The War Between Netflix And Cannes Just Escalated

By  at November 30, 2020  , , ,  No comments
The War Between Netflix And Cannes Just Escalated

The first line-up announcements for the 2018 Cannes Film Festival dropped, with new films from Spike Lee and Jean-Luc Godard joining the high-profile premiere of Ron Howard's Solo: A Star Wars Story. But the international celebration of cinema still finds itself dealing with the repercussions of drawn battle lines between powerful distribution player Netflix and the iconic fest.

Variety initially broke the news, saying that Netflix was refusing to send any of its original films to France in May because of a disagreement with the Cannes fest over rules for Netflix films that want to play in competition. Cannes says only films that play theatrically should be able to compete. Netflix says it will allow its film to play theatrically, but they balk at a law in the country that prevents films from playing on a home platform for 36 months after a theatrical debut. Netflix, in the past, has done day-and-date releases for movies that it also sent to movie theaters, from Mudbound to Okja.

In the Variety interview, Netflix's chief content officer Ted Sarandos bemoaned the Cannes rules change -- which he believes is aimed directly at Netflix -- and explained:

Film festivals are to help films get discovered so they can get distribution. Under those rules, we could not release our films day-and-date to the world like we've released nearly 100 films over the last couples of years. And if we did that, we'd have to hold back that film from French subscribers for three years under French law. Therefore, our films they are not qualified for the Cannes Film Festival competition.

This morning, at the press conference to announce the initial slate of Cannes titles, Artistic Director Thierry Fremaux walked back the challenge to Netflix slightly, saying that Netflix remains "welcome in Cannes," and that the two sides were having "constructive dialogue." According to Deadline, Fremaux clarified that the theatrical-window rule is actually old, but only needed to be brought back up because of the way it applies to Netflix's current distribution model. He went on to say:

Netflix is welcome in Cannes. We have an ongoing debate. We want to tell Ted [Sarandos] and Reed [Hastings] and Scott [Stuber] to come, let's keep talking.

The industry likely will pay very close attention to how this is resolved. Netflix is continuing to grow as a distribution option for filmmakers who can not get their movies into theaters. Netflix also is taking a chance on original films such as Duncan Jones' Mute (from earlier this year) and Jody Hill's The Legacy of a Whitetail Deer Hunter, which recently played at SXSW.

At the same time, Netflix recently had to weather a small storm as Steven Spielberg took a hard stance on movies that premiere on the platform, calling them "television movies" and claiming that they should not be able to contend for an Oscar.

We'll continue to see how this shakes out. For now, Netflix appears to be sitting out Cannes, and with people on social already complaining that the announced Cannes movies look weak, I'm wondering which party is getting more hurt by these developments.





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Why Are So Many Major Franchise Movies Underperforming In 2019?

By  at November 29, 2020  , , ,  No comments
Why Are So Many Major Franchise Movies Underperforming In 2019?

Avengers: Endgame is trying its darndest to top Avatar as the highest-grossing movie of all time, but the 2019 box office is still down from last year. How is that possible, when the first half of the year has been jam-packed with major franchise movies? Is that part of the problem?

It seems like every week we hear about a new sequel, spinoff, or reboot "underperforming," "disappointing," "underwhelming," or just otherwise being ignored by fans.

But you can't just file everything under There Are Too Many Sequels/Remakes - We Want Original Movies, since some franchise movies are doing very well.

The top-grossing movies of 2019 so far are Avengers: Endgame, Captain Marvel, and Aladdin, followed by one original voice in the horror movie Us, and then it's back to franchises with How to Train Your Dragon: The Hidden World and John Wick: Chapter 3. If anything can rival those titles later this year, it is most likely to be more sequels/remakes like Toy Story 4, The Lion King, and Star Wars: The Rise of Skywalker.

So what went wrong with everyone else -- including Dark Phoenix, Men in Black International, Hellboy, Shaft, Godzilla: King of the Monsters, The Secret Life of Pets 2, The LEGO Movie 2: The Second Part, and Dumbo?

It's never just one thing. Let's explore some of the reasons why 2019 is not exactly going the way Hollywood planned.

