Star Wars Episode VIII - The Last Jedi (TÓPICO OFICIAL)

[Iron_Sword]

O que o marketing atual de SW fala sobre "mais importância para mulheres no universo SW" não se resume só aos filmes, eles dizem que só agora, incluindo obras em outras mídias, é que mulheres tem mais importância em SW, e que o Rian Johnson sabe escrever "mulheres fortes e independentes"... Deviam apresentar pra executiva aí (sim eu sei o nome dela, mas ela não passa de um típico executivo fala-m**** de hollywood) o Timothy Zahn, ou os autores dos jogos da série Kotor, ou outros autores de livros e hqs de SW... Fora que esse marketing ou demonstra que eles tem um certo desprezo pelo que veio antes ou que realmente a nova equipe não conhece o que existia antes, pq "mulheres fazneod parte do universo SW" nunca foi um problema no universo SW, a diferença é que eram bem escritas.
A própria Leia do antigo UE, porra, ela era foda, era a continuação da dos filmes, além de chutar bunda na política chutava bundas em combate, aí veio a filha e era como ela, mas sem ser uma mera cópia da mãe, tinha identidade própria, e faz a Rey parecer um estereótipo machista bobo, uma "inocente bobinha", é isso que a Rey me passa, nada mais.
O antigo UE tinha mulheres que iam desde protagonistas e vilãs até personagens secundárias importantes ou simplesmente personagens de "background" como soldados, pilotos, jedi, mecânicas, cientistas, espiãs, políticas, etc... Inclusive no antigo canon foi uma mulher uma das principais responsáveis pelo desenvolvimento da estrela da morte e de outras super armas imperiais, e tbm foi uma mulher que criou o destróier imperial e o dreadnougth classe executor (os "super destróieres" iguais ao do Vader nos ep 5 e 6), a segunda pessoa a assumir o comando do império depois do Palpatine tbm foi uma mulher, a primeira líder da Nova República foi uma mulher, a Mon Mothma, que era inclusive a lider e uma das fundadoras da rebelião, a segunda líder a assumir a cadeira de chefe de estado da nova república tbm foi uma mulher, a Leia. Na tomada de Coruscant pela nova república Lella Wessiri e Winter trabalhando pelo serviço de inteligência da nova república se infiltraram no planeta e sabotaram os escudos planetários possibilitando a ação do Rogue Squaron e da frota liderada pelo almirante Ackbar. Aliás, falando na Winter, ela era amiga de infância da Leia, no novo canon a Holdo meio que faz esse papel de amiga antiga e de confiança da Leia, no antigo a Winter era uma das poucas pessoas que tinham a total confiança da Leia na época da rebelião e depois na nova república, mas se for colocar Holdo e Winter lado a lado e comparar os feitos, dá até pena da Holdo...
E essas que falei não dão nem 5% das mulheres do antigo UE, foram só exemplos rápidos.

Querem falar que mulheres tem importância no novo canon, ok, não vejo problema, aprovo a ideia, é padrão em SW, mas não quando fazem isso dizendo que "pela primeira vez...", papo furado, marketing besta que irrita quem conhece o histórico da franquia.

 

[Bloodstained]

O Want to See do Han Soja no Rotten Tomatoes...

WANT TO SEE
48%

... está quase alcançando o Audience Score de The Last Jedi (que, a propósito, caiu mais um ponto).

AUDIENCE SCORE
46%

 

[Bloodstained]

O Want to See do Han Soja no Rotten Tomatoes...

WANT TO SEE
48%

... está quase alcançando o Audience Score de The Last Jedi (que, a propósito, caiu mais um ponto).

AUDIENCE SCORE
46%

Rapaz, não se passaram nem 12 horas... e as porcentagens empataram! Parabéns pelo feito, Disney! Mal posso esperar para ver o desempenho do Han Soja.

 

[Agito]

Quando se para pra pensar, produzir filmes com uma marca tão forte como Star Wars é como jogar no Very Easy, é quase impossível os caras não fazerem um caminhão de dinheiro a cada empreitada. Ver essa sucessão tão grande de cagadas e o a falta de crescente de interesse do público, o que vai resultar em uma bilheteria no mínimo decepcionante... Essa Kathelin Kennedy deveria fazer um favor a todos e se retirar da vida, tanta falhação me deixa abismado.

 

[Bat Esponja]

Por mais que eles digam que está tudo bem, e vão dizer, o pessoal na disney deve estar brigando hard a essa hora.

 

[Goris]

Por mais que eles digam que está tudo bem, e vão dizer, o pessoal na disney deve estar brigando hard a essa hora.

Provavelmente não.

SJWs não são conhecidos pela tolerância que cobram dos outros, na verdade, é aquele meme de "Não conseguimos fazer filmes que vendam com personagens trilhonários. Alguém tem alguma idéia?" e um cara responde "Que tal parar de lacrar e fazer filmes bons?" e é jogado da janela.

Se você falar sobre o problema, tem enorme chance de ser colocado pra escanteio ou demitido (e, pior ainda, perseguido depois disso por ser alguém que leva conflito ao ambiente de trabalho).

 

[m4sk4rinha]

Provavelmente não.

SJWs não são conhecidos pela tolerância que cobram dos outros, na verdade, é aquele meme de "Não conseguimos fazer filmes que vendam com personagens trilhonários. Alguém tem alguma idéia?" e um cara responde "Que tal parar de lacrar e fazer filmes bons?" e é jogado da janela.

Se você falar sobre o problema, tem enorme chance de ser colocado pra escanteio ou demitido (e, pior ainda, perseguido depois disso por ser alguém que leva conflito ao ambiente de trabalho).

Ou seja, não aprendem, não enxergam a realidade da maneira como ela é.

