![]() ![]() ![]() Predator(-67.6%), a film whose sequel came out three years later at which point it promptly bombed and led to yet another franchise reboot Star Wars: The Last Jedi(-67.5%), which dropped so big partially because it had one of the biggest opening weekends of all time and thus had so much further to fall.Saw IV(-67.4%), which actually got 4 more sequels because horror franchises operate by different rules.To put that into context, here’s a short list of all the films which have opened in over 3,000 theaters (which is enough to be considered super-saturated), dropped at least 66% in their second weekend, and still got a direct sequel: However, his film mostly failed to speak to anyone other than the already-converted which is why it dropped a staggering 66% in its second weekend. Otherwise, Edward’s Godzilla wouldn’t have cracked $100m over its Memorial Day opening. That’s because I fall into that fanboy category who grew up on the Godzilla films and will always be there opening weekend for a new one. Now, I’m a big defender of Gareth Edward’s 2014 film and all of its Spielbergian keep-the-monster-off-screen-as-much-as-possible flourishes, and I had exactly as much stupid fun with Godzilla: King of the Monsters as director and franchise superfan Michael Dougherty wanted me to. ![]() However, that diagnosis is really quite simple: Godzilla was never a big enough hit to warrant its own Marvel-style cinematic universe, or at least not one whose installments carry an average budget of $170m. Kong long enough for them to diagnose what went wrong with Godzilla: King of the Monsters. It’s only natural for Emmerich to at least consider delaying Godzilla vs. ![]() You’re supposed to lead into your big team-up movie with plenty of momentum, not fading away faster than Katherine Heigl’s career. Due to that arrangement, the MonsterVerse is made more for international audiences than domestic, but it’s not a good look when Godzilla: King of the Monsters opens 49% lower in the States than its 2014 predecessor and 22% off the pace of 2017’s spin-off/prequel Kong: Skull Island. Thankfully, WB’s financial exposure on these MonsterVerse films is limited since they are produced in partnership with the Chinese-owned Legendary Pictures. His studio just handled the distribution and marketing of an expensive Godzilla movie that is flopping everywhere around the world other than China (where it has enjoyed a 59% improvement from the last Godzilla film), and 10 months from now they might be stuck playing out the same script with Godzilla vs. Yet, I’m sympathetic to Emmerich’s position. Don’t pull a Dark Phoenix on us and reshoot/delay this into a Frankenstein’s monster of studio notes. Director Adam Wingard and his crew should be able to finish their post-production work in time for the March release. We’re long past due to crown a winner So, as has become the catchphrase of the recent Godzilla films, let them fight! We just want to see a prehistoric gorilla fight a prehistoric lizard. His exact words: “It might come out later in the year, so we can deliver an A+ movie.”Īn “A+” movie? What does that even mean? It’s Godzilla versus bloody King Kong. His studio, still reeling from the softer-than-expected box office for Godzilla: King of the Monsters, might delay the sequel, Godzilla vs. chairman Toby Emmerich recently opened up to reporters and let out a terrible sound. ![]()
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