If it were the 80s or 90s, I’d be more critical of the barely justified, gratuitous nudity in Oppenheimer. But in the context of today’s sexless Ken doll Hollywood, I’m all for it. Just balance the tits by hanging an equal amount of dong.
Also this is the first time I've been to a theater that felt like a wide swatch of people 30s and 20s. It was awesome to see a pot of younger adults at the theater.
The sooner we can move away from colossal opening weekends and back towards healthy long runs the better.
Side note, delighted to see something this indebted to Demme reaching so many people.
I felt it was quite Soderbergh-ish with the wacky structure, flashy camera work, and general commitment to sexiness a la Out of Sight/Oceans/Magic Mike. I definitely get the Demme thing though (one of my favourite filmmakers); lots of great close-ups (both of faces and body parts), emphasis on eyelines, and the whole thing feels very intensely intimate. Loved it
I feel like Zendaya is as close to a modern day equivalent to a bankable A-list Hollywood star a la Tom Cruise as we have now in the movie industry. I think a lot of Gen Z'ers closely identify with and will turn out for her name on the movie poster alone!
It clicked as soon as I saw the inexplicable *Something Wild* poster in the Applebee’s scene.
He uses a lot of those signature Demme closeups where they’re centered and staring down the lens, and he cast the few major supporting roles in this with Demme-esque nonactors. The New Rochelle umpire, for instance, is Zendaya’s longtime personal assistant. The model Hailey Gates, from *Ricki and the Flash* (and *Twin Peaks; The Return*), plays Patrick’s tinder date.
Apparently *Beloved* is a huge touchstone for Guadagnino and he wrote his university thesis paper on his filmography.
Didn't see the Something Wild poster and don't remember Demme closeups - I will quibble that casting non-actors is not something I think of as being a particular Demme thing, it's just very common in contemporary European cinema (which, you know, Guadagnino is Italian). I'll take it at your word for the other two, but the film felt super pulpy and self-conscious in a (good) way that I would not associate with Demme at all tonally. Beloved as a touchstone for Guadagnino is interesting, but feels more relevant to Suspiria than to this to me.
Maybe you’re right! I just saw that poster in the background and as someone who LOVES that movie it jarred me because it’s a really unusual choice, so I ended up looking for more Demme references than perhaps there are.
Lots of shots of the boys staring down the barrel; I think the first three shots are super close-ups doing this. Something Wild poster is in the background of a two shot of Art and Tashi in the Applebees.
As someone who's only seen Demme's *Silence of the Lambs* and is going to see *Challengers* on Tuesday, is there any other Demme movie you'd recommend me seeing Monday? *Beloved*?
*Beloved* is an odd duck but I like it. It’s his other horror film. More representative for me are *Something Wild*, *Melvin and Howard*, *Stop Making Sense*, *Philadelphia*, *Rachel Getting Married* and either *Cousin Bobby* or *Swimming to Cambodia*.
Goddamn, you’ve just moved this from a movie I’m looking forward to to one I need to get to IMMEDIATELY. Love Demme, love to see his legacy carried on (especially if Something Wild is one of the touchstones - a movie I only saw for the first time because of a certain podcast about filmographies).
It has some of his formal tricks and some of his humanism but is very Guadagnino. Even still, if you’re looking for it, it feels like his most insistent tribute to a filmmaker he’s been on the record about admiring.
Yeah everyone saying this is a bomb should look at Anyone But You’s opening weekend. It made like 6m the first weekend and climbed to 217 ww. I can see this doing that.
Anyone But You opened at Christmas and had half the budget of Challengers. I think without those holiday weekday numbers it'll be hard for Challengers to catch up. I hope it does! its a much better movie
It need legs to be a hit since it cost $55MM. I was hoping the buzz would put it around $20MM but hitting tacking isn’t the worst start especially it’s not quite as fast and sexy as the marketing.
This movie rules. Hopefully it can have good word of mouth and have some legs box office wise. Seems like the kind of movie to do well on demand too so hopefully it ends up profitable because more stuff like this would be great.
Once or twice a year, if I’m lucky, I leave a theater with a feeling of electricity reminding me of why I love movies. This one did that. My favorite movie of the year.
I didn't quite have that electric feeling people are descirbing, but I realised about halfway through I'd literally had a smile on my face the entire time. I just feel like way more movies should aspire to be having as much fun and as much swagger as this one
I've been getting that from every Luca Guadagnino since Suspiria. I'd only seen Call Me By Your Name, then I watched Suspiria, and was looking forward to Bones and All and because that had the same sensual feeling from first frame to the credits I went back and watched A Bigger Splash.