 

[viagem estrelar]

OS 2 SAIRAM numa epoca muito ruim. só vi guerra infinita 1 vez e puttz.
acho q postei no lugar errado

 

[Darkx1]

 

[Agito]

 

[SithLord]

Han Soja com 63 no metacritics.

Acho que baixa ainda mais.

É pouco pra eles.

Sent from Korriban, via Imperial Freighter.

 

[Goris]

Ou seja, não aprendem, não enxergam a realidade da maneira como ela é.

E usam a internet para perseguir quem pensa diferente e não se rende a eles.

Puxa, essa semana mesmo, no Política e Religião, no tópico 'Quem Lacra não Lucra' teve um me acusando de perseguir pessoas SJW porque publiquei uma matéria falando que os SJWs estavam errados dizendo que cancelaram Sense8 por homofobia.... Ou seja, só isso já é perseguição na mente deles.

Mas eles próprios perseguirem, não. Ta de boas.

 

[AzraelR]

Finalmente saiu

 

[Bloodstained]

“Han” voa baixo em aventura “Solo”
Faltam carisma, arrojo e entusiasmo à história de origem do mais querido (e carismático) de todos os personagens de “Star Wars”

Não se sabe que cara Han Solo – Uma História Star Wars teria se os diretores Phil Lord e Christopher Miller, do delicioso Uma Aventura Lego, tivessem continuado no comando nele. Também não se sabe de que natureza foram as “diferenças criativas” que levaram a Lucasfilm a demiti-los. Ignora-se quanto do material que a dupla rodou durante seus quatro meses de trabalho foi preservado, e quanto foi refeito por Ron Howard, que substituiu Lord e Miller no posto. Não se conhecem também as instruções que Howard recebeu da Lucasfilm: embora nem sempre ele seja um cineasta audacioso, é inegavelmente competente, fluente e um mestre em cativar e empolgar (como atestam Willow, Apollo 13, Um Sonho Distante, Uma Mente Brilhante, Rush etc.). Eu diria, aliás, que há poucos diretores tão habilitados quanto ele a imprimir a um filme sobre Han Solo aquela alegria de matinê com que o personagem foi concebido – e que, por isso mesmo, se ajustou tão bem à personalidade de Harrison Ford, capaz como ninguém de parecer ao mesmo tempo cínico e coração-mole, oportunista e bom-caráter, ranzinza e bem-humorado, e invariavelmente adorável e irresistível. Em resumo: é impossível saber por que, exatamente, Han Solo chega agora à tela tão pálido e tímido, inseguro como um adolescente que quer causar boa impressão mas não sabe como. Minha intuição diz para desculpar Alden Ehrenreich, que faz o jovem Solo: fenomenal em Ave, César!, dos irmãos Coen, ele parece aqui estar brigando com uma rédea apertada demais. Desconfio que também Ron Howard não é o principal responsável: se já é difícil cumprir todas as expectativas de um filme como este tendo controle total, que dirá quando se pega o bonde andando. Tendo a achar que quem marcou gol contra, desta vez, foi a própria Lucasfilm. Quando interferência e desconfiança são a regra do trabalho, o resultado tende a ser aquele tipo de profecia que se cumpre sozinha.

Leia a seguir a resenha completa:

Aventureiro Cauteloso
Bonito no visual e respeitoso para com suas origens, Han Solo – Uma História Star Wars carece da qualidade mais marcante de seu protagonista: a disposição para correr riscos

Por sua garota, Han Solo (Alden Ehrenreich) topa qualquer coisa: arriscar a vida no roubo de um hipercombustível precioso, alistar-se nas forças do Império e lutar em trincheiras lamacentas, juntar-se a um bando de contrabandistas de índole duvidosa. Durante mais de três anos, o jovem Solo virou-se como pôde, sempre com o intuito de retornar a um planeta do qual gente ajuizada só quer distância – um favelão sideral dominado por uma facção criminosa –, a fim de resgatar a namorada, Qi’ra (Emilia Clarke). Solo e Qi’ra são órfãos; cresceram sendo explorados pela marginalidade, e estão habituados a adaptar-se a novos e inesperados expedientes para sobreviver. Mas, mesmo em meio a essa vida desencantada, Solo preservou intacto seu encanto por Qi’ra, e também pelo sonho de ser piloto – não qualquer piloto, mas o maior de todos da sua galáxia distante. Ele poderia se considerar afortunado, já que, em Han Solo – Uma História Star Wars, seus sonhos se realizam – de certa forma. Não é sem motivo que esse rapaz tão cheio de confiança e entusiasmo vai, um dia, se transformar no homem arredio (e imensamente carismático) que Harrison Ford interpretou na trilogia Star Wars lançada entre 1977 e 1983: o destino gosta de entregar a Solo o que ele quer, mas de um jeito que ele não desejaria.

Em certa medida, é isso que também o fã de Star Wars pode sentir durante uma sessão de Han Solo – que ganhou o que pedira, mas não como havia pedido. A produção começou de maneira auspiciosa, com a escalação da dupla de diretores Phil Lord e Christopher Miller (do sucesso Uma Aventura Lego) e de Ehrenreich, agora com 28 anos, com base em sua participação fabulosa em Ave, César!, dos irmãos Joel e Ethan Coen. Mas o projeto entrou então em um percurso atormentado: com quatro meses de trabalho já realizados, Lord e Miller foram demitidos pela Lucasfilm e substituídos pelo veterano Ron Howard, de Apollo 13 e Uma Mente Brilhante. Na prática, isso significa que o desagrado da produtora Kathleen Kennedy com o material filmado foi de tal ordem que ela preferiu quase dobrar (estima-se) o orçamento inicial para que Howard pudesse refazer cerca de 80% dele (de novo, estima-se) desde o início. Mais até do que a escala do investimento, pesa numa decisão como essa o trauma do elenco e da equipe: por mais que se procure poupá-los de responsabilidade, é inevitável, para eles, a sensação de que seus esforços fracassaram.

