3 items from 2016
If a film gets a Cinemascore of B or C, it's often classed as a disappointment. But what is a Cinemascore?
The process of marketing a movie is now an operation that lasts many months across all sorts of media, from bus stop posters to social media campaigns, all in pursuit of making sure the movie makes an impact in its opening weekend. Tracking and analytics can give an indication of how audiences are responding before the movie even hits cinemas, but it's only in that opening weekend, once they've actually seen the movie, that you can get a more accurate read on public opinion.
Box office aside, one way in which Hollywood's studios reads public response after release is Cinemascore, the Las Vegas-based market research firm which conducts nationwide exit polls. Billed as “Hollywood's Benchmark”, the company's researchers gathers information from filmgoers and the results, expressed as letter grades, »
It only took a year: here's the spoof take on 50 Shades Of Grey. Chortle.
When Scary Movie came out back in 2000, some remarked that the sleeper hit horror parody was spoofing a satire by drawing inspiration and iconography from Scream, which Wes Craven intended as a trope-riddled satire of the genre. Nevertheless, four sequels and a slew of other parody movies (mostly by 'two of the six writers', Aaron Seltzer and Jason Friedberg) followed and have served to run the art of cinematic parody into the ground over the last 15 years.
Fifty Shades Of Black hasn't been anywhere near as big a hit for co-writer and star Marlon Wayans as Scary Movie was, although it's arguably in a similar situation as that first breakout hit. Many of us (this reviewer included) felt that last year's E.L. James adaptation Fifty Shades Of Grey was already hilarious by accident, »
Stephen Chow is the rightful successor to David Zucker and Mel Brooks. He doesn’t possess the same mainstream cachet, but the Chinese auteur has built a career on films that, at their best, work as story-driven slapstick. Chow’s films find the liminal space between madcap Looney Tunes cartoons and Eastern-indebted melodramas. As much an apostle of Douglas Sirk in his penchant for languid romance as a yuk-crazy prankster like Brooks, he knows how to mine the heart of relationships as often as he can find the natural (or unnatural) intersection of comedy and drama.
Chow’s latest, The Mermaid, is an anomaly in a few respects. Coming just months after the previous record-breaker in China, Monster Hunt, The Mermaid is now the highest-grossing film in the country’s history. It’s disappointing, then, that it trickled out with minimal fanfare into a few dozen specialty theaters in the U. »
- Michael Snydel
3 items from 2016
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