Franchise Fatigue (aka We Didn't Ask For This)Who asked for another Men in Black movie, especially one without Will Smith or Tommy Lee Jones? It's strange that Chris Hemsworth has criticized some of his past projects to say they never really landed on the point of the films. Was that not a concern with Men in Black International? His new spinoff with Tessa Thompson brought their Marvel chemistry to the big screen but few fans showed up for it at the box office.

I'd also put The LEGO 2 Movie in this boat, but for different reasons. The LEGO Movie was popular in 2014, but it was followed by both The LEGO Batman Movie and The LEGO Ninjago Movie in 2017 before The LEGO Movie 2: The Second Part in 2019. By the time the new movie showed up in early February -- the same month as the 2014 movie, so I'm not sure I'd blame the release date -- it only made $191 million worldwide, per Box Office Mojo, compared to the $469M worldwide gross of the first movie. Fans needed a break.

You could argue the same for A Dog's Purpose, A Dog's Way Home, and A Dog's Journey, although that's not a huge franchise. But to have all three of those movies open so close together -- especially to have two open within months in 2019 -- was not the best theatrical release plan.

I'd put the live-action Dumbo in this boat too, after so many Disney remakes, but Aladdin is showing there's still a market for some of them. But did anyone want a Dumbo with a CGI elephant minus the magic of the original? I'd put this one in a mix of no one asking for it, and the bad reviews/buzz.

Does Godzilla: King of the Monsters belong in the franchise fatigue group? Do fans just want a break from this franchise after Godzilla and Kong: Skull Island? I'm going to say no and save that one for a later category, but you may argue it most belongs here.

Bad Reviews & Bad Buzz (aka It's Just Bad)Dark Phoenix and Hellboy rule this category. You can't really argue that no one asked for an exploration of The Dark Phoenix Saga, or even an R-Rated Hellboy. Some fans were initially curious. But the reviews for 2019 Hellboy were abysmal and fans weren't in a rush to disagree. It disappointed just about everyone.

Dark Phoenix combined worrisome buzz on reshoots and delays with bad reviews from critics, resulting in the worst opening of the X-Men franchise. It was the wrong way to close out that series. The only thing in Dark Phoenix's favor was the fan response arguing that it wasn't quite as bad as Apocalypse.

I might also put Shaft in here. The critics that didn't like it really seemed to hate it, but the fans who watched it seemed to love it. Those fans were few and far between, though. Was that from bad marketing? Bad time of year with too much competition? Did no one want this Shaft sequel, or could it just have used a different title so people didn't think it was a reboot?

Too Much Competition (aka Reconsider Your Release Dates)Spring/summer is usually a big time for movies, but there used to be just a handful of "tentpole" movies across the season, and now we have multiple would-be blockbusters competing within the same month. It's unsustainable.

I'd put The Secret Life of Pets 2 here, since it basically got lost in the shuffle of so much playing across June 2019, with the marketing buzz for kids films dominated by Toy Story 4, which opens two weeks after Pets 2.

Yes, Secret Life of Pets 2 won its June 7 opening weekend over Dark Phoenix, but so could the dirty socks in your hamper. Critics' reviews were mixed, but that doesn't matter as much as the fan response and fans graded Pets 2 high. It actually has a higher audience score than the first movie, which made a lot more money. And it has been three years since the first movie came out, with no other sequels, so I'd argue franchise fatigue wasn't the main issue. It may be one factor, though, since there wasn't exactly a huge call for a follow-up in theaters.

I'd also put Godzilla: King of the Monsters here. It got some negative reviews, but its 40% rating isn't exactly dismal, and fans liked it with an 84% rating. It managed to win its opening weekend but its $47.7 million opening was way down from Godzilla's $93 million. Is that a bad sign for Godzilla vs. Kong, which is still to come next year? I still see a lot of excitement for that, so I'm going with the theory that there was just too much competition for Godzilla to properly shine at the end of May.

