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I think it’s the other way round, really. There’s no way we would be calling any other movie that didn’t even make its budget back world-wide a financial success, DVD sales or not. Hell, Jim still thinks Ant-Man was a commercial failure even though it made back its budget three times.

And like I said - artistically is open to debate; there’s no reason to go all Rotten Tomato on me - although 65% really is a terrible score and I would rate the movie much higher than that. I like Snyder’s Watchmen, I even love some parts of it.

But it wasn’t a successful movie in terms of money and audiences.


No, it was not.

I think there are films that can claim the DVD and home audience boost but not that one. They need to be big cult hits.

As usual with Snyder, I adored the imagery, delivery bored me to sleep. The trailer is one of the best ever in the history of cinema though, they can’t take that away from him.


There are spoilers for Season 3 but this bit with Noah Hawley sheds light on the future of Fargo:

TVLINE | Yeah, you’ve mentioned that this might be the last season of Fargo, and that you don’t have an idea for another season at this point. Did you usually have an idea for the next season by this point of the current one?

Yeah, I guess I did. The idea for the second season didn’t really come until the [first] season was done… but the conversation I’ve always had with FX is: The only reason to make another is if we think it can be as good or better. That first year, I think it sets a benchmark. None of us want to be reading the reviews that say, “This show is a shadow of its former self.” The only reason to do it is if there are stories still to tell, and if you feel like you can make something great.

I don’t have another ten hours of story in my mind yet. But I love making this show, and I haven’t yet found another story type that’s as expansive, and allows me to explore this comic crime story at the same time as expansively looking at the human condition, and exploring the big questions of the universe. It’s sort of rare. So one would be a fool to walk away from that opportunity. But at the same time, there’s a certain makeup to the film that’s limiting on some level. It has to be a crime story. There should be a force of goodness and a force of evil, and a moral struggle in the middle. And how many versions of that can you do, doing something original? So all of those issues, I’m struggling with. And I’m doing it actively. But at this exact moment, I don’t know when we would do it, because I don’t have the idea yet.

I truly respect that he doesn’t want to just grind something out and FX backs that decision.


Huh. Weird, Solaris is one of my favorite films of all time.


Ya. Some of those scores (particularly Solaris and Killing Them Softly) don’t give me much faith in CinemaScore especially when compared to an aggregate score like RT.


The Crystal Maze is back tomorrow! BBC News has a really cool look at the design and construction of the new set.


CinemaScore rates audience enjoyment rather than quality, doesn’t it? It’s not a judgement of the films quality but rather people’s response to it. Both those film might be well made but I can easily see the majority of people not enjoying them.


Exactly. Particularly a Friday opening night audience in sample cities. I understand their methodology but think it’s far from foolproof and rewards certain types of films over others.


The Celebrity Special first episode is up on All4:

The first 15 minutes are so are fairly painful, but then Louie Spence gets locked in a room and it calms down a bit.



Ah fair enough. One of the things I loved so much about it was the singular quality of the viewing experience. There’s no other film where I can recall what it was like in the actual theater over a decade later… don’t know if you’ve seen Solaris, but it oftentimes has no soundtrack whatsoever, and even when it does, it’s mostly a very soft score. The theater was so quiet you could hear a pin drop, and everyone was utterly confused as to what was happening from the beginning until 2/3 of the way through, until a few minutes later, when everyone was confused again. I know it wasn’t for most people, but I was captivated. After my friends and I left the theater, none of us spoke for ten minutes.


I cringed a bit when I saw Louie Spence was on the first one (and Alex Brooker), but he’s not always completely unbearable. I can see why they’d launched with a celebrity one (again) but it’ll be the regular episodes that are the main draw for me.


I don’t think its about rewarding films though. It is generally used as a way to judge how well a film will do financially. Films with low cinemascope typically don’t do well with audience and so don’t make a lot of money. That’s usually how the companies judge success after all.

Case in point:

Killing Them Softly (78%) - Domestic Total Gross: $15,026,056 on a budget of $15,000,000
Solaris (65%) - Domestic Total Gross: $14,973,382 on a budget of $47,000,000
Darkness (4%) - Domestic Total Gross: $22,163,442 on a budget of $10,600,000
The Box (45%) - Domestic Total Gross: $15,051,977 on a budget of $30,000,000
The Devil Inside (7%) - Domestic Total Gross: $53,261,944 on a budget of $1,000,000

So out of the films I could find the budget for only two made a profit domestically and one of them just barely.

I haven’t seen Solaris, but I have seen and enjoyed Killing Them Softly but I can easily see how it didn’t appeal to a wide audience, which is really want CinemaScores is gauging.


I saw Killing them Softly and thought it was a good movie but not a great one. It really wasn’t one that was going to be a major hit in any case.


Hansen stars as himself in Ryan Hansen Solves Crimes On Television. The eight-episode, half hour comedy procedural from veteran comedy director Rawson Marshall Thurber (Central Intelligence, We’re the Millers, Dodgeball: A True Underdog Story) is about an LAPD task force that partners actors with homicide detectives so they can use their “actor skills” to help solve murders. Samira Wiley (The Handmaid’s Tale, Orange is the New Black) guest stars as his no-nonsense partner Detective Mathers. The series features a who’s who of stars playing bizarro versions of themselves including, McHale, Cryer and Bell. The series is executive produced by Thurber, Scott Stuber, Beau Bauman, Krysia Plonka and Tracey Baird.

Do You Want To See A Dead Body? is an eight-episode comedy series that follows comedian Rob Huebel and his celebrity friends who begrudgingly join him on adventures that see them frolicking at the beach, getting tacos, …oh…and seeing a dead body. Celebrity guest stars include Adam Scott, Judy Greer, Terry Crews, Craig Robinson, and John Cho, among others. Huebel, Owen Burke, Nick Jasenovec, and Jonathan Stern serve as executive producers. The series is being produced by Abominable Pictures and Funny or Die.

These sound fun. It’s a shame they’re on Youtube Red, where nobody will ever see them. I think it’s US-only, despite Google/Youtube operating everywhere.


Putting The Orville on after football pretty much guarantees it will run late and screw up DVR recordings.

An interesting bit:

The Gifted, the new Marvel series about children with superpowers (also note: it’s just called The Gifted now, not Marvel’s Gifted), takes over Gotham’s place on Monday nights and debuts Oct. 2 at 9/8c, immediately following the Season 3 premiere of Lucifer.

I wonder if Marvel Studios forced them to drop the “Marvel” to avoid brand confusion?


This actually does sound fun:

I remember watching the original. I may give this a shot.



The finale was amazeballs. I was so impressed with season 3. Some of the best TV I`ve ever seen. It was so, so good. The ending is driving me crazy. I choose the happy ending.


Regarding the ending, we are in agreement.