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" ... A Quiet Place and Mission: Impossible Fallout were both rather leggy blockbusters ($188 million from a $50 million debut and $220 million from a $62 million debut) and earned around 90% of their theatrical totals by the end of day 45. This isn’t the 1980’s where Ghostbusters or Back to the Future would play theatrically for a year. So in that sense, there is logic to letting even leggy titles enter the streaming world in less than two months. Moreover, and this is a key variable as to why studios want a shorter window, they won’t have to stop and restart marketing campaigns. However, will knowledge that Mission: Impossible 7 will be available on Paramount+, a $10-per-month streaming platform make it more likely that folks who didn’t race out on opening weekend will just wait a month? ... "
" ... I can’t imagine the Madonna flick costing more than The Greatest Showman and Mamma Mia: Here We Go Again (over/under $80 million) and I imagine the budget is closer to La La Land, Bohemian Rhapsody and the first Mama Mia ($50-$55 million). Speaking of which, yes, Lionsgate’s Oscar-winning Emma Stone/Ryan Gosling LA-based musical romance earned $441 million in 2016, becoming that year’s biggest-grossing wholly original live-action Hollywood flick. And Hugh Jackman’s infamously leggy P.T. Barnum biopic (which was basically a remake of Sing) ended up with $184 million domestic on a $13.5 million Wed-Sun December launch and $434 million worldwide. Even Sony’s Annie earned $136 million on a $65 million budget. ... "
" ... I'll go into this another time, but my issues with the movie were less about how it ended and more about that middle hour that played out like Last Action Hero ("No, you're not really an action hero, Jack... you're just in a movie!"). Even if we argue that the mixed-negative reviews prevented Glass from becoming a true "breakout sequel" to both Split and Unbreakable, we're still talking about a $20 million, self-financed superhero thriller with no IP that earned $41 million domestic for Universal/Comcast and $48m overseas for Walt Disney plus whatever it makes today on Martin Luther King Day. Even if it's about as leggy as Batman v Superman (which earned $330m domestic and $873m worldwide from a $166m/$424m debut weekend), Glass may still gross around 10x its production budget. ... "
" ... It's a Lanthimos movie you can watch with your non-film-nerd relatives. Moreover, in a year where most Oscar season releases crashed and burned, The Favourite was a leggy sleeper. The $15 million-budgeted period-piece comedy, which offered a hefty dose of pessimistic feminism, queer-friendly melodrama and biting satire, eventually grossed $33 million in North America and $88m worldwide. That may not seem like much, but it was bigger than any major Oscar-season release outside of the three big musicals (A Star Is Born, Bohemian Rhapsody and Mary Poppins Returns), the animated Spider-Man: Into the Spider-Verse and eventual Best Picture winner Green Book. ... "
" ... The last variable is one of good luck. When Paramount initially dated Terminator: Dark Fate in mid-November, it was one big action spectacular amid a whole bunch of others. But then Wonder Woman 1984 and James Bond 25 moved from November of 2019 to 2020. That leaves the film alongside only Sony’s Charlie’s Angels reboot (which recently moved to November 15) and Paramount’s Sonic the Hedgehog (produced by Tim Miller and now slated for November 8). While it began as just one big-budget action spectacular, it’s now (by default) the biggest non-animated holiday offering between itself and Jumanji 3 on December 13. Walt Disney’s Frozen II will be a monster on November 22, but Dark Fate will have likely earned around 75% of its total by then even if it’s as leggy as Puss in Boots back in 2011. ... "