Para o bem e para o mal, filmes são criaturas sensíveis aos acontecimentos do parto, e Han Solo trai a insegurança que se produziu nos bastidores. Ehrenreich brilhou em Ave, César! porque levou para o seu papel – um caipira que vira astro de filmes de caubói – uma criatividade, uma autoconfiança e uma comicidade intensas. Aqui, onde esses atributos seriam inestimáveis, ele entrega um desempenho cauteloso, quase tímido. Emilia Clarke, Woody Harrelson, Paul Bettany e até Donald Glover (que acaba de abalar o debate racial americano com o clipe do rap This Is America), que faz o finório Lando Calrissian, o acompanham no mesmo passo. Toda a condução de Han Solo, na verdade, parece tateante, mais comprometida com a ideia de extrair de Ehrenreich e Glover réplicas das atuações originais de Harrison Ford e Billy Dee Williams do que de encorajá-los a reinventar os personagens em seus próprios termos.

Bonito no visual – não se esperaria outra coisa – e reverente para com suas origens, Han Solo carece, no entanto, da qualidade mais atraente de seu protagonista: o senso de aventura.


Fonte

 

[Bloodstained]

Acho que estou tendo um déjà vu...


Box Office: 'Solo: A Star Wars Story' Stumbles Out Of The Gate In China

'Solo: A Star Wars Story' Chinese poster​

Even with the best Solo theatrical poster out there, the latest Star Wars Story is getting off to a miserable start in the world's biggest moviegoing market. This is an odd situation, to be sure. At this point, Star Wars needs China more than China needs Star Wars. But, yet, Star Wars doesn't really need China at all. The Last Jedi made $1.3 billion worldwide despite earning $42.6 million in China. Rogue One earned $1.1b despite a mere $69m gross in China. Oh, and The Force Awakens topped $2b with "only" $124m in China from a $33m opening day.

Yes, those numbers decreased from installment to installment. China sampled the goods with Episode VII and decided to pass. And the franchise has been beset by diminishing returns each time out. Rogue One dropped 45% from Force Awakens. Last Jedi dropped 45% from Rogue One. And it looks like Solo is going to drop around 45% from Last Jedi. At this rate, Star Wars 9 will be lucky to earn $11.38 million in China.

Again, none of this is surprising and frankly, none of this is that big of a deal. There is no law saying that China must embrace the Force on a level equal to North American moviegoers. And Walt Disney clearly doesn't need China to push Star Wars into mega-hit status. Besides, it's not like there aren't other Disney flicks (Infinity War, Coco, etc.) that can make up the difference.

At this point, I have to wonder if Disney will bother to even open Star Wars 9 in China, unless it's a kind of face-saving package deal that comes with Frozen 2. Having said all of that, I do think it's a little odd that Disney would schedule a day-and-date release for Solo knowing full-well that the flick would probably bomb there. Since time zone magic means that today is Friday, the first hard bit of box office news that we're getting is that the movie made just $120,000 in Thursday-at-midnight preview grosses.

Yes, that's terrible. Last Jedi earned $520,000in midnight previews toward a $9.5 million opening Friday and $28m opening weekend. Rogue One earned around $460k in midnight previews toward a $10.7m opening Friday and $30m opening weekend. If Solo plays like Rogue One, we're looking at a $2.8m Friday, $7.8m opening weekend and $18m total by Sunday. If it plays like Last Jedi, it'll be a $2.2m Friday, a $6.5m weekend and a $9.8m total.

There is a lot of wiggle room between those two extremes, but the film is arguably DOA unless folks really just wanted to wait until Friday to check it out (I'll happily eat crow if it busts out of the gate today). Again, Disney, Lucasfilm and the Star Wars brand will survive (and thrive) without China. On the plus side, this poor Star Wars showing will make it easier for Avengers: Infinity War to top the $320 million total of Transformers: Age of Extinction (assuming it hasn't done so already). We'll see if Solo can get to at least $11.38m by the time it's done.

​

Fonte
===================================================================

​

Ainda bem que, graças a uma situação ocorrida anteriormente, agora eu sei que a China não importa.

 

[pescadorparrudo]

sou um que está dentro da estatística dos "desistentes": não vou assistir no cinema.

 

[Bloodstained]

Os meses passam e, mesmo assim, ainda há pessoas dissecando essa abominação até hoje... Confesso que isso subverteu minhas expectativas.

​

 

[geissler]

Esse vai ser o primeiro Star Wars, depois do triologia original, que não vou ver no cinema.

 

[Imortal]

Não verei no cinema e pelas críticas não perderei nada

Enviado furando fila no SUS

 

[Nicko]

Foi esse filme que no pôster Brasileiro retiraram as armas dos atores...

 

[Bloodstained]

​

 

[GadoMuuuuu]

Foi esse filme que no pôster Brasileiro retiraram as armas dos atores...

O que não adiantou nada. No site da playarte e cinemark, o pôster esta com as armas. Suponho que também esteja com as armas no kinoplex e UCI.

 

[Bloodstained]

'Star Wars' Box Office: 'Solo' Starts Slow With Just $14M On Thursday

'Solo: A Star Wars' Story​

Solo: A Star Wars Story earned $14.1 million in Thursday previews last night. Yes, it is essentially half of what Rogue One: A Star Wars Story made ($29m) in its Thursday previews and a heck of a lot less than Force Awakens ($57m) and Last Jedi ($45m) earned in their Thursday preview grosses. But that was to be expected. However, there are exactly two ways to look at this number. If Solo: A Star Wars Story is merely playing like an MCU sequel, then this $15 million figure is fine and dandy. But if it’s playing like a Star Wars movie, then we’re looking at some Justice League-type numbers over the Memorial Day weekend.

