ClarkLuther55
Sidekick
- Joined
- Oct 14, 2002
- Messages
- 1,331
- Reaction score
- 0
- Points
- 31
One thing I've been loving about the 2008 summer movie season is that it's a complete, utter rebuttal of the arguments made against WW (and other "lesser" heroes, as if anyone not Superman or Batman is a nobody) or in favor of the WB's ridiculous unwillingness to commit to their comic book properties.
First, Iron Man showed that even a movie about a B-list hero could own the box office if it takes a serious (which doesn't mean it can't also be fun) approach, stays faithful to the source material, and features an excellent cast of real actors. Spider-Man and Batman Begins already showed how great superhero movies can be, but their heroes were also much bigger names than Tony Stark.
Then, in its second week, Iron Man absolutely DESTROYED the WB's very own Speed Racer. Even with no previous knowledge of the source anime, I could have told you that Speed Racer would bomb just by watching the awful trailer with its LSD-inspired CGI. Speed Racer, in which the WB invested well over $100 million, is proof that the studio isn't merely cautious with its superhero properties, but is just wussy and stupid. They threw away $100 million on that crap when they could have made a WW, GL, or Flash movie?
And just this last weekend, what was the movie at the top of the box office? Sex and the City. A movie continuing a show that ended 4 years ago, which only ever achieved a limited audience because of its explicit subject matter and the fact that it aired on premium cable and not an easily accessible network. A movie with EXTEMELY low appeal to men, and succeeded almost entirely on the female audience. A movie that starred TV actresses in their 40s or even 50s, with the main star being (rather unfairly) bashed as one of the "unsexiest" women by men's magazines like Maxim. A movie that doesn't even have excellent reviews, with a score currently in the 50s at Rotten Tomatoes. A movie that, despite all the above working against it, refutes Rubinov's belief that female movies can't sell (and don't trot out the Elektra/CINO/Ultraviolet argument again, those were terrible films that didn't appeal to ANYBODY, male or female).
CNN
The audience is there. Furthermore, WW would have a much larger, because with epic action and a young and gorgeous star, it would pull in the men as well.
First, Iron Man showed that even a movie about a B-list hero could own the box office if it takes a serious (which doesn't mean it can't also be fun) approach, stays faithful to the source material, and features an excellent cast of real actors. Spider-Man and Batman Begins already showed how great superhero movies can be, but their heroes were also much bigger names than Tony Stark.
Then, in its second week, Iron Man absolutely DESTROYED the WB's very own Speed Racer. Even with no previous knowledge of the source anime, I could have told you that Speed Racer would bomb just by watching the awful trailer with its LSD-inspired CGI. Speed Racer, in which the WB invested well over $100 million, is proof that the studio isn't merely cautious with its superhero properties, but is just wussy and stupid. They threw away $100 million on that crap when they could have made a WW, GL, or Flash movie?
And just this last weekend, what was the movie at the top of the box office? Sex and the City. A movie continuing a show that ended 4 years ago, which only ever achieved a limited audience because of its explicit subject matter and the fact that it aired on premium cable and not an easily accessible network. A movie with EXTEMELY low appeal to men, and succeeded almost entirely on the female audience. A movie that starred TV actresses in their 40s or even 50s, with the main star being (rather unfairly) bashed as one of the "unsexiest" women by men's magazines like Maxim. A movie that doesn't even have excellent reviews, with a score currently in the 50s at Rotten Tomatoes. A movie that, despite all the above working against it, refutes Rubinov's belief that female movies can't sell (and don't trot out the Elektra/CINO/Ultraviolet argument again, those were terrible films that didn't appeal to ANYBODY, male or female).
CNN
LOS ANGELES, California (AP) -- Sarah Jessica Parker and her gal pals have not lost their sex appeal.
The big-screen "Sex and the City" -- reuniting Parker and TV co-stars Kim Cattrall, Kristin Davis and Cynthia Nixon -- strutted to a $55.7 million opening weekend, far exceeding Hollywood's box office expectations.
That was nearly twice the forecast by distributor Warner Bros., whose head of distribution, Dan Fellman, said he had hoped the movie might deliver a $30 million debut.
"Women power," Fellman said. "It was outstanding this weekend."
Analysts had figured Paramount's "Indiana Jones and the Kingdom of the Crystal Skull" might stay atop the box office heap, but it slipped to second place with $46 million in its second weekend. "Indiana Jones" raised its 11-day domestic total to $216.9 million.
"Sex and the City" put up numbers never before seen for a movie aimed mainly at women, who do not tend to rush out in huge numbers for opening weekends the way males do.
"Sex and the City," released under Warner's New Line Cinema banner, had the best debut ever for an R-rated comedy, topping the $45.1 million opening of "American Pie 2."
The movie landed at No. 5 on the all-time list among R-rated films, behind "The Matrix Reloaded" ($91.8 million), "The Passion of the Christ" ($83.8 million), "300" ($70.9 million) and "Hannibal" ($58 million).
"This is a blockbuster for women. This was to women what `Indiana Jones' and `Star Wars,' let's say, are to men," said Paul Dergarabedian, president of box office tracker Media By Numbers.
The movie picks up four years after the series finale, in which Parker's Carrie Bradshaw and her Manhattan buddies left behind their randy ways to settle into monogamous relationships.
In the film, they deal with family and commitment issues while still flaunting their bawdy humor and trendy sense of style.
Hollywood skeptics had doubted the commercial prospects for a movie adaptation of "Sex and the City," which ended its six-year run in 2004. Originally airing on premium cable channel HBO, the show had a loyal but limited fan base and held little appeal for young males, the backbone of the box office.
However, "Sex and the City" mania grew as the movie's release approached, with many women organizing girls-night-out parties to see it with friends on opening day Friday.
"That's why Friday was quite a frenzy," Fellman said. "There were women that came in and bought out entire theaters in advance and invited all their friends."
Women made up 85 percent of the audience on Friday, Fellman said.
The movie pulled in $26.9 million on Friday. On Saturday, however, it took a steep drop with ticket sales dwindling to $17.7 million. Most big films take in more money on Saturday than Friday, so the decline was a sign that the audience for "Sex and the City" could dry up quickly.
Still, the film was on its way to becoming a $100 million hit that could spawn more sequels.
The audience is there. Furthermore, WW would have a much larger, because with epic action and a young and gorgeous star, it would pull in the men as well.