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Wkd BO 06•30-07•02•17 - Audiences want the D3, don't put Baby in corner but 2nd,

Toa TAK

Banned
"I don't trust critics anymore."

*Turns on Angry Joe*

Joe_Sith_03_web.jpg


"I feel smarter and more informed already."
tenor.gif
 

Vectorman

Banned
I don't think it's RT as much as the influx of "review drama" that Youtubers have obviously been able to make good money on as their influence is probably increasing over print media.

I mean, I'm not the only person to never read a review anymore yet actively seek Double Toasted, Gremlinproduction (cinemasnob), RLM, and even Angry Joe videos on 'just how bad is it' after 2016 thought us all to never trust reviews of movies ever again. Because with the editing DISASTERS that 2016 shat out, you'd be a fool to watch a movie blindly now. I mean, ID4-2. Ghostbusters, BvS, Suicide Squad... even if you like those movies, you can't make an argument about them having good editing in good faith of reasonable discussion. Because they don't have it.

Youtuber reviewers may have some influence but they're not exactly reaching the total movie-going audience. RT has alot more outreach. I doubt you would see a Chris Stuckmann or RLM sticker on a DVD. I still got that DOFP that has that RT Fresh sticker slapped on it.
 

Grizzlyjin

Supersonic, idiotic, disconnecting, not respecting, who would really ever wanna go and top that
"I don't trust critics anymore."

*Turns on Angry Joe*

Joe_Sith_03_web.jpg


"I feel smarter and more informed already."

Still not as sinful as watching the "Everything Wrong With..." video of a movie instead of the movie itself.
 
Why do you hurt yourself when you don't have to?

This is self-harm, Freeza.

Yeah, that was a bad example.
I included him for legacy reasons and the possibility that other readers might be more inclined to watch him. Aside from some video games and that one Battleship review (because nobody else watched it) I honestly haven't watched his videos in a long time.

I should have said Mark Kermode, but that name wouldn't mean much to American readers of this site. And probably be 'too negative' for most as well because he's more of a classical European critic, meaning that he's not keen on 'shutting his brain off' and that crap.

But I don't read many written reviews on new movies as it is, no. Incidently at best, and without a 'go to' place, like Roger Ebert's reviews were. Sorry man, but that is the honest truth of what reviews I interact with. And presuming other consumers to be similar, I would assume that most consumers are moving into youtube for reviews rather than written form.
 
I should have said Mark Kermode, but that name wouldn't mean much to American readers of this site. And probably be 'too negative' for most as well because he's more of a classical European critic, meaning that he's not keen on 'shutting his brain off' and that crap.

I dunno, I feel like more than a few readers here know of/appreciate Kermode.
 
Yeah, that was a bad example.
I included him for legacy reasons and the possibility that other readers might be more inclined to watch him. Aside from some video games and that one Battleship review (because nobody else watched it) I honestly haven't watched his videos in a long time.

I should have said Mark Kermode, but that name wouldn't mean much to American readers of this site. And probably be 'too negative' for most as well because he's more of a classical European critic, meaning that he's not keen on 'shutting his brain off' and that crap.

But I don't read many written reviews on new movies as it is, no. Incidently at best, and without a 'go to' place, like Roger Ebert's reviews were. Sorry man, but that is the honest truth of what reviews I interact with. And presuming other consumers to be similar, I would assume that most consumers are moving into youtube for reviews rather than written form.
I'll tell you this, citing Kermode is gonna get you more respect than Angry Joe, just a tip!
 
Yeah, that was a bad example.
I included him for legacy reasons and the possibility that other readers might be more inclined to watch him. Aside from some video games and that one Battleship review (because nobody else watched it) I honestly haven't watched his videos in a long time.

I should have said Mark Kermode, but that name wouldn't mean much to American readers of this site. And probably be 'too negative' for most as well because he's more of a classical European critic, meaning that he's not keen on 'shutting his brain off' and that crap.

But I don't read many written reviews on new movies as it is, no. Incidently at best, and without a 'go to' place, like Roger Ebert's reviews were. Sorry man, but that is the honest truth of what reviews I interact with. And presuming other consumers to be similar, I would assume that most consumers are moving into youtube for reviews rather than written form.

Kermode is great.
 
