Movies

n the Joseon Dynasty, two friends who grew up together — one the master and one the servant — reunite post-war as enemies on opposing sides.

A Netflix Film

Uprising is coming October 11, only on Netflix

A few months ago I got AMC A List and have been trying to max it out and see everything I can in theaters ever since. I've been seeing first night releases and early shows whenever scheduling is possible.

One of my favorite parts after a movie is reviewing and discussing on letterboxd with friends and was looking for more people to discuss new movie releases with! My profile name is @thespokanekid and would love to follow other people from the lemmy movie community who also like to see new movies frequently.

People can leave their profile names below and maybe a description of what you like to watch or what kind of movies you're into.

https://youtu.be/nulvWqYUM8k?si=QzIXlH7JlDGOOpHx

What are your expectations for this movie? Have you seen any other adaptations of Bram Stoker's novel? Is Robert Eggers the right director for this story?

Budget: $120 million [source]

Opening weekend gross: $4 million

Factoring in marketing costs and the theaters taking their cut of the profits, Megalopolis would need to make at least $300 million to break even. I think it's safe to say that's not happening.

It would have been THE worst opening for a $100 million movie ever, had it not been for Pluto Nash's horriffic opening 22 years ago.

Even The New York Times is reporting near-empty screenings of Megalopolis!

I like sci-fi and fantasy

I do like comedy anime when it's mixed with slice of life but I'm not sure if that will If I will like movies like that

Kris Kristofferson, a Rhodes scholar who became a superstar songwriter, singer and actor, has died. A family spokeswoman says Kristofferson died at his home in Hawaii on Saturday.

John Ashton, the veteran character actor who memorably played the gruff but lovable police detective John Taggart in the “Beverly Hills Cop” films, has died. He was 76.

Absolute instant classic, this generations Iron Giant.

Love how they didn't fear away from themes of death on screen. Made all the scenes that much more powerful in ways you usually don't see in kids movies nowadays.

Curious if they'll follow the books and try making a 2 & 3 and they can stay on par with this.

Megalopolis seems to be one of those "love it or hate it" films. Sitting at 49% on Rotten Tomatoes right now:

https://www.rottentomatoes.com/m/megalopolis

So of course I had to see it to make up my own mind about it.

It is a brilliant, beautiful film, that likely nobody will "get" for 10 years or so, and by the time they do get it, all the societal and political references will be so dated, it will need footnotes, much in the same way that Gulliver's Travels needs footnotes today.

https://studycorgi.com/satire-in-gullivers-travels-by-jonathan-swift/

The film is probably 75% Shakespearian archetypes, to the point where I could point out "Ok, that character is from x, this character is from y" and that's before Caesar quotes the entire "To Be or Not To Be" soliloquy from Hamlet.

The remaining 25% is kind of an inverted "Atlas Shrugged", where the main character invents a miracle building material, but instead of squirrling it away for his own private enrichment, dedicates himself to using it to build a city of the future to benefit everyone.

Adam Driver plays Caesar, Inventor and Architect

Giancarlo Esposito plays Cicero, mayor of New Rome and chief antagonist to Caesar

Nathalie Emmanuel as Julia, Cicero's daughter. Goes to work for Caesar to get back at dad, falls in love.

Jon Voight as Crassus, 80+ year old media mogul and financier. Kingmaker.

Aubrey Plaza as Wow Platinum, very blonde "news" host. Initially involved with Caesar, marries the 3x older Crassus.

Shia LeBeouf as Clodio, Crassus' money hungry grandson, cousin to Caesar. Has hated Caesar since they were kids.

I'm not going to lie, there are parts of the film that are VERY hard to wrap your brain around, particularly when Caesar goes on a drug and alcohol fueled bender.

Overall, I loved the look and feel of the film, feel the need to watch it again, there are parts that I need to freeze frame when it inevitably is available at home.

For references, Crassus is very clearly Rupert Murdoch with all of his potential heirs cutting each others throats for a slice of the empire. Bonus for the creepy marriage to a much younger wife.

Clodio is clearly Trump, down to the fascist symbolism, populist messaging, and "Make America Great Again".