The MonsterVerse is also judged by a different metric than, say, the John Wick franchise. John Wick 3 has only made $148.6 million domestic so far, and $127.5M at the foreign markets, but that's far and away the best for the John Wick franchise to date. John Wick will make money from that, unlike so many of these big-budget behemoths. Like Godzilla 2, which has made $93.6 million domestic so far and $245.8 million foreign -- a lousy gross compared to the $529M total for Godzilla and $566.6M worldwide for Kong: Skull Island.

I'll Wait Until It Comes Out On Digital/Netflix/HBO/Redbox/OtherThe entire domestic box office is down 6% from this time last year, according to Business Insider, and that's despite the huge number of choices at the theater. People don't seem to be spreading their money out across the many -- too many? -- theatrical options so much as skipping the cinema altogether.

When I posted something on Dark Phoenix's record low X-Men opening, I included a poll asking fans to grade the movie if they'd seen it and -- if not -- asking if they did plan to eventually see it in theaters. One person responded by saying the survey needed a "Waiting for it on Netflix" option. Fair point.

I'm usually in this group myself, if I'm honest. As much as I love the theatrical experience, it takes a strong sell to get me out the door. You need a zeitgeist movie in the realm of what Ron Howard is talking about over here to get me to spend time and money at the cinema.

It doesn't help that I live in a rural area and it takes me at least half an hour to get to a theater. It also doesn't help that I have a lot of streaming and viewing options at home, which makes me lean toward just waiting for a digital release, a Netflix release, watching it on Amazon, or waiting for HBO to pick it up, among other options.

I know I'm not the only one in that same boat, and it may actually be the most common situation. I raced out to see Avengers: Endgame opening weekend, and I'm on the Keanu Reeves John Wick 3/Toy Story 4 buzz train like so many others. But I still haven't seen Godzilla 2 yet. I want to! The trailers looked great. I'm all about a monster showdown. But I just haven't been able to get out and see it and I may miss my chance in the theater.

Toy Story 4 is set to arrive this Friday, June 21 to add itself to the Disney/Marvel movies that have survived the 2019 sequel slump. It will almost certainly not underperform. With 100% fresh rating on Rotten Tomatoes, and a ton of buzz going into the weekend, it only remains to be seen how high it opens, and how much money will be left for the Child's Play reboot opening the same day.

What reasons would you give for so many franchise movies underperforming at the box office in 2019? Keep up with everything still to come with our 2019 movie schedule.




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Why Are So Many Major Franchise Movies Underperforming In


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It seems like every week we hear about a new sequel, spinoff, or reboot "underperforming," "disappointing," "underwhelming," or just otherwise being ignored by fans. But you can't just file everything under There Are Too Many Sequels/Remakes - We Want Original Movies, since some franchise movies are doing very well.
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The reason why I don't go often anymore is sheerly down to the poor quality of movies in the cinema combibed with the forced undercurrent of social acceptance that is wedged into the movies I do go to see. When I watch movies it's so glaringly obvious that it is present that it has just drained me and made me feel like not going anymore.
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A Star Is Born Songwriter Was Terrified About Hearing Bradley Coopers Voice

By  at November 28, 2020  , , ,  No comments
A Star Is Born Songwriter Was Terrified About Hearing Bradley Coopers Voice

Awards Season is officially in full swing, as the Grammys and Golden Globes have both announced their nominees for their respective ceremonies. The Golden Globes is sometimes a litmus test for larger awards like the Emmys and Oscars, with the latter being the biggest honor in the industry. One movie that has a ton of buzz around it is Bradley Cooper's A Star Is Born, which has the potential to earn statues for directing, performances, and the soundtrack.

A Star Is Born is especially notable because of its music, which was performed by Lady Gaga and Bradley Cooper themselves. While making his directorial debut, Cooper was also revealed to be quite the musician, holding his own as a solo performer as well as in duets with Lady Gaga herself. Jason Isbell wrote Jackson's anthem "Maybe It's Time", and recently revealed he was nervous to hear Cooper's vocals for the first time, saying:

I wrote the song for the character, and Bradley really liked it. We were texting back and forth. He recorded a demo of him singing the song and sent it to me on my cell phone. I was terrified, because I thought, I don't know if I'm gonna be able to say, 'Bradley Cooper, this is bad! You're gonna have to do better!' He sent it to me for my approval, and I just didn't open it. I had to get on a plane and was like, 'I'm not gonna listen to this yet.' It was a long flight, and I was on there for five hours or so. [At some point] on the plane I listened to it. When I got off the plane, I texted back and was like, 'Man, it's really good -- you did a great job and your voice is good! Thank you very much!' I didn't realize that he was actually staring at his phone waiting for my response!