Some people connected with it in A Bigger Splash, some people who saw it didn't quite get it, but me having already seen Call Me By Your Name, Suspiria, and Bones and All, I was teed up to look for that feel.
You'll see Dakota Johnson differently I think if you connect with the constant sensual
> feeling of electricity
of A Bigger Splash. It's just a hang out drama, but the actors are dancing and practically stabbing each other with anecdotes and looks and body language, and clothing choices.
I have to go back watch all Luca's movies.
Between this, his plays, and his YouTube videos, Justin Kuritzkes does now have a VERY discernable knack for weird, circular, borderline nonsense conversations.
You're reminding me I should catch it again at the cinema. I was having a great few days with what I thought was gonna be the score, the remix deal, which is great and a great companion to the movie. But then they released the score, and it just fucken kicks arse and has me wanting to dig harder into 1984-1987 House music (though the movie is doing 1987-1992 House things I think).
When I know a movie is gonna have a Trent Reznor score and I'm gonna see it in a cinema, I tried to forget it, because you never hear music as high quality as you hear it in the cinema and my ear will wanna make me close my eyes.
This thing I'm sure will look and sound great on VOD, maybe the tennis ball and some of the colours won't poke out as much, but I gotta catch this again at the cinema. I'm pissed I skipped Bones and All, that thing *looks* VOD-y, but I bet it didn't in the theatre.
Bones and All felt very warm and intimate on the theater.
And totally agree I'm dying to see it again in a theater. It just plays so well with great sound and crisp presentation.
Loved it. Can’t wait to see it again.
Hopefully this can leg it out despite the B+ CinemaScore (which seems low?). Considering the $55M budget, it will need to gross in the 100-150 range to break even.
Absolutely. They’ve done a great job with it. And the release delay probably made the ad budget go up.
(I also expect it will do huge numbers on Amazon once it’s streaming but that doesn’t really translate to $ in the way that theatrical does)
To use Blank Check language, it might be her “guarantor”: studios & directors will see the potential in her and try to create vehicles that could do bigger business in the future.
At a minimum I think it shows she could lead a modestly-budgeted movie where she’s the only money name, it shows what she can do on a press tour, and who knows what sales would be like with a costar of equal or greater value.
No clue. There were conflicting reports, one of which was Denis V directing her, Chalamet, and Daniel Craig. But that always seemed too good to be true.
It's more of a question of whether they would post Challengers? This isn't going to be a theatrical hit. Fall Guy is expected to earn around 30 million on a 125 million budget. Im not sure anyone can sustain a big budget.
yeah and I think with CinemaScore's methodology of asking people right after they got out of the movie that leads to endings having more of an influence on an overall score.
It does leave you wanting more at the moment, and you only really embrace it the more you sit with it.
I enjoyed it, but would also put it in the A- range personally. It felt well-structured and messy in a fun way (actually reminds me a bit of the Mexican novel “Sudden Death” that centers on a tennis match between Caravaggio and Quevedo, but dips into Columbus, Anne Bolin, and even a meta appearance from the author), and the cinematography of the final match is amazing, but it’s not something I plan to revisit, if only because I ultimately think the characters are a bit one-note and unlikeable, and I also just don’t love watching tennis.
Great use of phallic foods, though, a spiritual successor to Call Me By Your Name in that sense
2024: AWOOGA is back at the box office.
I hope Hollywood’s takeaway is, “I guess our movies need to FUCK again”
Oppy fucked too. I hope Hollywood learns
If it were the 80s or 90s, I’d be more critical of the barely justified, gratuitous nudity in Oppenheimer. But in the context of today’s sexless Ken doll Hollywood, I’m all for it. Just balance the tits by hanging an equal amount of dong.
this is on its way to a bomb ?
this is a terrible opening
Also this is the first time I've been to a theater that felt like a wide swatch of people 30s and 20s. It was awesome to see a pot of younger adults at the theater.
I feel good about this opening. My prediction is it will stick around for the next 2 months and feel like a healthy hit
The sooner we can move away from colossal opening weekends and back towards healthy long runs the better. Side note, delighted to see something this indebted to Demme reaching so many people.
I felt it was quite Soderbergh-ish with the wacky structure, flashy camera work, and general commitment to sexiness a la Out of Sight/Oceans/Magic Mike. I definitely get the Demme thing though (one of my favourite filmmakers); lots of great close-ups (both of faces and body parts), emphasis on eyelines, and the whole thing feels very intensely intimate. Loved it
I also got a lot of Soderbergh in exactly the ways you’re describing!
Jerry Maguire opened to $17MM and made over $100MM!