The last several non-Avengers MCU movies have earned, give or take, around 12.5% of their Fri-Sun opening weekend grosses via Thursday previews. For example, Thor: Ragnarok earned $14.5m on Thursday and went on to snag a $122m Fri-Sun frame. A key to Marvel’s success is that their movies don’t just draw the hardcore fans but general audiences and casual viewers who just like watching the movies on a random Saturday night date night. As such, you generally don’t have the kind of frontloading that you get with a DC Films flick (sans Wonder Woman) or YA franchise titles like Hunger Games (around 15%) or Twilight (around 20% of the opening weekend on Thursday).

If Solo plays like a “Hey, I want to see it this weekend, but I don’t need to race out on Thursday night” title, then it’ll do fine and snag around $113.8 million over the Fri-Sun weekend and around $138m for the holiday bow. That would be the second-best (sans inflation) Memorial Day debut behind Pirates of the Caribbean: At World’s End which snagged a $153m Fri-Mon debut (counting $13m in Thurs previews) back in 2007.

However, a 15% figure from $14.1 million Thursday gives the film around $95m for the weekend and around $113.8m for the long holiday. That’s low for Star Wars, but it’s not quite a disaster and is in line with the sixth Fast and Furious, X-Men: The Last Stand and X-Men: Days of Future Past. The good news is that I’m sure plenty of folks are waiting to take the kids and that thus-far anecdotal word of mouth is split between “Eh, it was fine” and “Wow, that was better than I was expecting.”

The bad news is that if Solo: A Star Wars Story plays like a Star Wars movie over the weekend, then Lucasfilm will be on the defensive come Monday. Force Awakens, Rogue One and Last Jedi all earned 18-22% of their respective Fri-Sun totals via Thursday previews. The weekends were super-duper frontloaded, but the films kept-a-chugging over the Christmas-to-New Year’s holiday season. Solo doesn’t have that advantage, although it gets two weeks before Ocean’s 8 and three weeks before Incredibles 2.

At the moment, if Solo plays like a Disney Star Wars movie, we’re looking at an opening weekend between $64m Fri-Sun/$77m Fri-Mon and $78m Fri-Sun/$95m Fri-Mon. That would be closer to Pirates of the Caribbean: Dead Men Tell No Tales than Pirates of the Caribbean: At World’s End and (considering the relative lack of legs from recent Memorial Day biggies) could end with Solo not quite crossing $200m domestic.

But that’s a conversation for tomorrow and Sunday. I was equally grim about Shrek Forever After back in 2010 only to see it leg it out all summer. It remains possible that the film is just playing like a general audience “I’ll take the kids on Saturday” release. That this Star Wars Story isn’t exactly being anticipated with exceptional fervor means either the Thursday number won’t be inflated or the film just won’t open all that well. For the moment, out of fairness, we should look at Solo as the Lucasfilm equivalent of Ant-Man as opposed to Avengers: Age of Ultron.

It’s already a disaster in China (a $3.3 million Friday), but hopefully, China won’t matter this weekend.


Fonte
===================================================================
Box Office: 'Solo: A Star Wars Story' Struggling to Hit $110M in U.S., Crashes Overseas
The Han Solo origin pic is pacing well behind fellow standalone 'Star Wars' film 'Rogue One.'

'Solo: A Star Wars Story'​

The Force is being tested in a serious way.

Disney and Lucasfilms' Solo: A Star Wars Story is struggling in its debut at the Memorial Day box office, where it could come in well behind expectations with $105 million-$110 million for the four-day holiday weekend unless traffic picks up in earnest on Saturday. The projected three-day weekend tally is $80 million-$90 million.

The Han Solo origin story is pacing well behind fellow standalone movie, Rogue One: A Star Wars Story, which took in $29 million in Thursday-evening previews in mid-December of 2016 on its way to a $71 million Friday and a three-day debut of $155 million. Solo grossed $14.1 million in Thursday previews for a projected $35 million Friday. (Solo does have bragging rights to landing the best preview gross for a Memorial Day release.)

Solo is the first of the four titles in the revitalized Star Wars franchise to brave the summer box office. It also opens a mere five months after Star Wars: Episode VIII — The Last Jedi hit theaters, raising the possibility of fatigue.

Heading into the weekend, tracking suggested Solo, directed by Ron Howard, would debut to $130 million-$150 million.

The news is grim overseas, where Solo is launching in most points around the globe timed to its U.S. launch, including China. The movie took in a dismal $11.4 million from its first 43 markets on Wednesday and Thursday. Disney hasn't yet provided numbers from China, but box-office sources there show the movie opening to roughly $3 million on Friday for a possible weekend debut in the $10 million range.

Rogue One is the best comp for Solo among the three new Star Wars films released by Disney and Lucasfilm.

Star Wars: Episode VII — Force Awakens, which revived the franchise after a long absence from the big screen and featured original stars from the first films, debuted to a then-record $248 million in December 2015, followed by $220 million for Last Jedi, the follow-up to Force Awakens.

Solo stars Alden Ehrenreich in the titular role opposite Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo and Paul Bettany. The story follows Han Solo as he teams with a band of misfits and mercenaries — including Lando Calrissian as well as a young Chewbacca — to stop the villainous Dryden Vos.

Howard famously took over directing duties when Lucasfilm fired Christopher Miller and Phil Lord over creative differences.

No other film dared to open nationwide opposite Solo. The movie's chief competition will be Fox's Deadpool 2, which opened last weekend to $125 million domestically — including $18.6 million in previews — and $301 million globally. The critically acclaimed sequel has done strong midweek business, and is projected to gross $52 million-$57 million for the four-day holiday weekend.


Fonte
===================================================================
Se continuar assim, logo teremos uma fornada fresquinha de episódios de Damage Control.

 

[Goris]

Os meses passam e, mesmo assim, ainda há pessoas dissecando essa abominação até hoje... Confesso que isso subverteu minhas expectativas.

