Then how do you explain $103 million box office so far for Little Fockers?Bad movies = bad ticket sales.
I wonder where they are getting those ticket prices. Regular prices for ticket in NYC hit $20 last year. Theater tickets here are $14.25. A family of four is looking at a minimum of $52 + tax for a single movie, a couple $28.50. Compare that to a $6 Blu-ray rental or HD PPV.That cost leaped from an average of $7.46 a ticket in 2009 to $7.85 last year, the largest single-year spike on record.
That's why I'm finding the selection of indie or low budget or UK films that Netflix is providing is sometimes just as good (or in some cases equally as bad) as the "Hollywood Blockbusters".Just like the music industry, they're relying far too much on the CGI post-production effects. There's no focus on writing what-so-ever. Most of the movies are trying to wow with the effects...however the stories and writing are terrible. We know what they can do with the effects- the possibilities are endless. However without a supporting plot, the movie will bomb.
The first film, Meet The Parents is a classic, and the second was well above average.Then how do you explain $103 million box office so far for Little Fockers?
There doesn't seem to be much correlation between the quality of movies and their box office success. If that was the case, then Winter's Bone, which made numerous critics' Top Ten lists, would be a blockbuster; how many here saw it?
Here's a thought; how about improving the movie-going experience? With so many people now owning large flat-panel televisions, dvd and blu-ray players, it's easier, more relaxing and cheaper to wait for a movie's rental or On-Demand window.
Going to the suburban multi-plex is to exercise in sensory overload and pocketbook gouging. Once we've run the gauntlet of careening kids, noisy video arcades, long lines because half the ticket kiosks don't work at any given time, and horribly over-priced junk food concessions, and are safely ensconced in the darkened theater, we then have to endure a barrage of commercials and too-frequent projection issues because all the trained professional projectionists have been driven out of their jobs in favour of a minimum-wage kid pushing a button who has no clue about proper framing and multi-track audio. And the ongoing consolidation of exhibitors ensures almost no competition, no incentive for them to improve or offer a different experience, or a broader range of movie options.
Baseball attendance suffered when nearly every team played in huge, soulless concrete multi-purpose stadiums. But since teams started building baseball-specific stadiums that made the experience of attending a game more unique, more in tune with the languid nature of baseball, the game has regained popularity. Perhaps it's time companies like Cineplex, Landmark and AMC take note.
Did you watch the same Inception? The Christopher Nolan one? Because if you did, you'd know the CGI is pretty understated, and the whole film is a deep and rich story, laden with superb storytelling, and the stories pay off on multiple levels over multiple viewings. On a superficial viewing, it might appear there are plot holes, but on more discerning inspection those turn out not to be holes at all, but deeper connections between the layered stories. That's what makes it such a powerful work.Agree with the all of the above. I recently watched two of the 'big hits' from this year - Inception and The Social Network, both in theatres.
Now I enjoy good speculative fiction better than anything else, so I really looked forward to Inception. While it had its moments, the writing just had so many holes. CGI was OK, but it can't take the place of a proper storyline. Suspension of disbelief is fine, but the story itself has to have some internal consistency. Too many writers watching too many episodes of Lost?
Social Network was OK, but no big deal. Again, it stands out because the rest are so poor
Avatar was immersive, but the writing and characterization was right out of Left Wing Comic Book 101. That's OK, that one I was there for the CGI only and I parked my brain at the door.
The Fockers I think can be explained in three ways:
- television advertising for this has been beyond anything I've ever seen. I rarely watch commercial based television, but I was stunned by the sheer volume of spots for this drivel during the NFL games. Real push strategy here.
- a content vacuum this Christmas, nothing else stood out;
and the old reliable....
- public taste. Evidently it's what a lot of people want to spend $ on.
BTW, isn't that a clever play on words? Little Fockers(italic on Fockers). Who ever would have thought of that? Get it? (visualize head shaking)
On Netflix - while I don't agree that the catalogue is that good - overall it's mediocre at best, although the January 1 dump of new titles was great - there are some gems. Four that I highly recommend - Damages, Larry Sanders, House of Cards and Kidnapped. The latter has me absorbed right now. FYI http://www.nbc.com/Kidnapped/ and preview Ep 1 http://www.youtube.com/watch?v=KUoRB9qLD6w
Frankly, the video I watch now is mainly non-theatrical - Mi5/Spooks, Fringe, Kidnapped, Damages, The Wire. Movies - particularly movie in theatres where you are the mercy of the cellphone and audiences talking to each other during the film - are falling off my radar.
is equally facepalming. Did you know the main Inception story was written by a single person, back in 2001, years before the first episode of Lost was even filmed?"Too many writers watching too many episodes of Lost?"