming services are certainly options that can help cinemas to make money. But will they succeed? Only time will tell.

Also Read: What’s Next For Disney?

The post Disney Shifts Its Focus Away From Cinemas To Its Streaming Platform appeared first on Big Picture Film Club.

While this might be a good solution for now because of the closure of the cinemas, this might not be positive for cinema chains in the long run. If this method seems to be successful for the production companies, then Universal Studios will certainly not be the last production company to “break the theatrical window”. The question remains: will breaking the theatrical window and the success of streaming platforms be the end of cinema-going as we know it?

What is the theatrical window?

Some people jump the first chance they get to watch movies on the big screen while others prefer to watch the new blockbusters from the comfort of their home. Well, in normal circumstances, the cinema-goers would have access to movies three months before others as the theatrical window is three months. However, that time between the end of the cinematic run of a movie and the moment that it will available via digital platforms and video-on-demand platforms has become smaller over the years. One of the reasons is because major companies want to make up for the loss they have to overcome due to the decline in DVD-sales. The other reason is the one we all have to deal with at the moment: The coronavirus.

Impact of COVID-19 on the film industry

That the coronavirus epidemic has had a major impact on film didn’t only become clear because of the postponing of releases, the movie-making itself but also the way movies are shown to the audience now. As mentioned before, people rely on films, even more, these days. Whether it’s to entertain their children, have a nice time with their partner or just to relax, movies are present in every household. This is being proven by the fact that Disney + has now 54.5 million subscribers worldwide since November and the amount of new Netflix subscribers in the globally during the lockdown was more than 15.8 million, double the number forecast. It comes as no surprise that recent movies like The Invisible Man (Universal), Bloodshot (Sony and Columbia Pictures), The Way Back (Warner Bros.), and Onward (Disney) were released almost immediately after the forced termination of their theatrical run.

Why would Universal & Disney consider breaking the theatrical window?

Why would big production companies such as Universal Pictures and Disney break the theatrical window? Well, that answer is plain and simple: Money. Due to the lockdown, companies aren’t able to show their movies in the cinema, and instead of pushing them back, they decide to release them anyway. People already liked watching movies from their home, maybe because of the price, the fact that they don’t have to deal with popcorn eating strangers and now even more so with the fact that they can watch movies without having to go outside and put themselves in unnecessary danger, due to the virus.

It might be a while before cinemas are back up and running as usual and before the audience flocks back to the “dark room” to immerse into the stunning movies the industry has to offer. Whether the theatrical window will stay smaller than the usual three months, even when everything is back to normal, is something that we can’t predict.

The future of film releases

Movies will always be a part of society, whether you will see them on the big screen or a smaller one. Production and distribution companies and cinema chains must work together to bring films to the biggest audience possible. On one side, the theatrical window still needs to remain as big as possible. The cinema chains won’t survive if production companies make that window smaller or just skip the cinema entirely. However, cinemas will also have to keep in mind that, despite the smaller window, people still want to watch movies on the big screen so banning movies of certain companies isn’t the right attitude either. There will always be a thirst for watching movies in the cinema and there will always be people who prefer to watch it in their own home with friends and family so why not work together and give both audiences what they want?

Also Read: How Coronavirus Has Affected The Film Industry

The post Breaking The Theatrical Window: What Does Disney & Universal’s Decision Mean For Future Cinema Releases? appeared first on Big Picture Film Club.

It’s understandable. Many of 2019s highest-grossing movies were remakes or sequels to popular films. And properties like the Marvel Cinematic Universe and 2019s remake of Little Women proved to be critically well-received. Showing that remakes, sequels, and reboots can excel when they want to. But there comes a time when you must put your foot down and say no to certain things. So today I’m going to list five more movies that shouldn’t be touched. Some of these continuations are already on the way, but hopefully, I can convince you why continuing with these properties is an awful idea.

1) Children’s Film: Disney’s Robin Hood

Disney has recently become notable for remaking many of its classic titles. Providing slight updates to their older animated film’s stories and showing off advancing special effects by reimagining them in a live-action style. But while the effects are impressive, and the updates understandable, the changes mostly serve to hamper the simple fairy-tale charm of the stories, and provide us with ugly visuals that pale in comparison to their animated counterparts. So the prospect of seeing Disney’s Robin Hood (a personal favorite of many) remade in this style doesn’t bode well. And in the past decade, we’ve already had two high profile Robin Hood movies that failed to justify their budgets at the box office. It seems audiences aren’t really interested in this material. Do yourselves a favor and stick to Disney’s original. Oo-de-lally what a good day you’ll have.

2) Horror Film: A Quiet Place

A Quiet Place works best as a self-contained experience. By the end of A Quiet Place, every plot thread was tied. We learned the monster’s weakness and our heroes were ready to take on the threat. That was the perfect ending for the story. Continuing the story seems pointless. The characters know the alien’s weakness and most horror sequels also make the mistake of overexposing their monster. Which diminishes how scary they are to audiences. And a sequel also ruins the unique charm of the first film’s gimmick of having the characters remain mostly silent. Either they stick with the gimmick and repeat it until it becomes boring. Or they abandon it and make the film like every other horror movie. This is one property that should have remained quiet.

3) Comedy Film: The Naked Gun

Reboots like Vacation and Ghostbusters have shown that reboots of comedy franchises beloved for their original casts don’t go over well with fans. Naked Gun is a franchise that shouldn’t be touched for this reason. Leslie Nielsen (the spoof movie king) was the star of the original franchise since Police Squad, the TV show that spawned the Naked Gun films. His unique deadpan delivery and timing elevated the Naked Gun into being one of the best parody series ever. So, rebooting the series without Nielsen in the lead not only goes against the series’ main selling point but also seems quite disrespectful. Don’t ever let me catch you guys trying to reboot this one.

4) Western Film: The Wild Bunch

This just shouldn’t happen. Firstly, The Wild Bunch is regarded as one of the best westerns ever. Which already makes it impossible to think about how anyone could equal it. Secondly, the original is so synonymous with legendary director Sam Peckinpah and his filmmaking style that remaking it becomes akin to staining someone’s legacy. Finally, a large reason why The Wild Bunch worked was because of when it was made. Released in 1969 the film pushed the boundaries of cinematic violence and how it could be used to tell stories. Today a Wild Bunch remake would simply amount to another violent western; dilute the legacy of the original. So of course, Hollywood has already decided to try and do it. This project should have been shot down immediately.

5) Martial Arts: The Raid

The Raid is one of the best action movies of the 2010s. Featuring incredible choreography, excellent cinematography, great writing and brilliant physical performances from the likes of Iko Uwais and Yayan Ruhian. The idea of remaking it for western audiences seems like an exercise in taking something unique and making it blander for mainstream appeal. And a direct remake is already pointless since the movie Dredd already took elements from the original Raid and made it into a thrilling sci-fi action film. Lightning hardly seems likely to strike twice. So, Hollywood please leave the Raid alone.

Thus ends our list. Are there any movies or franchises you would hate to see remade, rebooted or sequeled to death? Tell us about them in the comments.

Also Read: 5 Films That Don’t Need A Sequel, Reboot or Remake

The post 5 More Movies That Don’t Need a Sequel, Reboot or Remake appeared first on Big Picture Film Club.