Rocky? Rocky 2-4? Slap Shot (1977) is fantastic.

For basketball I'd say Hoosiers (1986) is good. For American Football? Jerry Maguire (1996).

What are the best soccer, cricket, or racing movies?

cross-posted from: https://lemmy.world/post/20272721

I don't remember exact lines but it goes like this: "It's not the pain that makes man suffer, it's the meaningless suffering makes unbearable." I think this was the end card quote probably stated by NIETZSCHE. Based on the quote I am guessing it should be something of psychological thriller or war type, but the quote stuck in my mind rather than movie name. So I hoping that someone could end my suffering on thinking about that movie title.

Last year, the original Pixar film “Elemental” looked doomed with the worst opening weekend in studio history, but turned into the box office comeback of the year. DreamWorks Animation’s latest film, “The Wild Robot,” hopes to chart a similar path to theatrical success.

Despite rave early reviews, projections for the Universal release remain very low, with most projecting a start in the $20 million range similar to the $25 million start last weekend for Paramount’s “Transformers One.”

As an adaptation of Peter Brown’s book series, “The Wild Robot” is not strictly speaking an original film. It’s in the vein of literary adaptations DreamWorks has picked up dating back to its first big CG-animated hit, “Shrek,” which was loosely based on a children’s book by William Steig.

The most recent DreamWorks book adaptation, “The Bad Guys,” opened to just under $24 million in 2022 and grossed $97 million domestic and $250 million worldwide, prompting Universal and DreamWorks to greenlight a sequel for next year.

With its beautiful animation style and moving tale of a robot stranded in a forest that adopts an orphaned gosling, “The Wild Robot” has the potential to win over audiences and show similar legs to “The Bad Guys.” If audiences embrace it as much as the critics, it could go even further, taking advantage of a lack of competing family titles in October and early November for a run similar to the $154 million domestic/$496 million global total of “Elemental.”

But the fact that “The Wild Robot” must take the long road to box office success compared to instant hit sequels to films like “Inside Out” and “Despicable Me” shows how much familiar characters and narratives have come to dominate the family market since the pandemic shutdown.

And sometimes even that is not enough, as Paramount is looking for “Transformers One” to leg out based on strong buzz from franchise fans, hoping that will win over moviegoers who weren’t originally sold on an origin story movie from the long-running series.

“The cost-driven selectivity that families bring into whether or not they see a movie is playing out in real time. Something like ‘Despicable Me’ which families already know and enjoy can get people in easily. In this case, familiarity breeds confidence that it’s worth the time, energy and money to go out to the theater,” said Comscore analyst Paul Dergarabedian.

Pixar’s “Coco,” the last original animated film to gross over $500 million worldwide, opened to $72 million over five days on Thanksgiving weekend in 2017. “Shrek” opened to $42 million before inflation adjustment back in 2001 while another children’s book adaptation, “How to Train Your Dragon,” opened to $43 million in 2010. Both cleared $200 million in domestic grosses.

“The Wild Robot” is earning critical acclaim as strong or perhaps stronger than any installment of the franchises spawned by those films, yet could very well have to settle for an opening below $30 million. The wild success of “Inside Out 2” and “The Super Mario Bros. Movie” shows that families have not abandoned theaters in the slightest, but such tracking for “Wild Robot” perhaps suggests that parents are less likely to try out something new unless they’re convinced they and their kids will enjoy it, making post-release word-of-mouth even more crucial.

“It used to be that theatrical and home video were the clear metrics with sometimes merch being taken into account, but now with streaming it just makes the formula so different,” said Dergarabedian. “Now it takes months and months to really see how much an animated film makes an impact on audiences, and it takes everyone in the room at a studio from different departments to sort it all out.”

Further complicating matters for both “The Wild Robot” and “Transformers One” is that Warner Bros.’ “Beetlejuice Beetlejuice” has found considerable traction with families and young adults. According to data from exhibition sources, the audience share of moviegoers age 13-24 has increased by 16 points in the second and third weekend of the Tim Burton sequel’s run compared to its Gen X driven opening weekend.

