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" ... Considering the extent to which the expanding or platforming Oscar contenders are estrogen-driven (Mary Queen of Scots, The Favourite, On the Basis of Sex, etc.), The Mule (which also co-stars Diane Wiest and Bradley Cooper) may stand out as glorified counterprogramming for dudes who want an adult movie that stars a dude (as opposed to a kid flick starring a dude like Aquaman). The film cost around $50 million, so it’ll need legs. But Christmas is a time when a 3.5x multiplier is “normal,” so a $17m launch could easily lead to a $60m domestic finish. It’ll still need overseas grosses to get into the black, but stay tuned. ... "
" ... How dominant was Paramount in 2011? They not only won the global market share, they had both almost all of the big blockbuster franchise movies (Captain America, Thor, Transformers: Dark of the Moon, Kung Fu Panda 2) and they had the “anti-blockbuster counterprogramming” in the form of J.J. Abrams’ Amblin-era sci-fi/horror homage. As a surprise tease for the 1980’s-set alien invasion melodrama, the commercial for Super 8 stood out as a non-franchise film starring actual humans in a mostly real world, a film that stood out as an old-school summer movie amid superheroes, robots and wizards. Yes, Paramount was selling the disease and the cure, not unlike the plot of Paramount’s Mission: Impossible II. The film was ironically only a moderate hit ($260 million on a $50 million budget) partially because the first wave of conventional blockbusters (Fast Five, Bridesmaids, Kung Fu Panda 2, X-Men: First Class) turned out to be unusually good. Ten years later, it’s a reminder that Abrams doesn’t need the Cloverfield IP to weave a throwback tale of wonder. ... "
" ... Movies like Lionsgate's Sicario or Paramount/Viacom Inc.'s Arrival became "riskier" because they starred Emily Blunt or Amy Adams, no matter profitable it ended up being. Films like Universal/Comcast Corp.'s The Girl on the Train or STX Entertainment's Bad Moms, which would have been relatively average adult-skewing programmers in a bygone era of, were now seen as bastions of progress or breakthroughs regarding who gets to star in what movies. Sure, women almost never got to star in big-budget action movies, but even not-so-distant Hollywood offered the likes of Sliver, Legally Blonde or Death Becomes Her as so-called counterprogramming. ... "
" ... This new film didn’t have anywhere near the advanced buzz. It didn’t have a cast-to-type Ben Affleck, and it lacked any number of other media-friendly elements (an against-type Tyler Perry and Neil Patrick Harris, a number of think piece-worthy plot twists, etc.) that made that film into a water cooler offering even before it snagged a $37 million debut. The fact that the Emily Blunt/Haley Bennett/Rebecca Ferguson thriller is going to come anywhere near $30m this weekend is yet more proof that explicitly female-centric genre fare can still be big business when it’s treated as the main event as opposed to counterprogramming. ... "
" ... Universal/Comcast’s Welcome to Marwen probably won’t be so lucky. The poorly-reviewed Robert Zemeckis fantasy melodrama, about a man (Steve Carrell) who builds a fake town and indulges in imaginative play scenarios as a way of coping with being a victim of a brutal hate crime, is struggling to compete with a deluge of well-reviewed/well-received tentpole flicks. And even to the extent that it offers adult-skewing counterprogramming, it’ll have to compete with Mary Poppins Returns, The Mule, Vice and the expanding Oscar contenders (Green Book, The Favourite, Mary Queen of Scots). At this juncture, the $39m release may only reach $7m by Christmas. ... "