I think some see the pretty graph on Numbers and think it’s a true prognostication tool about a movies outcome. It’s just showing an average outcome of movies from the last 5 year, not a for sure outcome for a particular film. Nothing more. And as we’ve seen it hasn’t predicted many movies properly including the two you mentioned. It should be treated just like any calculation, with a huge grain of salt.I think there’s a blowback when we say the word “legs”. Like some prognostication that every movie is going to pull an Elemental or Mufasa and rescue itself from the brink.
But by and large I’m often just referring to what’s normal. We’ve already seen Thunderbolts pass Cap 1 despite the Forbes article saying that was an impossible task… five days later.
The same applies to Stitch. It brought in 176M. A normal multiple is another 2X or 350M. A good multiple is easily 500M more. Thinking the film will struggle to hit 850 is a misread after the data we have coming out of this weekend. That would be an unusual crash and burn for a film that had an exceptional international hold, a better domestic hold than figured (we’re measuring a domestic holiday week on week) and an unreleased market that’s not unreasonable to expect some strong change out of. 850 is no longer the correct prediction.
I think some see the pretty graph on Numbers and think it’s a true prognostication tool about a movies outcome. It’s just showing an average outcome of movies from the last 5 year, not a for sure outcome for a particular film. Nothing more. And as we’ve seen it hasn’t predicted many movies properly including the two you mentioned. It should be treated just like any calculation, with a huge grain of salt.
Exactly, which is why I keep pushing back on that silly percent calc that TP is using as it doesn’t show a real comparison, especially not one week-by-week. It’s highly inaccurate and gives a false accounting for how a movie really tracks internationally.There’s also no tool that really captures international due to the staggered release nature. See my sneak edit on Japan above. I won’t commit to 110M…
Underestimate Japanese love of Stitch and Hawaii to your peril.
But found no audience…which Is a big problem for the ole Dis…It’s a shame as Thunderbolts is a really good addition to the MCU library.
OhThis is a box office discussion thread as I’ve been told many times, I’m discussing the box office. And I’m trying to keep things honest here with the calculations and comparisons. You are more than welcome to join in on the discussion or if you think it’s a waste of time you can bow out. But please refrain from telling me to stop talking about a current movie and how it’s doing at the box office, as many have told me the same.
Also apologies… stitch brought in 269M this week (Tuesday on), 176M this weekend.
I’m not seeing any world where it only makes 240M more.
Aladdin and B&TB made 110M in Japan. We can even halve that to be cautious.
I think there’s a blowback when we say the word “legs”. Like some prognostication that every movie is going to pull an Elemental or Mufasa and rescue itself from the brink.
But by and large I’m often just referring to what’s normal. We’ve already seen Thunderbolts pass Cap 1 despite the Forbes article saying that was an impossible task… five days later.
The same applies to Stitch. It brought in 176M. A normal multiple is another 2X or 350M. A good multiple is easily 500M more. Thinking the film will struggle to hit 850 is a misread after the data we have coming out of this weekend. That would be an unusual crash and burn for a film that had an exceptional international hold, a better domestic hold than figured (we’re measuring a domestic holiday week on week) and an unreleased market that’s not unreasonable to expect some strong change out of. 850 is no longer the correct prediction.
There actually is…it’s called a memory and some research for patterns.There’s also no tool that really captures international due to the staggered release nature. See my sneak edit on Japan above. I won’t commit to 110M…
Underestimate Japanese love of Stitch and Hawaii to your peril.
You’re misconstruing what is being said and still trying to make this about expectations of the MCU.Oh
…you’re trying to shine these flubs up…next pivot is to somehow when no one watches them on the stream that’ll fix it.
Blah blah…yada yada…
I’m beginning to appreciate some of your positions…not the wrong one like the MCU blind spot…but a lot of the others.
I haven't seen it because I had no desire to and that is Disney's fault for releasing too many mediocre, bad or just boring MCU movies. However, it could still serve a purpose as it has had good word of mouth. A few solid/good movies in a row could do wonders for the whole franchise. Obviously they would prefer a smash hit, but big picture, some consistency might do them better in the long run at this point.But found no audience…which Is a big problem for the ole Dis…
Not hard to perform the autopsy here…they’ve made mistakes
In what way? Tony was saying there was an anti-woke campaign against the film, but a majority of the complaints I've personally seen have nothing to do with criticism of it being too woke, but for being less successful than the 2002 film in terms of Hawaiian representation. Maybe it's just the people I follow on Twitter (Or the people the algorithm feeds me on Twitter, who knows at this point), but a lot of people seem to feel the 2002 film was unusually good for its time, whereas the 2025 film is a step backwards.That seems pretty patronising and essentialising to me.
