#Warner Bros Destroyer of Franchises

[youhaveforgottenmealready]

The New Superman Trailer

This was the funniest trailer I have ever seen. I laughed for about two minutes straight and then, later on, remembering the trailer made me laugh again. I laughed until I cried and my stomach hurt.

Was it supposed to be funny? I'm not sure. Maybe? There's just no way they put that corny, dramatic overly-serious music over those bland, trite, silly visuals and were hoping for anyone to feel moved, inspired or interested in this.

So it HAD to be done for comedy reasons. Tongue-in-cheek. A sendup to modern cinema? A bit of scathing commentary on superhero movies? Regardless, the chuckles were welcome.

I am DESPERATELY waiting for the day the internet denizens have to come out of the woodwork and reanalyze the Synder Superman movies and the Lex Luthor in that universe simply because this one is even flippin' worse. I think he has fans for some reason, but that Nicholas Hoult guy is just a terrible actor. He has the range and delivery of the lowest tier CW actor. His facial expressions in the trailer spanned a very small scale from confused, to bothered and confused. Genius.

Also, the idea that you can't diss a movie just from watching the trailer is a silly one. The trailer is an advertisement to see the movie. If the ad fails, then why would I pay to see this or think of the movie in a positive way? People who say things like, "But you haven't seen it yet! Wait for it to come out!" must be poor as shit after buying everything they see in a commercial, even if the commercial showcased a poor product. And all in the name of giving it a chance for...'reasons.'

It is not my job to give movies a chance, especially not movies from a company and director who have squandered all their chances. You vote with your ticket, people. Every time you give a movie like this a chance, are disappointed, and then wonder why five more just as bad get made, have I got news for you...

[timo-werner-me]

First off Godstaff this post isn’t aimed at you in no shape or form. I am addressing this to other people. I know you’re an independent person who is capable enough to make his decision. I respect your opinions and its highly original and thought  provoking. Again I must stressed this post isn’t aimed for you, it’s for the other people. I hope you understand.  Can we stop sucking Disney nuts for few seconds pretty please. The honest and god damn reason we all like Marvel/Disney movies is because of the critical score. We judge movies as good and bad before we even see it. We judge those movies as bad when when paid rotten tomatoes critics tell us so. It’s as if we’ve lost our own judgement to decide whether we likes movies or not. How sad is it we lost our ability to make our own judgement regarding movies. It wasn’t long time back in 2008-11 we were liking movies based on our judgement irrespective of the critical scores. Some of our favorite 90s movies had movie scores. Rambo two and three had rotten scores. Rocky three and four had rotten scores. Robocop two and three had rotten scores. Conan The Destroyer had rotten score. All of Pierece Brosnan James bond movies with the exception of Golden Eye had rotten scores. The entire The Mummy Franchise have rotten score. Did we amnesia that enjoyed those films? So are we gonna pretend we hated those rotten scored movies from the  90s and the 80s as well 90s and the 80s?    So why did we enjoyed those rotten movies  90s and the 80s anyways? Because we used own HEAD and HEARTS to tell us what we enjoyed and what we did not enjoyed. We liked Pierce Brosnan movies because we used our own head and judgement for it not opinions of the movies critics. We enjoyed later sequel Rambos. Rocky and Robo cop because we were independent individuals. Now are dependent on rotten tomatoes, imdb or metacritic.  So the point is we’re sucking sack of Disney simply because of good critical scores. And Disney and now post-Aquaman/WonderWoman  Warner Bros who are able to pay critics some sum of money for good scores. Yes I said it. Disney and post-Aquaman are paying these critics for good scores. Like sheep we praise, watch these movies without using our own judgment. You’re not going to be stupid for disagreeing and liking rotten scored movies like we actually with Robocop sequels, Balboa sequels movies. Come on people use your head

With the DCEU do you believe that they truly didn't know what they were doing or do you think they were more in a rush to catch up to Marvel

DC/WB were desperate to catch up.

Snyder didn’t know what he was doing. Better yet: he didn’t know nor understand the material he was working with. He thought it was one of his regular movies and, since he has only one aesthetic, that’s what he shaped the DCEU like.

Quite frankly, I don’t know why all the excitement about the director’s cut of Justice League. It won’t be any good and it will be unfinished.

[zhumeimv]

Fans Are Going Bonkers Over The Idea Of Bane In The Batman

Fans Are Going Bonkers Over The Idea Of Bane In The Batman

Date: 2019-12-12 18:00:00

[aoa id=’0′][dn_wp_yt_youtube_source type=”101″ id=”FLwYdl0v61Y”][/aoa]

Thumbnail Image by Salman Artworks →

Dave Bautista, you sneaky scoundrel, you.