This is part of the reason why “Beetlejuice 2” has been able to hold so well, approaching $250 million domestically after holding on to the No. 1 spot last weekend against “Transformers One.”

With three well-reviewed, family friendly yet tonally unique films now on offer and with the R-rated “Joker: Folie a Deux” being the top new release next weekend it will be curious to see how audience interest shakes out this weekend and whether “Transformers One” and “The Wild Robot” will be able to have lengthy and profitable theatrical runs without cannibalizing audience interest in each other.

Meanwhile, cinephiles will at long last get a chance to see Francis Ford Coppola’s long-gestating and critically polarizing “Megalopolis,” as Lionsgate brings it to theaters this weekend.

It has been a long road for this movie starring Adam Driver and Giancarlo Esposito as a brilliant architect and a corrupt mayor clashing over humanity’s future. The film was first conceived by Coppola in 1977 shortly after completing “Apocalypse Now,” but was shelved after a string of box office failures until Coppola decided to fund the film himself, selling his Sonoma wineries to fund the film’s $120 million budget.

Upon its premiere at Cannes, “Megalopolis” sharply divided critics, carrying a 52% Rotten Tomatoes score. Screenings for the film for Hollywood’s top studio execs led to the movie largely being passed on until Lionsgate reached a distribution-only deal in June, with Coppola covering the marketing costs.

How much Coppola, who has voiced his plans for other filmmaking projects, needs “Megalopolis” to make to keep bringing his cinematic visions to reality is unclear. But what is clear is that “Megalopolis” is likely to do worse than than “Horizon: An American Saga — Chapter 1,” the first of a planned four-part series partially self-funded by writer-director Kevin Costner that had the release of “Chapter 2” indefinitely put on hold after it only made $29 million in the U.S. from an $11 million opening.

“Megalopolis” is tracking to open to roughly half that at $5-7 million, and given the mixed reception is unlikely to find an audience outside of Coppola’s devoted fans and the most fervent of cinema lovers.

For Lionsgate, this will be the fifth straight wide release for the studio with an opening weekend of below $10 million. But unlike some past recent misfires like “Borderlands,” Lionsgate holds no expenses beyond what it paid to acquire the distribution costs along with a percentage of the box office. With such a low bar, insiders tell TheWrap that Lionsgate should recoup its costs on “Megalopolis” within a week of theatrical play.

Here's a plot for "The Plumber" starring Jason Statham:

Genre: Action-Thriller

Plot:

Jack "The Plumber" Reynolds (Jason Statham) is a rugged, no-nonsense plumber with a mysterious past. Living in modern-day London, Jack has retired from his former life as a special forces operative. However, when his brother, a fellow veteran, is murdered, Jack is pulled back into the world of high-stakes espionage.

As Jack investigates his brother's death, he uncovers a sinister plot to manipulate the city's water supply, threatening the lives of millions. The trail leads him to a corrupt businessman, Victor Vex (Tom Hiddleston), who's using his wealth and influence to further his nefarious agenda.

With his plumbing skills and combat training, Jack navigates the city's underground infrastructure, taking down Vex's henchmen and unraveling the conspiracy. Along the way, he teams up with Sarah (Emily Blunt), a resourceful engineer who helps him stay one step ahead of the villains.

As the stakes escalate, Jack faces off against Vex in an intense, hand-to-hand combat showdown. With his skills and determination, Jack saves the city from catastrophe, earning his nickname "The Plumber" as a hero who unclogs more than just pipes.

Subplots:

1. Jack's complicated relationship with his estranged sister-in-law and niece, whom he must protect.
2. A rival plumber, Marcus (Idris Elba), who becomes an unlikely ally.
3. Jack's past as a special forces operative, revealed through flashbacks.

Action sequences:

1. High-speed chase through London's sewer system.
2. Fight in a crowded market.
3. Showdown at an abandoned water treatment plant.

Themes:

1. Redemption and second chances.
2. Family and loyalty.
3. The power of unconventional skills in unexpected situations.

This plot combines Jason Statham's signature action-hero style with a unique, relatable protagonist and a gripping storyline.