Anyway, I feel like it's hard to advocate for the notion that people are eschewing reading reviews (although they probably are) for shitty superficial typically trash-ass YouTube critics—the whole reason we're discussing the phenomenon is that Rotten Tomatoes' influence as a consumer tool is somehow still growing even more than it already had, and Rotten Tomatoes only aggregates written work, not video.

Basically, RT as a legitimate influence on filmgoing choices is, ultimately, a reinforcement that writing about film matters more than "HEY YOUTUBE" open-mouthers doing panel shows to talk about their misconceptions of the film industry.
 

Dan

No longer boycotting the Wolfenstein franchise
Is reading that hard for people? I'll never understand the choice to avoid reading a couple solid reviews instead of watching long-ass video rants to get some idea on whether you might appreciate a movie (or something else).
 
Oh god, pile on me why don't you for not clarifying one side remark.

inb4 Ghostbusters comments.

Unfortunately, that would be one example of a very poorly edited movie somehow getting into the 'certified fresh' territory, yes. But it is just one example among many.

And that's not the problem. The problem that I hoped would be relatable would be the difference between written reviews that might actually not be positive at all, getting tagged as 'fresh' or 'positive' or whatever, making the bonding process of all those together unreliable. Or as I sadly phrased it: not trustworthy.
We have literally had the 'can I just use RT' a dozen times before and the answer was usually 'no' until recently.

The difference being that in an audiovisual format you get more information on the actual feelings of the reviewer because you can see their faces.

Also, on a technical level it doesn't matter which reviewer or critic you believe is more trustworthy, but having more information on what is actually meant versus what the aggregate makes of it, is what I meant to refer to.

Can we move on from my bad phrasing now?

edit:

Anyway, I feel like it's hard to advocate for the notion that people are eschewing reading reviews (although they probably are) for shitty superficial typically trash-ass YouTube critics—the whole reason we're discussing the phenomenon is that Rotten Tomatoes' influence as a consumer tool is somehow still growing even more than it already had, and Rotten Tomatoes only aggregates written work, not video.

Basically, RT as a legitimate influence on filmgoing choices is, ultimately, a reinforcement that writing about film matters more than "HEY YOUTUBE" open-mouthers doing panel shows to talk about their misconceptions of the film industry.

I was under the false impression they did both, but apparently Stuckmann has a short written site as well next to his Youtube presence. So I assumed they counted his videos. :\

However, as a pattern of looking for reviews, mine is usually imdb or RT, and then go find a video review. Not going for the written ones.
Hell, I look up Kermode on youtube too, not his written reviews either.
 

Ashhong

Member
Yeah, that was a bad example.
I included him for legacy reasons and the possibility that other readers might be more inclined to watch him. Aside from some video games and that one Battleship review (because nobody else watched it) I honestly haven't watched his videos in a long time.

I should have said Mark Kermode, but that name wouldn't mean much to American readers of this site. And probably be 'too negative' for most as well because he's more of a classical European critic, meaning that he's not keen on 'shutting his brain off' and that crap.

But I don't read many written reviews on new movies as it is, no. Incidently at best, and without a 'go to' place, like Roger Ebert's reviews were. Sorry man, but that is the honest truth of what reviews I interact with. And presuming other consumers to be similar, I would assume that most consumers are moving into youtube for reviews rather than written form.

You assume that consumers are moving to YouTube for reviews, but I think they are mainly going to videos for the entertainment. For actual "is it worth my money", people are just looking at one number and maybe some social media among friends. They are even adding "certified fresh" to every commercial nowadays. I can't remember if that was the case last year.

Also, the reviewer chooses whether it's fresh or not, no matter the context of their review, so not sure why it's not trust worthy
 

kswiston

Member
It looks like All Eyez on Me will top out with a 1.75x opening weekend multiplier.

Edit: Also, Book of Henry will finish with a domestic take that is less than 1% of Jurassic World.
 
It's funny because last year at this point, we had only four non-sequels (and one sorta sequel, depending how you want to classify BvS) pass 100M, and, out of those, only one wholly original film (Zootopia). This year, we've had three sorta sequels/sorta originals, four additional non-sequels, and out of those four, two were wholly original ideas (I'm counting the Boss Baby here because it's based off an obscure book).

