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OMG!

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Stewball
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OMG!

Postby Stewball » Sun Apr 16, 2017 11:06 pm

Of all the bad news out there this weekend, this is the worst: Brain dead cinema is sucking up all the oxygen quicker than I thought it could. If you see me blubbering and swimming in the gutters in the next few weeks you'll know what happened. I'm not really sure I'm believing it....$533 mil!!
http://www.hollywoodreporter.com/news/box-office-fate-furious-nabs-1002m-us-record-5325m-global-start-994377

djross
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Re: OMG!

Postby djross » Sun Apr 16, 2017 11:40 pm

What makes some films gigantic successes and others not? Hollywood has its ideas about this, and seems to have gotten better and better at engineering mass audiences. In particular, it has figured out that one key to success is to appeal to the seeming sensibilities of a large group of adolescent boys, and to manufacture adolescent boys of all ages: hence superheroes and star wars. This is the group gullible enough and unthinking enough to be most easily lured, and the most insistent, perhaps, that disposable income should be spent according to their whims. And the studio executives who do the planning and make the calculations may not themselves be so very different from these same audiences.

But a key reason why at the very top of the money tree one can find two movies by James Cameron also lies, I believe, in the fact that his two massive blockbusters are cannily designed, in a way one does not find in most ultra-commercial filmmaking, to appeal to both male and female audiences. And this is achieved not, I might add, by creating "strong female characters", or by adhering to some other largely fictitious notion about what this or that audience is truly looking for. The Fast and the Furious movies seem to have figured out something similar: it is not just mindless action sequences and macho car culture that are the keys to the success of these movies, but the fact that they are essentially a continuing soap opera, however rudimentary. Couples, who less and less can be bothered leaving the house apart from finding somewhere to eat, perhaps, can find themselves in agreement in their mutual desire to witness the latest automotive stunts (however computerised they now inevitably are) but also the latest chapter in the family melodrama of a few simple characters.

In addition, they are perhaps the first massively commercial films to find a way to successfully target mass audiences in North America and Asia, by simultaneously appealing to (and thematising) the differing elements of a love of cars common to both. That this was a conscious idea was shown by the early decision to set an entry of the series in Japan, even if the way that was carried out was rather lacking and basic (and they would not repeat those errors in later episodes).

Another aspect of that lies, perhaps, in recognising that these movies about cars are also tied in with, and somehow obscurely expressions of, video games based on car racing and driving, which one suspects is also a rather gigantic market in certain parts of Asia. The franchise seems to represent a kind of blurring of the idea of cars-as-freedom from spatial confinement with the idea of a much more sedentary escape into a fantasy (or virtual) world of simulated driving. This blurring is perhaps the consequence of the creation of a consumerist audience for whom fast-driving and sports cars represent a fantasy not just of spatial freedom but the freedom of wealth, a fantasy that exists in stark contrast to their own inability to purchase for themselves such an existence, except in computer games or movies.

All that and the fact that people find themselves mysteriously attracted to the very stupidity of these self-consciously silly movies.

Stewball
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Re: OMG!

Postby Stewball » Mon Apr 17, 2017 2:47 am

Yes, but what we're seeing here is a schism between a reasonable representation of reality (Bullitt, The Driver, Drive and the upcoming Baby Driver--rut titles notwithstanding), and fantasy that jibes with reality only as long as you don't actually think about it. Of course this schism has always been there, but the LCDers today have unprecedented fingertip access to massive digital information, yet their cognitive skills are almost as bad as Medieval feudal illiterate peasants--I say "almost" advisedly.

Luna6ix
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Re: OMG!

Postby Luna6ix » Tue Apr 18, 2017 9:48 pm

I was thinking the same thing about three movies ago. Why are these movies still being made? Who is in charge of naming them, and why can't they pick a format?

BillyShears
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Re: OMG!

Postby BillyShears » Tue Apr 18, 2017 10:18 pm

They sacrificed Paul Walker for sweet sweet box office gains

paulofilmo
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Re: OMG!

Postby paulofilmo » Tue Apr 18, 2017 10:37 pm

i want vin diesel to play a fiesty puerto rican drag queen, feather headdress unfurling as she steps out of her pink charger.

fast and fabulous?

swift and salty?

Stewball
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Re: OMG!

Postby Stewball » Thu Apr 20, 2017 12:21 pm

paulofilmo wrote:i want vin diesel to play a fiesty puerto rican drag queen, feather headdress unfurling as she steps out of her pink charger.


Now that I would pay a big premium to see.

fast and fabulous?


ROTFLMAO You better copyright that so you can get the royalties when they use it. Of course by then it won't be funny any more and you'd be accused of political incorrectness.

swift and salty?


:?: It calls something to mind, but that can't be it.

paulofilmo
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Re: OMG!

Postby paulofilmo » Thu Apr 20, 2017 7:33 pm

roflcopter. a tribute to paul walker

Image

P u l p
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Re: OMG!

Postby P u l p » Thu Apr 20, 2017 9:56 pm


hellboy76
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Re: OMG!

Postby hellboy76 » Thu Apr 20, 2017 10:28 pm

The Mad Max crossover, The Fasterer and The Furiosa.


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