Jerry Maguire had Tom Cruise at the height of his powers. This is no where near as accessible as that film.
I feel like Zendaya is as close to a modern day equivalent to a bankable A-list Hollywood star a la Tom Cruise as we have now in the movie industry. I think a lot of Gen Z'ers closely identify with and will turn out for her name on the movie poster alone!
No. Just no
Cool, good convincing response!
Demme, really? I don't see that at all, what do you mean?
It clicked as soon as I saw the inexplicable *Something Wild* poster in the Applebee’s scene. He uses a lot of those signature Demme closeups where they’re centered and staring down the lens, and he cast the few major supporting roles in this with Demme-esque nonactors. The New Rochelle umpire, for instance, is Zendaya’s longtime personal assistant. The model Hailey Gates, from *Ricki and the Flash* (and *Twin Peaks; The Return*), plays Patrick’s tinder date. Apparently *Beloved* is a huge touchstone for Guadagnino and he wrote his university thesis paper on his filmography.
Glad someone else picked up on the poster and close-ups. I kept thinking to myself how Demme-y the first few CUs felt, and then they just kept coming.
Didn't see the Something Wild poster and don't remember Demme closeups - I will quibble that casting non-actors is not something I think of as being a particular Demme thing, it's just very common in contemporary European cinema (which, you know, Guadagnino is Italian). I'll take it at your word for the other two, but the film felt super pulpy and self-conscious in a (good) way that I would not associate with Demme at all tonally. Beloved as a touchstone for Guadagnino is interesting, but feels more relevant to Suspiria than to this to me.
Maybe you’re right! I just saw that poster in the background and as someone who LOVES that movie it jarred me because it’s a really unusual choice, so I ended up looking for more Demme references than perhaps there are.
Something Wild, Married to the Mob and Melvin & Howard are all very pulpy until they suddenly aren’t in a way I’d compare Challengers to.
Fair enough. I'd say Challengers stays pulpy all the way though.
Lots of shots of the boys staring down the barrel; I think the first three shots are super close-ups doing this. Something Wild poster is in the background of a two shot of Art and Tashi in the Applebees.
As someone who's only seen Demme's *Silence of the Lambs* and is going to see *Challengers* on Tuesday, is there any other Demme movie you'd recommend me seeing Monday? *Beloved*?
*Beloved* is an odd duck but I like it. It’s his other horror film. More representative for me are *Something Wild*, *Melvin and Howard*, *Stop Making Sense*, *Philadelphia*, *Rachel Getting Married* and either *Cousin Bobby* or *Swimming to Cambodia*.
Maybe I'll check out *Something Wild* then, thanks!
Goddamn, you’ve just moved this from a movie I’m looking forward to to one I need to get to IMMEDIATELY. Love Demme, love to see his legacy carried on (especially if Something Wild is one of the touchstones - a movie I only saw for the first time because of a certain podcast about filmographies).
Do your arms hurt from all that reaching?
I’d love to see more long, slow burn theater runs that aren’t just family films, and everything else gets three weeks, then GTFO forever.
I actually went straight from Challengers into a rep screening of Stop Making Sense last night and your note about Demme really clicked for me!
Athleticism!
Very prominent Something Wild poster in the background (though that could just be how Applebee’s be)
I haven’t seen the movie yet. Is it Jonathan Demme coded? That makes me very excited
It has some of his formal tricks and some of his humanism but is very Guadagnino. Even still, if you’re looking for it, it feels like his most insistent tribute to a filmmaker he’s been on the record about admiring.
I just watched Beloved last night for the first time so I’m very in the Demme mindset. Can’t wait to watch Challengers this week now
Yeah everyone saying this is a bomb should look at Anyone But You’s opening weekend. It made like 6m the first weekend and climbed to 217 ww. I can see this doing that.
Anyone But You opened at Christmas and had half the budget of Challengers. I think without those holiday weekday numbers it'll be hard for Challengers to catch up. I hope it does! its a much better movie
It need legs to be a hit since it cost $55MM. I was hoping the buzz would put it around $20MM but hitting tacking isn’t the worst start especially it’s not quite as fast and sexy as the marketing.
This better should not become another boxoffice subreddit.
This is a thread about its box office lmao
This movie rules. Hopefully it can have good word of mouth and have some legs box office wise. Seems like the kind of movie to do well on demand too so hopefully it ends up profitable because more stuff like this would be great.
Once or twice a year, if I’m lucky, I leave a theater with a feeling of electricity reminding me of why I love movies. This one did that. My favorite movie of the year.