​

É um daqueles casos que te marcam tão negativamente que meses depois vc lembra dele.

 

[Bat Esponja]

O que não adiantou nada. No site da playarte e cinemark, o pôster esta com as armas. Suponho que também esteja com as armas no kinoplex e UCI.

Mantiveram os 2 pra dar uma isentada

Vai entender

 

[SithLord]

Cadê os SJW pra apoiar mais um filme pra eles?

Tsc, tsc, tsc... quer dizer então que todas cagadas era só pra agradar um bando de falador?

Que bom que esse filme do Han flopou. E é só o começo.

Sent from Korriban, via Imperial Freighter.

 

[A Voz do Polvo]

Esse atorzinho não tem cara de Han Solo. Era preferível fazer um CG do Harrison Ford jovem e botado no filme

Não verei nem quando sair em Bluray rip nas torresmarias. Depois do EP VIII broxei para sempre.

 

[billpower]

Nunca fui um grande fã do Solo e ainda com um filme de qualidade tão duvidosa como este não dá para encarar, também não fui assistir, nem irei, primeira vez que faço isso com SW e provavelmente não será última.

 

[bushi_snake]

Esse atorzinho não tem cara de Han Solo. Era preferível fazer um CG do Harrison Ford jovem e botado no filme

Não verei nem quando sair em Bluray rip nas torresmarias. Depois do EP VIII broxei para sempre.

Cg? Naaahhh, nem precisa...

Sabe por que? Porque se a Disney tivesse trabalhado só um pouquinho, poderia ter achado atores como esse aqui.


Mas não, me escolhem o primeiro que aparece e f**a-se...

 

[A Voz do Polvo]

Cg? Naaahhh, nem precisa...

Sabe por que? Porque se a Disney tivesse trabalhado só um pouquinho, poderia ter achado atores como esse aqui.


Mas não, me escolhem o primeiro que aparece e f**a-se...

Mano que bizarro

O cara é igualzinho ao Harrison Ford

Até a voz

 

[Bloodstained]

​

 

[Bloodstained]

Box Office: 'Solo: A Star Wars Story' Disappoints With Mere $36M Friday

'Solo: A Star Wars Story'​

On its face, a $71 million Fri-Sun figure was a terrific number for an opening weekend. But coming off Shrek the Third which opened with $121m that same pre-Memorial Day weekend in 2007, the 58%-smaller launch of Shrek Forever After came off as something of a bust. And since the previous Shrek movie wasn’t terribly leggy ($322m from a $121m debut), there was a reason to fear the worst and wonder if this Shrek movie would even crack $200m domestic. But then Shrek Forever After, buoyed by a weak June slate (where the movies were so bad that The Karate Kid felt like an Oscar contender) and the still-strong 3D advantage, legged it out to $238m domestic and eventually earned $752m worldwide on a $165m budget.

Ditto Star Trek into Darkness which opened to $83 million over its Thurs-Sun debut compared to the $79m Fri-Sun launch of Star Trek. The Kirk v Khan sci-fi sequel legged it out to $228m domestic in the summer of 2013, not far off from the 2009 Star Trek’s $256m domestic cume. Yes, it was in 3D this time and it earned a still-not-super $467m worldwide on a $190m budget, but the story wasn’t done after its slightly underwhelming opening weekend. Even Star Wars: The Phantom Menace dealt with a week of "Why did it only make $105m in five days?" chatter before it soared past the $200m mark in a then-record 13 days back in 1999.

Before we get into the nitty-gritty, there are enough cases of a film opening a bit below expectations only to recover after its opening weekend and make good on its initial promise. It's somewhat rare, especially in this frontloaded and Netflix-and-Chill era, but it does happen from time (Sherlock Holmes: A Game of Shadows) to time (Batman Begins). All of this brings us to Solo: A Star Wars Story. At a glance, a $35.6 million opening day is flat-out terrible for the first day of a new Star Wars movie. It's lower than the Thursday figures for Force Awakens ($57m) and Last Jedi ($45m) and just above the $29m Thursday previews for Rogue One in 2016.

If the Star Wars prequel/origin story plays like a "normal" Memorial Day release, then the initial Friday numbers are pretty awful. Memorial Day weekend releases tend to do around 3x their Friday number and then earn around 2-2.25x their four-day debut figures. So, if Solo plays like a "normal" Memorial Day release, we're looking at a $111m Fri-Mon debut and a domestic total of around $221-$250m. So, yes, considering the additional expenses incurred by the reshoots and the likely lack of overseas rescue that would make a $250m domestic gross a mere stepping stone to a $700m+ global cume, the odds are pretty grim for this Star Wars story.

The much-discussed and much-dissected Han Solo origin story movie opened yesterday with $35.6 million on its first day of release. That includes a $14m Thursday, which is a record for a Memorial Day preview gross. Solo earned 39% of its opening day figures before the day actually began, which is lower than the over/under 41% earned via Thursday previews of Disney’s first three Star Wars movies. Five years ago, we all discussed the $38m opening day of Fast and Furious 6 over Memorial Day weekend 2013 as if it were an unqualified mega-hit. And indeed it was. But if Solo performs like Furious 6 ($97m Fri-Sun/$117m Fri-Mon/$238m domestic total), will it be a disappointment or an outright disaster?

Well, reshoots and a director swap sent the budget soaring, Memorial Day weekend releases are often lucky to get even 2.5x the holiday opening and overseas figures aren’t necessarily making up the difference. Fast and Furious 6 (and the various X-Men and Pirates sequels) earned large chunks of their cash overseas, while Star Wars has always been a domestic-concentrated franchise. So if it “bombs” in North America, Disney and friends can’t count on foreign box office to save its butt. How exactly will we look at a Star Wars movie, even one that wasn't a “main event” attraction, that potentially makes less worldwide than Justice League ($657 million), Logan ($619m) or Ready Player One ($580m)?

