Megalopolis isn't even playing in theaters yet. It was just shown at Cannes. How can something that hasn't even been sold to a wider audience be a flop?
The rest of the movies mentioned just came out. Give 'em some freaking time to simmer.
Between paying for a babysitter and parking and a small bit of popcorn, along with the tickets, it costs us about 100e to go to the cinema. And that's without even going anywhere else before or after.
6 minutes standing in a theater clapping for some dude I'm never gonna meet (or don't care to socialize with if we're in similar circles) because a movie was apparently good? I mean not hard but certainly uncomfortable, in more than one way.
I think the issue is that May is usually a big earner for the film industry but everything is under-performing so far. However, as they mention, the writer's strike has pushed films back a month or two and I expect the start of the blockbuster season will be with the release of Furiosa this week but it should have an easy run at the box office as things are quiet until mid June into July: Inside Out 2, Quiet Place: Day One, Despicable Me 4, Twisters? and then Deadpool & Wolverine which is shaping up to be the big hit of the summer, unless Borderlands is better than it looks. Alien: Romulus and Beetlejuice² then finish out through to September. That's a lot of heavy lifting being done by franchises with only films like Sting and The Watched having much potential to be breakout original hits.
My girlfriend and I saw Fall Guys and it's a great movie!
We originally stumbled upon the Parmount Plus series "Action" about the modern history of Hollywood stunts and loved it. It follows the company that made the John Wick movies, same people made Fall Guy.
The show actually had behind the scenes for Fall Guy stunts pre-release and it was wicked cool. I think part of the flop is from bad marketing. I'd wager nobody knows that show exists and their trailers DO NOT make it clear that all the stunts are practical.
The whole movie is meant to be an homage to classic stunts and they actually broke the record for a car roll. I think if they'd found a clever way to showcase all that intention with the marketing a lot more people would have seen it.
Since 2007, when Spider-Man 3 (three full cycles ago in that deathless franchise) topped the box office – and barring two years where the global pandemic threw the mainstream release schedule into disarray – that weekend has been the exclusive domain of Marvel superhero adaptations, through to Guardians of the Galaxy Vol.
And so, with the coveted early-May date open to a cape-free blockbuster for the first time since the Bush administration, Universal spotted an opportunity for its action romcom The Fall Guy, about a Hollywood stunt man tangled in an insider conspiracy.
The story of last year’s summer box office was the aforementioned Barbie–Oppenheimer double – disparate films that turned the rather banal fact of a shared release date into a wildly successful marketing gimmick, as audiences fashioned “Barbenheimer” into a double-feature roadshow with little official prompting from the studios.
Greta Gerwig’s loopy metatextual approach to Barbie looked and felt like nothing else at the multiplex; ditto Christopher Nolan’s rather sober three-hour chamber film, which, notwithstanding one spectacular explosion scene, riskily banked on the more arthouse-inclined pitch of men debating strategy and morality in dim rooms.
The summer ahead has few sure things on the horizon: as the only major superhero release of the season, much will ride on Deadpool & Wolverine to prove the genre’s continued commercial muscle, while the fate of sequels such as Inside Out 2, Despicable Me 4, A Quiet Place: Day One and Furiosa: A Mad Max Saga – launched at Cannes last week with a defiantly glitzy premiere – will tell anxious studios if they really do need to change course.
Meanwhile, the year’s most belated franchise extension – Twisters, a sequel to the 1996 tornado adventure – may or may not be a nostalgia-fuelled hit, but it’ll certainly make studio execs think back fondly on easier days, when a new idea wasn’t the fall guy.
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Amanda Nell Eu’s snarling debut is not the first film to harness body horror tropes as an allegory for the adolescent angst and the shame of female puberty.
But this Malaysian production, which shares central ideas with Pixar’s Turning Red, as well as genre films such as Carrie and Ginger Snaps, folds in a distinctive element of south-east Asian folklore and superstition, in addition to universal themes of preteen girl bullying.
Bursting on to the screen with an energetic dance routine – Tiger Stripes is as TikTok literate as it is fluent in the language of horror.
Twelve-year-old Zaffan (Zafreen Zairizal) is the wildest of her circle of friends, but when she gets her period that feral energy takes on a disconcerting new dimension.
The message is not always clear, but it’s an entertaining ride.
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Saw it on Thursday and enjoyed it - the film is daft fun but there are lots of nice touches and Easter eggs. It was also good to see Emily Blunt in a less serious role as she has good comic timing and was clearly enjoying herself.
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