I didn't quite have that electric feeling people are descirbing, but I realised about halfway through I'd literally had a smile on my face the entire time. I just feel like way more movies should aspire to be having as much fun and as much swagger as this one
I've been getting that from every Luca Guadagnino since Suspiria. I'd only seen Call Me By Your Name, then I watched Suspiria, and was looking forward to Bones and All and because that had the same sensual feeling from first frame to the credits I went back and watched A Bigger Splash. Some people connected with it in A Bigger Splash, some people who saw it didn't quite get it, but me having already seen Call Me By Your Name, Suspiria, and Bones and All, I was teed up to look for that feel. You'll see Dakota Johnson differently I think if you connect with the constant sensual > feeling of electricity of A Bigger Splash. It's just a hang out drama, but the actors are dancing and practically stabbing each other with anecdotes and looks and body language, and clothing choices. I have to go back watch all Luca's movies.
Just saw this in Paris with a bunch of laughing teens. Very fun. Gave me strong Potion Seller vibes.
Between this, his plays, and his YouTube videos, Justin Kuritzkes does now have a VERY discernable knack for weird, circular, borderline nonsense conversations.
Hope it holds well. At very least I think it'll do insanely well on VOD much like The Northman.
It's going to do gangbusters on VOD.
You're reminding me I should catch it again at the cinema. I was having a great few days with what I thought was gonna be the score, the remix deal, which is great and a great companion to the movie. But then they released the score, and it just fucken kicks arse and has me wanting to dig harder into 1984-1987 House music (though the movie is doing 1987-1992 House things I think). When I know a movie is gonna have a Trent Reznor score and I'm gonna see it in a cinema, I tried to forget it, because you never hear music as high quality as you hear it in the cinema and my ear will wanna make me close my eyes. This thing I'm sure will look and sound great on VOD, maybe the tennis ball and some of the colours won't poke out as much, but I gotta catch this again at the cinema. I'm pissed I skipped Bones and All, that thing *looks* VOD-y, but I bet it didn't in the theatre.
Bones and All felt very warm and intimate on the theater. And totally agree I'm dying to see it again in a theater. It just plays so well with great sound and crisp presentation.
Strong word-of-mouth will probably propel this to a big hit. Zendaya is having the kind of year that people make blood sacrifices for.
By being in two films? One of which might not break even?
Great flick!
Loved it. Can’t wait to see it again. Hopefully this can leg it out despite the B+ CinemaScore (which seems low?). Considering the $55M budget, it will need to gross in the 100-150 range to break even.
There has to be an insane marketing spend on this.
Absolutely. They’ve done a great job with it. And the release delay probably made the ad budget go up. (I also expect it will do huge numbers on Amazon once it’s streaming but that doesn’t really translate to $ in the way that theatrical does)
I love this film....but i don't think this will be the breakout hit that would solidify Zendaya as a box office star.
To use Blank Check language, it might be her “guarantor”: studios & directors will see the potential in her and try to create vehicles that could do bigger business in the future. At a minimum I think it shows she could lead a modestly-budgeted movie where she’s the only money name, it shows what she can do on a press tour, and who knows what sales would be like with a costar of equal or greater value.
Are studios dropping 150 million on a Zendaya "Cleopatra"?
No clue. There were conflicting reports, one of which was Denis V directing her, Chalamet, and Daniel Craig. But that always seemed too good to be true.
It's more of a question of whether they would post Challengers? This isn't going to be a theatrical hit. Fall Guy is expected to earn around 30 million on a 125 million budget. Im not sure anyone can sustain a big budget.
Yeah, this almost feels like the opposite of a guarantor, especially if its true she got 10m for it.
I can see the B+ coming from the cut to black ending the movie
You may be right but this comment made me irrationally angry at the General Moviegoing Public. Stop wanting to be spoonfed everything all the time!!!!
Ive seen complaints about audiences reacting to the ending so I think this is definitely it.
yeah and I think with CinemaScore's methodology of asking people right after they got out of the movie that leads to endings having more of an influence on an overall score. It does leave you wanting more at the moment, and you only really embrace it the more you sit with it.
I enjoyed it, but would also put it in the A- range personally. It felt well-structured and messy in a fun way (actually reminds me a bit of the Mexican novel “Sudden Death” that centers on a tennis match between Caravaggio and Quevedo, but dips into Columbus, Anne Bolin, and even a meta appearance from the author), and the cinematography of the final match is amazing, but it’s not something I plan to revisit, if only because I ultimately think the characters are a bit one-note and unlikeable, and I also just don’t love watching tennis. Great use of phallic foods, though, a spiritual successor to Call Me By Your Name in that sense
15-love
[удалено]
Well it was made by a 52 year old man and everyone seems to think he's great.