The film may “recover” over the family-friendly weekend to the for a 2.9x multiplier (The Day After Tomorrow) and a $104 million Fri-Sun/$124m Fri-Mon haul. It could leg like Bruce Almighty, Pearl Harbor and The Lost World for an over/under $145m four-day opening. But being realistic, if it performs like an X-Men sequel, At World’s End or Fast and Furious 6, we’re looking at a $90-95m Fri-Sun/$105-$115m Fri-Mon debut weekend. Legs like Dead Men Tell No Tales at least gets it to $120m for the holiday. To be fair, if it legs it to $120m for the weekend and then legs it like Men in Black 3 (2.5x) to $320m domestic, this becomes a different conversation.

The idea of a young Han Solo movie was always both not-terribly exciting to fans and counterintuitive to the promise of Walt Disney making new Star Wars movies and especially stand-alone Star Wars spin-offs. The idea was for new/interesting directors to play in the Star Wars sandbox, not for an elder statesmen director like (all due respect) Ron Howard to direct a Han Solo prequel flick. Fair or not, the firing of Phil Lord and Chris Miller dampened much of what enthusiasm remained for this cynical/irrelevant project. Even though it’s a pretty good movie, the reviews were merely okay and it wasn’t an event. It was surrounded by genuine event movies, including a Disney giant (Avengers: Infinity War and Incredibles 2) on each side.

In a skewed way, the $1 billion+ success of Rogue One (and the $2b+ success of The Force Awakens) may have created both unrealistic expectations and the need to somewhat formalize the new wave of Star Wars movies. Had Rogue One made $600-$800 million, it would have set the tone for a franchise where the “episodes” score sky-high box office while the Star Wars Story movies are less-conventional/more offbeat movies that aren’t expected to rule the world. Absent its sadly timely politics that made it “the movie we need right now,” Rogue One might have done just that. But going from three $1 billion+ grossers to an installment that may struggle to hit $600m is a horrible look.

That a vocal minority skewed the narrative of the well-reviewed and mostly well-received The Last Jedi so that its $1.33 billion gross was viewed as a failure didn’t help. Nor did the online narrative around Rian Johnson’s sequel being that it disappointed fans by being too different/bold/unconventional or too “politically correct.” That was frustrating both to those who really liked Last Jedi and to those who didn’t like it for subjectively valid reasons entirely unrelated to the gender parity and racial makeup of its cast. Now what should have been either a victory lap after three-straight $1b+ grossers or an acceptable mulligan is going to only add to the “Egad, Star Wars is doomed” drumbeat.

Fox moving Deadpool 2 one week prior to Solo (as opposed to one week after) may have hurt. Wade Wilson is an unapologetic version of the kamikaze/devil-may-care anti-hero while young Han Solo was the “safe for all audiences” version. Think if Hollywood released a James Bond Jr. movie just one week after a new James Bond flick. If this goes bad, like a domestic total just over/under the $248 million opening weekend of The Force Awakens, that doesn’t mean Star Wars is doomed. It does mean that, in a world where Star Wars isn’t the only mega-bucks movie event franchise, just slapping “Star Wars” on an otherwise generic space adventure movie/origin story isn’t going to cut it.

Disney is drowning in MCU money and is about to get more from Pixar. If a bunch of huge franchises can’t compensate for an occasional foul ball, what’s the point of having a bunch of big franchises? Star Wars IX will still be big, and at worst Lucasfilm can release one “big” Star Wars movie every two-to-three years. When lifelong Star Wars fans ruefully admit that they just aren’t psyched to see the newest Star Wars movie, especially one that cost as much as $300 million thanks to reshoots (shades of Justice League), maybe these “young original trilogy character” prequels aren’t the way to go. They never were, but now we might (pending post-debut legs) have proof.


Fonte
===================================================================
Box Office: ‘Solo: A Star Wars Story’ Headed for Underwhelming Holiday Weekend Debut

“Solo: A Star Wars Story” is struggling to make the kind of opening weekend impact now expected from a Star Wars film, with an estimated $114 million from 4,381 domestic sites over the four-day Memorial Day weekend. Earlier estimates had pegged the film in the $130-$150 million range.

“Solo” earned about $35.6 million through Friday, including $14.1 million from Thursday grosses, the highest Thursday for a Memorial Day opener. But a $114 million opening would have “Solo” trailing the three-day debut of the last anthology film, “Rogue One,” by $41 million — to say nothing of “Star Wars: The Last Jedi’s” $220 million opening.

The Disney-Lucasfilm venture is the 10th Star Wars movie and fourth from Disney in less than four years. Should the holiday estimate hold for “Solo: A Star Wars Story,” it will raise questions about franchise fatigue and Disney’s strategy of opening the tentpole a mere five months after “The Last Jedi” debuted on Dec. 16.

At $114 million, “Solo” would be the fifth-biggest film to open on Memorial Day weekend. Disney’s 2007 release “Pirates of the Caribbean: At World’s End” currently holds that title with $139.8 million, followed by “Indiana Jones and the Kingdom of Crystal Skull,” “X-Men: The Last Stand,” and “Fast and Furious 6,” with $117 million.

“Solo” follows Alden Ehrenreich as a young Han Solo, who befriends his future co-pilot Chewbacca and meets the gambler Lando Calrissian (Donald Glover). Emilia Clarke, Woody Harrelson, Thandie Newton, Paul Bettany, Joonas Suotamo, and Phoebe Waller-Bridge round out the cast. Ron Howard directed from a screenplay by Jonathan and Lawrence Kasdan. Howard replaced the directing team of Phil Lord and Chris Miller, who left the project in June, citing “creative differences.”