I haven't seen it because I had no desire to and that is Disney's fault for releasing too many mediocre, bad or just boring MCU movies. However, it could still serve a purpose as it has had good word of mouth. A few solid/good movies in a row could do wonders for the whole franchise. Obviously they would prefer a smash hit, but big picture, some consistency might do them better in the long run at this point.
Anyway, if and when people pick it up on streaming, assuming it is as good as folks say, maybe more show up down the line. If not, they will just stop making them eventually.
Thunderbolts IS a pretty good movie and I wish it was performing better at the box office.I haven't seen it because I had no desire to and that is Disney's fault for releasing too many mediocre, bad or just boring MCU movies. However, it could still serve a purpose as it has had good word of mouth. A few solid/good movies in a row could do wonders for the whole franchise. Obviously they would prefer a smash hit, but big picture, some consistency might do them better in the long run at this point.
Anyway, if and when people pick it up on streaming, assuming it is as good as folks say, maybe more show up down the line. If not, they will just stop making them eventually.
Well those people are starting to have the track record of the Italian army…they are losing every battle.There's actually a lot of progressive people who dislike the ending of the remake and criticizing it as anti-indigenous/pro-colonialism. I'm sure that wasn't at all Disney's intent, but people are reading it that way.
I'm not seeing the remake, but not because it's woke or anti-woke. I simply have no desire to see a remake to a movie that was made in the 21st century. It's waaaaay too soon. I also think the original animated film is perfect and there is no need for a new adaptation, other than to advanced Disney's continued assault on traditional animation.
It doesn’t really appear to be such…That seems pretty patronising and essentialising to me.
The film could have used a more marketable villain too.Thunderbolts IS a pretty good movie and I wish it was performing better at the box office.
Unfortunately, I don't think there was much hype for it since the characters it focuses on mostly come from what many view to be mediocre MCU films (Black Widow, Ant-man and the Wasp) and a Disney Plus show (Falcon and the Winter Soldier). Many moviegoers may not have had Disney Plus and therefore have no idea who John Walker is. And those who did may not have liked the show, which had a more mixed reception than WandaVision or Loki. I'm sure a lot of people don't remember who Ghost is from Ant-man and the Wasp.
The movie is most directly a sequel to 2021's Black Widow, which got mixed reviews and underperformed due to being released in the middle of the pandemic. Florence Pugh's Yelena was easily the best part of Black Widow (and she's the best part of Thunderbolts as well), but I think her character's debut was somewhat harmed by being attached to a bad release date and a movie that a lot fans are mixed on. (I personally think Black Widow was an okay film, it just felt like it came out at the wrong time, after Natasha had already died. Would have made more sense to be released in-between 2016-2018, when the story chronologically takes place in-between Civil War and Infinity War).
I don't think movies overseas run longer, but maybe they do? If anything, I'd imagine they have more competition from local/national movies in their respective lands. Generally though, the recent live action remakes from Disney have had foreign box office that was 150% or higher than the domestic box office.
Even disastrous Snow White got 136% of its domestic box office overseas. Probably because some of Rachel Zegler's publicity hand grenades she was throwing at her own movie got lost in translation over there.
For those of us keeping score, that's a foreign box office that is 117% of its domestic total so far.
The idea that Nani’s decision (I’ll keep it vague to stay out of spoiler territory) is somehow a betrayal of native values strikes me as a very reductive way of looking at Hawaiian culture. It denies her agency, assuming that she can only have made such a decision under colonialist influence, and it demands that she behave in a certain way to remain true to her identity, ignoring her individuality and the particular circumstances of her situation.In what way?
A 20 year old can’t take care of a six year old either from a maturity or a financial angleThe idea that Nani’s decision (I’ll keep it vague to stay out of spoiler territory) is somehow a betrayal of native values strikes me as a very reductive way of looking at Hawaiian culture. It denies her agency, assuming that she can only have made such a decision under colonialist influence, and it demands that she behave in a certain way to remain true to her identity, ignoring her individuality and the particular circumstances of her situation.
(None of what I’ve written means I think the remake is better than the original—I don’t! I’m just addressing a particular kind of criticism that is being made of the revised ending.)
Oh I see. I thought you meant it was patronizing that I brought up that I saw some people had that objection.The idea that Nani’s decision (I’ll keep it vague to stay out of spoiler territory) is somehow a betrayal of native values strikes me as a very reductive way of looking at Hawaiian culture. It denies her agency, assuming that she can only have made such a decision under colonialist influence, and it demands that she behave in a certain way to remain true to her identity, ignoring her individuality and the particular circumstances of her situation.
(None of what I’ve written means I think the remake is better than the original—I don’t! I’m just addressing a particular kind of criticism that is being made of the revised ending.)
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