The Guardians of the Galaxy star has got DC fans losing their minds over a photo he posted to his Twitter account which seems to suggest that he may be in talks to star in a film produced by Warner Bros. DC’s parent…

[hellofastestnewsfan]

At this year’s Academy Awards, only two studios saw multiple feature films take home Oscars: Universal, which made Green Book and First Man, and Megan Ellison’s Annapurna Pictures, which won a trophy apiece for If Beale Street Could Talk and Vice. The two wins weren’t the most dazzling stat of the night, but they were a nice achievement for Annapurna, which had a rocky year punctuated by stories about its financial instability. After an initial report in October that the company was being forced into a “more responsible” direction by Ellison’s father, the tech billionaire Larry Ellison, another story ran this month in Variety, alleging that almost every 2018 film released by Annapurna was a box-office failure.

Since Megan Ellison launched it, in 2011, Annapurna has been a curious beast, starting out as a production company before evolving into a sort of mini-studio that distributes movies itself. Unlike indie studios such as A24 or IFC, Annapurna has the resources to lavish sizable budgets on ambitious films made by big-name directors. Rumors of its financial hardships suggest that kind of risk taking might soon become a thing of the past for the company—a sad prospect, considering the great work it has produced of late. Annapurna’s reported troubles are just further evidence that Hollywood has become an industry in which the best way to stay afloat is by embracing either crowd-pleasing blockbusters (as big studios have done) or sheer quantity (à la Netflix and its competitors). So far, Ellison appears committed to a different path.

Annapurna’s 2018 slate included Jacques Audiard’s The Sisters Brothers (budgeted at $38 million, it grossed $3.1 million domestically); If Beale Street Could Talk (which Variety reported as a write-down of $8 million to $10 million); Vice (which was nominated for Best Picture but will reportedly cost the company at least $15 million); and Karyn Kusama’s cop drama, Destroyer (a reported $7 million loss). Though all of these films received positive reviews, none managed to turn a profit at the box office, according to Variety, with the exception of Boots Riley’s Sorry to Bother You, which was made for a smaller budget and became a surprise summer hit.

Annapurna does have some safer projects on the horizon, thanks to a joint venture with MGM called United Artists Releasing, which will launch the upcoming James Bond movie in 2020. But Ellison’s dream of running a studio that independently distributes the films it produces will be tougher to realize than making money off an established franchise. Annapurna’s unconventional approach was evident with the first project it released by itself: Kathryn Bigelow’s Detroit, in 2017. A searing drama about police brutality, it was the kind of film that would usually get an awards-centric theatrical run in the fall, starting in major cities and slowly expanding around the country as word of mouth built. Instead, Annapurna took an interesting gamble and gave the movie a wide release in August. Detroit made only $7.1 million in its opening weekend, and finished eighth in the domestic box office.

The Variety piece both acknowledges Annapurna’s artistic clout and is dismissive of it; the lead image for the story is an illustration of Ellison lighting money on fire while surrounded by melting Oscar trophies. But Annapurna is taking risks in order to fill a gap in the industry, giving esteemed directors the resources to realize more daring creative visions—without the usual commercial pressures. The filmmakers who’ve worked with the studio include Paul Thomas Anderson, Richard Linklater, Spike Jonze, Wong Kar-Wai, and David O. Russell. When If Beale Street Could Talk won the Film Independent Spirit Award for Best Feature this year, the director Barry Jenkins shouted out Ellison personally in his speech. “Financiers do not put their money behind black authors,” he said. “Thank you for your money, my dear. James Baldwin thanks you.” The Variety piece prompted a fiery personal response from Ellison (who tweeted a GIF of Beyoncé being showered in cash) as well as statements of support for Ellison from various artists.

Hollywood’s other major innovators are tech giants, chiefly Netflix and Amazon, though Apple is making moves toward film distribution as well. These massive companies, which make much of their money from subscriptions, don’t release data about their streaming viewership to the public—which helps keep the profit margins for their films from being scrutinized too closely. Netflix doesn’t share the box-office totals for its films at all, even when they play in theaters (the company rents out the screens and pockets the money from ticket sales). Major studios such as Disney, Warner Bros., Universal, and Sony still have to live and die by opening weekends and global stock prices—which has pushed them toward big-budget, family-friendly films that can guarantee billion-dollar grosses, and away from the more fringe fare that Annapurna champions.

Several other midsize indie studios, such as Relativity and Open Road (which won a Best Picture Oscar for Spotlight), have ended up collapsing over the years, while STX Entertainment, which releases about eight films a year at price points similar to Annapurna, tends to favor more lurid genre projects. The Variety piece lumps Annapurna in with these mini-studios as another venture destined to fail. Ellison is trying to break that cycle. In a business as expensive as film distribution, a couple of flops in a row can be enough to doom a company, but for now, Annapurna remains.

from The Atlantic https://ift.tt/2FghmVd