Well, that's hilarious. While eager to hear someone else sing one of his songs, Jason Isbell was especially nervous to give feedback to Bradley Cooper. In addition to being a giant movie star, Cooper was helming the project, making him Isbell's boss. Who wants to tell their famous boss they have a crappy voice?

Luckily for Jason Isbell, that wasn't the case with Bradley Cooper. The acclaimed actor was deeply involved in the music's production, and quickly learned how to vocally perform like rockstar Jackson Maine. His speaking and singing voices sound nothing like Cooper's real life instrument, no doubt helping him disappear into the headspace of Jackson.

Bradley Cooper sounded great performing the various songs in the Star Is Born soundtrack, which was likely a relief to the other musicians involved besides Jason Isbell. Co-star Lady Gaga helped to craft the music of the movie as well, with the songs moving A Star Is Born's narrative forward. Cooper had to become especially close to "Maybe It's Time", considering how often the anthem is played throughout the musical blockbuster.

For those of you who need a reminder, you can hear Bradley Cooper singing "Maybe It's Time" from A Star Is Born below. Just prepare to bring your tissues.

"Maybe It's Time" is sung for the first time in A Star Is Born's raucous first act. After seeing Ally perform "La Vie En Rose" at a drag bar, Jackson waits inside the closing establishment until she emerges to get a drink. After the insistence of local drag queen Emerald (RuPaul's Drag Race alum Willam Belli), he plays the song on the tiny stage as Ally appears and watches him.

It's a magical moment that helps the meet-cute of their relationship get to an intimate level. Ultimately she opens up to him musically that night, and their relationship and partnership begins. "Maybe It's Time" serves a beautiful purpose, although it gets darker as A Star Is Born goes on. During their time at the cop bar, a song of Jackson's comes on the radio, and he reveals he's sick of playing the old hits.

As the movie continues on, Jackson Maine's career begins going downhill, alongside his substance abuse issues and health. And as his gigs become less exciting, he's forced to continue playing "Maybe It's Time", with it appearing more difficult with each reprise. It's a song that haunts Jackson, and the lyrics relate to his ultimate fate.

The lyrics of "Maybe It's Time" become far more somber after you've seen A Star Is Born in its full. The lyrics lament about wanting to let old things die, which is ultimately what happens to the struggling musician. Seeing he was bringing down his wife's career, Jackson kills himself in the garage-- his second and last attempt at the terrifying action.

"Maybe It's Time" serves a very specific and complicated role in A Star Is Born, which shows how methodically Lady Gaga and Bradley Cooper approached the film's soundtrack. While the songs themselves are charting well, each track is used for a specific reason to move the story forward. While some tracks are only heard briefly, hits like "Shallow", "I'll Never Love Again", and "Maybe It's Time" are performed in their full, and are important moments in the overall movie.

It should be interesting to see how A Star Is Born's soundtrack ultimately fares when it comes to Awards Season. Interestingly, it looks like the studio is putting its focus on "Shallow", leaving the myriad other tracks in the dust regarding award consideration. "Shallow" is competing for the Best Song Golden Globe, while the final nominations for the upcoming Academy Awards are not announced.

Whichever song is nominated for an Oscar, smart money says that Bradley Cooper and Lady Gaga will be performing at the 2019 Oscars. The duo already have some tricks up their sleeve, and all eyes will be on how Cooper sounds live, especially if he's duetting with Gaga. There may be some naysayers, but that's exactly what Jason Isbell told Billboard he was at first. Ultimately Bradley Cooper won him over, so we'll see how it shakes down during the Academy Awards.

A Star Is Born is still in some theaters, and CinemaBlend will keep you updated on the film's awards performance. In the meantime, check out our 2019 release list to plan your trips to the movies in the New Year.






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