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Post by sgev1977 on Mar 17, 2023 11:22:59 GMT
So she needs to do a really bad movie to success! Lol
It’s still amazing how a very humble genre (no special effect, no complex scenery, no big scenes with a huge number of extras, etc.) was so successful a pair of decades ago. They were also much more profitable than today big hits because, apart of the salary of the ACTUAL movie stars, they were very cheap to do.
The question is can Meyer revive the genre in the conventional box office? It seems the genre is still extremely popular in China, tho. Maybe that’s the answer! But the relationship with Hollywood isn’t great right now!
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Post by mllemass on Mar 17, 2023 11:33:56 GMT
Ok lots of those are bad, lol. 🤦🏻♀️ I agree! I also wouldn’t label many of these as “romantic comedies”. In the olden days, people referred to them as chick-flicks - movies that women went to see with their friends because their boyfriends/husbands refused to go. I loved Richard Gere’s Shall We Dance, but it was about a man having a midlife crisis. Where was the romance? And I like to pretend Jennifer Lopez wasn’t in it, because she almost ruined it for me. I hated every minute of What Women Want. I just looked it up to make sure it was the movie I was thinking of, and I see that it was Nancy Meyers who directed it! So my expectations for her new movie are pretty low now.
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Post by sgev1977 on Mar 17, 2023 12:11:41 GMT
During the Oscars, there was a reunion of Andie McDowell and Hugh Grant and the other day we were talking about how McDowall isn’t actually too much in Four Weddings…, I said the movie wasn’t about the romance about them but about a group of British friends. I would say that Kristin Scott Thomas has the biggest and most relevant female character in that movie.
My theory is that the best “romantic comedies” aren’t formalistic (boy meets girl, etc.), they are more complex and interesting when it’s about the whole “ecosystem”: supporting characters that aren’t there just to help the main couple; or realistic romances that doesn’t necessarily end with they lived happily ever after: maybe the relationship was always platonic like in Shall We Dance? and it ends with the main character growing up and strengthening his marriage or, like in the last After Sunrise movie: after two very romantic movies seeing romance through the eyes of naive youngsters in their 20s and 30s, it ends with a very sour portrait of a 40s couple in crisis.
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Post by roverpup on Mar 17, 2023 14:51:58 GMT
The only movie on that list that I even liked was As Good as It Gets.
And it was an excellent movie with complex situations and characters.
Most of those movies on the list I actually loathe. Excluding the Chinese films, none of the top 6 film are worth anything. Enchanted was OK-ish. Never heard of The Proposal. And saying The Runaway Bride was tedious is being kind.
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Post by sgev1977 on Mar 18, 2023 12:00:42 GMT
I saw some interesting comments somewhere speculating that Meyers would not ask for $150M to WB but for a box office percent for her and her actors. That sounds logical to me! Also remember that was Johansson issue with Marvel when her Black Widow went directly to streaming. They promised her a part of the box office money and then it wasn’t box office anymore.
Probably that’s what Meyers was negotiating with Netflix: if she couldn’t have her usual box office bonus then she directly wanted a huge amount of money that, in the other hand, Netflix would never retrieve because their movies doesn’t go to the box office.
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Post by wallaby on Apr 10, 2023 23:02:45 GMT
The star-studded Nancy Meyers rom-com we talked about here was delayed.
It‘s a pity! This cast sounded so interesting. Of course - the budget was totally exaggerated.
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Post by sgev1977 on Aug 28, 2023 12:06:41 GMT
I was searching some BC’s related hashtag and, as always, I found more stupid comments: another Nolan’s fanboy comparing Murphy with BC. Both are great actors! It’s fine to have a favorite but if I were them I would much prefer to work with Jane Campion than boring Nolan! Sorry, but in which world would be considered working with one very Hollywood cliched filmmaker a better artistic merit than working with Jane Campion? Well, he didn’t mentioned Campion but just her is making BC’s career much more exciting to me than Murphy’s collaborations with Nolan! Even if more people have seen Oppenheimer than TPOTD (the same with Peakiy Blinders and Patrick Melrose. Both great! But I prefer the daring series about sexual abuse and drugs than another cool criminal series) and that’s the link to the other stupid comment, someone claiming that Netflix original doesn’t have lasting impact. He clearly was centering on action flicks but after people mentioned The Irishman and TPOTD, he and others still defended their point saying no one is discussing those movies anymore! What it means? Who are those who aren’t discussing them? Which movies are “they” discussing? Of course, there was a big but misguided fuss recently on Twitter because TPOTD was moved to the BBC, wasn’t that enough “massive” discussion? Which is the exact amount of discussion to say it wasn’t forgotten?
It’s so silly! I think Film Twitter believe they are the center of the universe and the taste makers. Also they lack curiosity! I love to discover new forgotten films so even if they are forgotten doesn’t mean they should! But, of course, that’s not the case with those very recent films!
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Post by sgev1977 on Aug 28, 2023 13:00:55 GMT
About "forgotten" movies, a pair of years ago I watched a few Maurice Pilat films on Mubi and I was extremely impressed by all of them but, in particular, by Under the Sun of Satan. It won at Cannes but it was a polemic film so it was booed during the ceremony (while Pilant cursed those booing him!). I don't think people. Much less people on Twitter talk too much about it but I am just extremely happy to have discovered!
Scorsese almost singlehandedly made that the world to rediscover "forgotten" auteurs Powell and Pressburger and he still tries to do it with multiple "forgotten" filmmakers around the world but his movie was the exemple of a "forgotten" Netflix's original (ridiculous!). What about easier popular Tarantino! He is also always trying to popularize his favorite sometimes obscure movies!
Why would anyone want to watch or to talk only about films everyone remembers and talk?
Again, we aren't even there with prestige Netflix's originals but if that was the case why would you cheer for that!
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Post by sgev1977 on Aug 29, 2023 0:57:13 GMT
This!
I know Netflix is considered the big villain but things are always more complex that what people admit. Yes, most of what they produce is not very good; yes, the word “content” is kinda offensive; yes, the ideal would be that everyone watched great films on the big screen (and this is another big conversation: only big cities have access to all kind of cinema. Theatres are dying but theatre owners and audiences stopped caring for mid and small films. Streaming gave an easy access for other kind of products. If anything Netflix did more to destroy video stores than theatres. And I would prefer for physical media still be massive but it would be naive to claim that big companies like Blockbuster were totally innocent “victims” in their disappearance)
On the other hand, yes, Netflix have made a few wonderful films. They have gave money to some important filmmakers and let them be themselves. They also rescued and paid for the completion of an abandoned Orson Wells film; paid for the restoration of a French classic silent film (Abel Gance‘s Napoleon); bought and saved a pair of historical movie theatres in the USA and even financed a crazy Jane Campion’s program for young filmmakers in New Zealand!
It’s a capitalistic company so, of course, is not perfect but clearly there are people there who really loves cinema. The interpretation that everything of quality or good that they produce is just a trick to win the Oscar is just ridiculous! I don’t doubt they would like to win it but is silly to think that’s their only target when they decide to work with an important filmmaker! The idea that even the good stuff is bad or forgettable just because they produced it is stupid! Those films will survive them and probably to most of the productions that actually won the Oscars those years!
I’m very glad that TPOTD is a Criterion film. I hope it happens the same with Henry Sugar and I wish for a physical version of Eric but one of the reasons it wasn’t credible that TPOTD would be totally erased for UK Netflix was that Netflix doesn’t tend to do that. Yes, there are originals that disappear but there is always (or almost always) a contractual reason. They aren’t doing what HBO and Disney are doing.
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