Critics have been mostly positive about the film, which holds a current 71% “fresh” score on Rotten Tomatoes.

Fox’s “Deadpool 2” will likely nab the second place slot in its sophomore weekend with $54.5 million from 4,349 theaters. The addition should give the “Deadpool” sequel an 11-day total of around $220 million. Starring Ryan Reynolds, “Deadpool 2” sees the titular antihero forming the X-Force in an effort to save a young mutant from Josh Brolin’s Cable.

Third place is slated to go to “Avengers: Infinity War” in its fifth frame, with $21 million from 3,768 locations. “Infinity War” has earned $1.8 billion worldwide in its first 28 days, with $605 million from domestic grosses. This weekend’s take should push “Infinity War’s” domestic total past “Star Wars: The Last Jedi’s” $620 million and “The Avengers'” $623 million to land the No. 6 slot on the all time domestic earners list.

The second weekend of Paramount’s “Book Club” should land in fourth with $12 million from 2,810 theaters. The Jane Fonda, Mary Steenburgen, Candace Bergen, and Diane Keaton-starrer has earned $22 million in its first week at multiplexes. The four women star as book club participants who decide to shake up their lives after reading “Fifty Shades of Grey.”

Warner Bros.’ “Life of the Party” is likely to land the fifth place title in its third frame, with about $6 million from 2,937 sites. Melissa McCarthy stars in the Mother Day’s opener, which has earned $33 million domestically in its first two weeks. She plays a recently divorced mom who goes back to school at her daughter’s college.


Fonte
===================================================================

 

[Bloodstained]

Go Woke, Go Broke: ‘Solo’ Crash Lands at Box Office

Before we go any further, let’s dispel with The Nonsense. Solo is not collapsing at this weekend’s domestic and international box office over some exotic disease known as Star Wars Fatigue. The idea that the American public is tired of Star Wars because The Last Jedi was released only five months ago, is a heaping-helping of anti-science rubbish.

To begin with, Avengers: Infinity War opened just five weeks after Black Panther. Five. Weeks. In fact, Black Panther was still in theaters when Infinity War opened and Infinity War still delivered the biggest opening in the history of the box office.

Star Wars Fatigue?

Are people actually going with that?

In America?

In a country that, for decades, still tunes in countless times a week to gobble down reruns of various procedural shows (CSI, Law & Order, NCIS) that are indistinguishable from one another?

Americans never tire of anything. Look around, y’all, we hate to tire of stuff. From our cold dead hands will we let something go. We love sameness, the comfort of predictability, the sense that the earth has stopped turning, which means time isn’t passing, which means we are not going to die. Good grief, we are so scared of dying, so terrified of change, that sometime in June of 1995 we froze our clothes, hair, and decorating styles in amber.

Fatigue? From Americans? Sorry, no. The only way to get us to move along is if it sucks … which brings me back to Star Wars.

How badly is Solo under-performing?

Oh, it’s bad.

Keeping in mind that the trades reporting on Solo’s box office tend to suck up to the studios by making things sound better than they really are — and things still look bad. Over this four-day Memorial Day weekend, Solo is belly-flopping at right around $114 million. Solo’s three-day take (Friday, Saturday, Sunday) is $93 million.

Comparing apples-to-apples, here are the three-day openings…

Solo: $92 million

The Last Jedi: $220 million

Rogue One: $155 million

When you figure in for inflation, even the dreaded prequels (that opened on a lot fewer screens) will out-perform Solo.

The Phantom Menace opened to $114 million (2970 screens) in 1999, Attack of the Clones opened to $126 million (3161 screens) in 2002, and Revenge of the Sith opened to $153 million (3663 screens) in 2005.

Solo opened on a whopping 4400 screens.

For an even clearer perspective, on its opening Friday, Rogue One earned $71 million. Solo made about half that, $36.5 million.

Internationally, that magical place where most domestic box office bombs go to thrive, Solo is even doing worse. In 43 markets, over two whole days, Solo made a paltry $11.4 million.

So what is happening? Why such a collapse?

Two words: Kathleen and Kennedy.

Kathleen Kennedy is the 65-year-old producer in charge of the Star Wars franchise. She is also a committed left-wing social justice warrior and feminist who is using the Star Warsfranchise to push her obnoxious agenda.

Kennedy undoubtedly believed that with such a beloved and iconic property, she was bulletproof; that she could be as strident and obnoxious as she pleased, and we dumbass Americans would still slavishly get the line because spaceships and laser-guns are cool ‘n stuff.

She was wrong, and The Last Jedi was the beginning of the end. It under-preformed big-time at the box office and its overbearing political moments were not only eye-rollingly awful, they damaged the overall story while tainting the entire franchise. Kennedy has placed her dumb agenda over the storytelling, and the result was especially awful in Last Jedi, like that two-hour chase that went nowhere. Worse still, was Kennedy’s decision to dumb down Oscar Issac’s Poe Dameron into a sexist caveman when he is, by far, the most charismatic new character in the new trilogy.

Solo also has its SJW moments. Who doesn’t love watching a five-foot girl who weighs in at about 85 pounds kicking the ass of a grown man? Then there is the feminist droid always harping about equal rights (thankfully, she is killed off quickly). Finally, we are hit with the news that the iconic Lando Calrissian is a “pansexual,” and there are a couple moments in Solo where you are given the impression that includes sex with feminist droids.

Alden Ehrenreich is Hans Solo and Joonas Suotamo is Chewbacca in Solo: A Star Wars Story (Lucasfilm, 2018)​

Donald Glover is Lando Calrissian in Solo: A Star Wars Story (Lucasfilm, 2018)​

Kathleen Kennedy is killing the Star Wars franchise because she is so drastically changing it ( remember what I said above about Americans not liking change?). What used to be escapist and mythical, what was once wondrous and ennobling of the human spirit, is now pedantic, preachy, and small-minded.