Financially, original ideas are clearly doing better this year.
Following up on this, I think it's interesting to look at the calendar grosses for 2017 compared to last year

Code:
[U]2017[/U]
1	Beauty and the Beast	             $503,861,542
2	Guardians of the Galaxy Vol. 2	     $383,273,975	
3	Wonder Woman              	     $346,644,475	
4	Logan	                             $226,269,952	
5	The Fate of the Furious      	     $225,429,900	
6	The LEGO Batman Movie       	     $175,750,384	
7	Get Out           	             $175,484,140	
8	The Boss Baby	                     $173,540,805	
9	Kong: Skull Island    	             $168,052,812
10	Hidden Figures	                     $167,359,816
11	Pirates of the Caribbean 4	     $165,466,587
12	Split		                     $138,141,585
13	Rogue One: A Star Wars Story	     $123,941,474
14	Cars 3	                             $120,714,099	
15	La La Land	                     $120,121,532
16	Sing	                             $117,475,050
17	Fifty Shades Darker	             $114,434,010
18	Transformers 5	                     $102,103,351
19	John Wick: Chapter Two	              $92,029,184
20	Power Rangers (2017)	              $85,364,450

[U]2016[/U]
1	Captain America: Civil War	     $405,171,192	
2	Deadpool	                     $363,070,709
3	The Jungle Book (2016)	             $359,268,367	
4	Finding Dory	                     $358,889,536
5	Zootopia	                     $340,667,809
6	Batman v Superman: Dawn of Justice   $330,360,194
7	Star Wars: The Force Awakens	     $284,694,956
8	The Revenant		             $182,765,375
9	X-Men: Apocalypse		     $153,203,049	
10	Kung Fu Panda 3		             $143,477,613	
11	The Angry Birds Movie		     $105,585,560	
12	The Conjuring 2	                      $94,074,309	
13	Ride Along 2	                      $91,221,830	
14	Central Intelligence		      $87,799,805
15	Daddy's Home		              $85,672,859
16	Teenage Mutant Ninja Turtles 2	      $79,268,036
17	Alice Through the Looking Glass	      $75,549,153
18	10 Cloverfield Lane                   $72,082,998	
19	Independence Day: Resurgence          $67,006,100 
20	The Divergent Series: Allegiant	      $66,184,051

In general, original/non-franchise films really have done a lot better than 2016, and the top 20 overall is a lot less top heavy. Also note how much animation has taken a dive compared to last year.
 

WaffleTaco

Wants to outlaw technological innovation.
Seems like RT score is becoming more and more influential regarding BO; Homecoming is crossing the billion for sure.
This is pretty much impossible.

It's a memorable title and if you are older than 20 then the reference to a famous Simon and Garfunkel song is cute.

https://www.youtube.com/watch?v=eeqUUNHwAl8
Uh yeah I would say most people under 30 haven't listened to Simon and Garfunkel. Their most famous song is now "The Sound of Silence."
 
Only a few of us ever see the light.


I should've become a YouTube critic.

I mean, lets be perfectly clear

The underlying truth of all my criticisms of YouTube personalities is that they stem from a burning white-hot (un)professional envy of their success, and outreach, and their bountiful harvesting of an easily entertained, easily fed audience of rubes who can't wait to be parted from $5-10 bucks a month in patreon money to support my "work."

That I dress this shameful haterism up in respectable clothes and present it as impartial analysis does nothing to hide the roiling ocean of jealousy that is always less than a centimeter away from backing up my entire digestive system from the gall-bladder to my tonsils.
 

Schlorgan

Member
I doubt Marvel is sweating that Wonder Woman is doing so well. I bet they're pretty stoked. They'll push Captain Marvel even harder now.
 
WW got a shot at $800? Its at $707 right now, so I'd think its at least feasible? That said though Spidey hits next week which will probably impact it pretty hard so maybe not
 
Hoping to go watch Baby Driver tonight, I'm really glad Edgar Wright has a hit now.

And Transformers only making $17 million in its second weekend and Wonder Woman still killing it has this big ass shit-eating grin on my face right now.
 

Chamber

love on your sleeve
Wonder Woman is going to end up annoyingly close to $400m unless WB pulls a Spectre and finds a couple million under the couch cushions.
 
WW got a shot at $800? Its at $707 right now, so I'd think its at least feasible? That said though Spidey hits next week which will probably impact it pretty hard so maybe not

Do we know how long it's theatrical run is? Would be an important factor.

I am sure that with each week it loses screens.
 
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