|WEEKEND BOX OFFICEDOWNTON ABBEYBOX OFFICEREVIEWTRON|
During the current worldwide pandemic, movie studios are no longer providing box-office figures because theaters have been shut down around the nation and the world. Because we are less interested in the actual figures themselves and more interested in what people are watching over the weekends, each week we will dive into Most Streamed and Bestseller Lists on Fandango, iTunes, Netflix, and Hulu to pinpoint the weekend’s most watched films.
We are now in our third week of inspecting the most watched movies at home, and it’s interesting how much more movement there is in the VOD market than in the traditional box office. That may be more of a function of our current situation, however, where theatrical movies released earlier this year are heading to VOD in a much faster clip to take advantage of the increased movie consumption at home. They’re probably also trying to recoup some of their losses, as well.
In our first two weeks, we’ve been eyeballing the iTunes and Google Play lists to come up with the most watched VOD movies, but Fandango’s most watched VOD movie seems to be a very good compromise between the two lists. In either respect, most of the lists suggests that the two most popular VOD movies this weekend were the home debuts of the two biggest films released in theaters in 2020, Bad Boys for Life and Sonic the Hedgehog. The two movies add to their $204 million and $146 million theatrical box office. Meanwhile, Pixar’s Onward comes in third now that it is being offered for $5 rental instead of $20 purchase note families: It’s free on Disney+, which cost $6 a month, and if you are spending $5 to watch Onward, you probably live in a family that could use Disney+ to help get through the next couple of months. This is not a plug. It is a lifeline.
Invisible Man is still going strong even at the $20 rental price point, but it’s still doing extraordinarily well, even as other movies have debuted and fallen below it, like Knives Out and Jumanji. e don’t have exact figures on Invisible Man on VOD, but it’s safe to say that it has been a resounding success. Excluding Trolls World Tour which is on presale, Invisible Man is number four, while Harrison Ford’s Call of the Wild - which was also ousted from theaters early - debuts at a middling #10, ahead of the original Bad Boys and two other movies still only available for purchase, Ben Affleck’s The Way Back and Robert Downey, Jr.’s Doctor Dolittle, which isn’t even doing well on the VOD market with families starved for movies.
Julia Louis-Dreyfus and Will Ferrell’s Downhill, which bombed in theaters, is likewise not making much noise on the VOD market, where it debuted at number 24. Meanwhile, I am only seeing it on the iTunes list #11, but the critically acclaimed indie flick Never Rarely Sometimes Always seems to be doing well. I haven’t seen it yet,...
It’s been about 10 years since we first heard about a film adaptation of The Wind in the Willows coming together with the help of Peter Jackson‘s WETA Workshop. At the time, the plan was for WETA’s Ray Griggs to direct a live-action movie using advanced animatronics to bring the four anthropomorphic animal characters, Mole, Rat, Toad and Badger, to life. However, a decade later, the plans have changed and a new filmmaker is on board to help
Peter Jackson’s WETA Digital is now involved with The Wind in the Willows movie, which will now create Mole, Rat, Toad and Badger with computer animation. Ray Griggs is still directing and offering special effects experience on WETA’s behalf along with Richard Taylor at WETA Workshop. But now Downton Abbey creator Julian Fellowes is on board to write the movie, and Jurassic Park producer Gerald R. Molen is getting involved too.
Variety has news on the return of The Wind in the Willows movie, with Julian Fellowes joining the project. This comes four years after the Downtown Abbey writer and executive producer wrote a musical version of Kenneth Grahame’s classic novel with music and lyrics by George Stiles and Anthony Drewe. It’s not clear if Fellowes will be bringing those musical sensibilities to this adaptation, or if it’s just his approach to the characters that’s being utilized, but his involvement is an exciting addition.
For those unfamiliar, here’s how the book is described on Amazon:
“Since 1903, the escapades of Mole, his friend Water Rat, shy Badger, and Toad of Toad Hall have delighted children, and adults, too. Follow the winning foursome through the seasons as they sail the river, get lost in the Wild Wood, take off on a merry adventure in Toad’s colorful carriage, and rescue Toad Hall from a band of nasty marauding weasels.”
If you haven’t read the book, then maybe you’ve seen the Disney adaptation from 1949, which was part of a double feature of two short stories called The Adventures of Ichabod and Mr. Toad. The movie also inspired the Disneyland attraction known as Mr. Toad’s Wild Ride. But this new adaptation will likely be a little more true to the novel.
After being in development for so many years, it sounds like now is the time for the project to finally get off the ground. Molen said:
“We are finalizing some of the finest actors to lend their creative and vocal talents. We could not have dreamed of a better writer and creative force than Julian Fellowes to work with Ray Griggs to bring to life the classic English novel’s characters, nor finer visionaries than Weta to capture the look and feel of Grahame’s world. We have all the right pieces to create what will prove to be the definitive adaptation of Kenneth Grahame’s classic.”...
Week three of no theatrical releases. That will technically change soon — Universal’s premium VOD-opening “Trolls World Tour” has a handful of still-open drive-ins to play don’t expect any grosses reported. But it was a week full of important stories, with particular interest in a series of release date adjustments. However, no date can be realized if theaters aren’t open, and nobody knows when that will be.
• Exhibitor trade organization NATO held a webinar Friday. President John Fifthian raised hope that some theaters might be open by late May or early June. AMC Entertainment CEO Adam Aron, who oversees the most screens in North America reiterated his hopes for mid-June.
• With the COVID-19 still in its early stages of national spread, uncertainty about the curve flattening, and signs that in China, which had the earliest outbreaks three months ago, that viral decline doesn’t equal viral defeat, the reality is it could be weeks before anyone can make a reasonable assessment on reopening.
• Countering industry optimism that after weeks indoors, people will flock to theaters is a survey by Performance Research about public attitudes on return to public events. It saw 49 percent of respondents saying feeling safe about returning to theaters ranged from in a few months to never, with 28 percent saying if they do return, it will be less often. That said: This is a snapshot taken nearly two weeks ago, and shouldn’t be considered predictive. It showed similar or worse results for sporting events, concerts, and theme parks.
• Sports league executives spoke with President Trump, who urged resumption as soon as possible. However, Dr. Alan Sills, chief medical officer for the NFL, cautioned it is premature to believe that football can return this fall. Governors in some states that aren’t fully shut down, like Nebraska, encouraged voluntary compliance — with the threat that if the virus isn’t contained, their ardent fans might not have a season. Sports, of course, demand close player and spectator contact, and are more vulnerable even than theaters to the ongoing threat of contagion. But the idea that it is conceivable the country could have a year with no more sports is even more shocking than disruption to theaters.
• The key takeaway from multiple studio release schedule changes is, in re-dating titles, they don’t expect theaters to be fully operational until July at the earliest. Though key June and July titles like Pixar’s “Soul” and Christopher Nolan’s “Tenet” remain in those months, “Mulan” on July 24 is the earliest rescheduled date for any major title. Other date changes act as a diversion while theaters are closed, but the reality is everything is written in pencil, not pen.
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...