Kennedy is not appealing to our sense of adventure and shared aspirations, she is hectoring and scolding us. She is not appealing to our shared humanity, she is dividing us up into tribal camps based on race gender, color, and where we like to put our sex organs.

Kathleen Kennedy is such a bad storyteller, so heavy-handed, so selfish, so narcissistic, so wrong, so divisive, so out of touch, that a Star Wars movie — a Star Wars movie, y’all –– will probably lose money.

Decades of goodwill have been squandered, the golden goose has been made constipated, and all because of the one thing true constant in America, that thing that will never change: liberals eventually ruin everything.

Go Woke, Go Broke as the saying goes at Instapundit. ESPN, the NFL, higher education, California, Illinois, Western Europe, CNN, Newsweek, Time, the Oscars, Emmys, and Golden Globes; and now our beloved Star Wars.


Fonte
===================================================================

 

[Goris]

Bom, esse vou ver só em torrent.
Isso se eu for ver.

Lanterna Verde larguei nos primeiros 10 minutos. O filme me chamou de burro logo na cena que o herói destrói aviões da própria empresa. Nos quadrinhos, pelo menos, são da empresa rival, LexCorp.

Batman vs Superman larguei em 15 minutos. Nem lembro a razão.

Liga da Justiça baixei pra esposa e nem conferi.

Solo tá indo pra mesma linha.

Andei sonhando HOJE que seria inteligente a Kathleen Kennedy lançar um spin-off focado nos imperiais, poderia ser o filme menos SJW da franquia. Assim ela saberia o que os fãs realmente gostam.

Mas burra e SJW como é, sem chances. A simples possibilidadede sair algo bom já a faz preferir perder dinheiro.

 

[Bloodstained]

‘Solo’ Struggles at Box Office, to Open at $101 Million for 4-Day Holiday Weekend
Three-day opening weekend results for “Star Wars” film will finish 23 percent below original projections

Like the Millennium Falcon in a space storm, “Solo: A Star Wars Story” is taking a beating at the box office. Projections for the Memorial Day box office weekend have fallen from $130 million pre-weekend to under $100 million on Sunday.

Saturday returns for the “Star Wars” anthology film registered at just $24.6 million, a 31 percent drop from Friday’s $35.8 million returns. The families that were expected to turn out for the film’s Memorial Day weekend opening aren’t showing up as much as expected, and now “Solo” might not even finish in the top 5 highest openings for this holiday weekend.

As it stands, a $100 million four-day opening would be less than the launch for “The Hangover Part II,” which made $103 million in 2011. “Solo” is not only looking like it will have the lowest opening for a Disney “Star Wars” film, but will also fall lower than the prequels. Three-day opening estimates are currently sitting at $82 million, well below the $108.4 million “Revenge of the Sith” made in its first weekend. If it continues to underperform on Sunday, “Solo” could see it’s three-day fall below the $80 million made by “Attack of the Clones” in 2002.

The “Solo” three-day is also falling below another film that underperformed relative to its franchise pedigree: “Justice League.” That DC crossover film opened to $93.8 million, a good result for other films but well below what a film packed with superheroes was expected to perform. After a normal Monday, the four-day total for “Justice League” sat at $101.3 million, and “Solo” might need the extra Memorial Day business just to match that amount.

Even before this weekend, it was considered a tall order for “Solo” to hit $1 billion worldwide the way the last three “Star Wars” films have done in the holiday season. There’s simply too much competition in the summer for it to reach that figure. Analysts who spoke to TheWrap this past week said they expected “Solo” to finish its run with around $700-800 million worldwide, a reasonable total for a stand-alone anthology film and similar to some solo Marvel films like “Doctor Strange” and “Guardians of the Galaxy.”

But to reach that range, “Solo” would have needed an overseas boost that it isn’t getting. China, which has never shown interest in “Star Wars,” went to see “Avengers” again this weekend as receipts for “Solo” in the Middle Kingdom only amounted to $10.1 million. The top market was the U.K., and that wasn’t much better with a $10.3 million opening. In total, “Solo” grossed an estimated $65 million internationally, which means it is estimated to have a global weekend total of just $143 million by Sunday’s end, less than half of the global opening for the last “Star Wars” anthology film, “Rogue One,” which opened to $290 million.

With this start and anticipated films like “Jurassic World: Fallen Kingdom” and Disney’s own “Incredibles 2” coming in June, “Solo” might not even have the legs to reach the $657.9 million that “Justice League” made globally. All of this is not necessarily a sign that “Star Wars” is in a long-term decline, but it’s not a good situation for “Solo,” considering it cost over $250 million before marketing due to extensive reshoots after Ron Howard was hired to replace directors Phil Lord and Christopher Miller.

The other films in theaters this weekend did pretty well in holdovers. “Deadpool 2” is expected to make $54 million over the four-day weekend, giving it an estimated domestic total after Monday of $218 million. That’s about 10 percent behind the pace set by the first “Deadpool,” which is a solid performance considering this sequel is facing much stiffer competition than what its predecessor faced when it was released in February 2016.

Meanwhile, “Avengers: Infinity War” crossed $1.9 billion this weekend, and is now about $96 million away from becoming the first summer film to gross $2 billion worldwide. The Marvel crossover is looking at a four-day total of $20 million, putting its domestic total at around $625 million. In China, the film has $336 million, becoming the top Marvel release ever in that country and No. 3 among all Western releases. This also means that Disney has grossed $4 billion worldwide so far this year, so they probably won’t be too concerned about “Solo” impacting their bottom line.

Finally, Paramount’s “Book Club” has found strong word-of-mouth with its target demographic of older women and is looking at a four-day total of $12.2 million. Paramount paid $10 million for the North American distribution rights to this rom-com and is finding profit with an estimated domestic total of $34.5 million.


Fonte
===================================================================

​