After Oscar nominations were announced, some of the nominated films got a boost at the box office. Not a HUGE amount but enough to be noticeable. Meanwhile, The Power of the Dog on Netflix made its way back into the Netflix Global Top 10 Movies List with 5.46 million hours viewed for the week. On Netflix, that is how they measure how many views – by hours. So 5.46 million hours might represent as many as 2,750,000 viewers. In theaters, that could’ve added up to an additional $22 million in ticket sales.
Kenneth Branagh’s Death on the Nile opened at number one, taking in $12 million for the weekend, which is more than Belfast has earned in its total limited run. And of course, Spider-Man: No Way Home has now become the third highest-grossing film of all time, despite the lack of a Best Picture nomination.
Other movies that got a bump include Drive My Car, which cracked one million, West Side Story, which is now inching its way out of the low 30s and heading toward $40 million. King Richard got a boost to $14 million. Licorice Pizza is up to $14 million, and Dune has now topped $400 million worldwide. All of these films are on streaming now except for Drive My Car (coming to HBOMax on March 2). That makes it even more impressive that they’re out there making money.
Source: Box Office Mojo
I honestly think given how utterly predictable the most sociological mundane film of lot that sacrifices vision and creativity and inspiring or memorable , publicly engaging story… that this is the trajectory of awards season…that the true integrtiy and meaning and worth of AMPAS what it SUPPOSED TO STAND FOR has been reduced to irrlevance..under the dictatorial rule of the much lauded ‘first; female president of the academy..she KNOWINGLY sought to destroy what AMPAS stood for.. clearly she orchestrated the downfall of the Academy..negatively influenced the guilds and when she came to top job and was elected she was ultimate wolf in sheeps clothing.. what i call the ‘wolf of Hollywood Boulevard’ ..Using her newfound power of iu add long overdue woman in top job (but question is legfitimate we need question the most powerfuyl person at the top and there motives and intentions..you have to be truly naive with u head up yor ass to presume the Academy President doesn’t have scope along with the Board that elected them to think there policy and promotion and industry direction in meetings they have behind scenes dont have a bearing on AMPAS direction, attitude approach) BUT JUST COS YOUR FIRST WOMAN PRESIDENT DOES NOT MEAN THAT YOU HAVE A RIGHT TO ACT AGAINST INTERESTS OF TRADITION PRECEDED CURRENTY PRESIDENT AND BOARDS EXISTENCE SEVERAL DECADES PRIOR…IT BLATANT MISUSE AND OVERREACH OF POWER COMES WITH PRESIDENTIAL HEAD OF MOST (ONCE WAS) MOST PUBLICLY REVERED RESPECTED ARTS INSTITUTION IT FLAGRANT ABUSE OF POWER… and it not so much..that SOME (i must emphasise nly best of more creative, engaging and publicly even at moderate level (as opposed to very al;armingly low level public regard for half of crop of contenders in YET ANOTHER YEAR)..NOT SO MUCH that some of movies ben contenders past that are primarily sociological but also offer higher level of art form and visual engagement..and inventiveness..than current frotnfrunners…of course certain films that are primarily sociological fit this criteria should be big time contenders in those years.. BUT EVERY STINKING FUKIN YEAR THE MORE PROMINENT THE TREND AGAINST THE MAINSTREAM OR CENTRAL EDUCATED , COMMON SENSE FILM GOER SOCIETY ACROSS THE WORLD, ESP THE STATES, THEN THE MORE DAMAGING TO AMPAS PERCEPTION OF EXCLUSION OF COMMON SENSE, MORE ISOLATED..COS VIEWERSHIP AUDIENCE CAN START TO SEE PATERN IN AMPAS ATTITUDE AND BEHAVIOUR..WHO BEHIND THAT? THE BROKEN DYSFUNCTIONAL FARCICAL SELFISH ACADEMY PRESIDENT AND THE BOARD,.
WHEN IS THE CEO OF AMPAS GONNA SACK THE BOARD AND THE PRESIDENT AND START A FRESH, REEVALUATE AND RECONFIGURE A FAR STRONGER POLICY TO ENSURE MEMBERS OF AMPAS BOARD ARE NOT AS HEAVILY INFLUENCED BY TWITTER OR COME FROM A BACKGROUND THAT INCUDES THIS TOXIC INFLUENCE?
Think about it everyone…There are two type of female representatives in any industry this si FACT there are those that are strong determined but not captured by any side of political groupthink mentality and there are those that are strong, STUBBORN AND IN DENIAL.. there are those that are competent but recognise to respect the missions statement of insitution.. there are those that are INEPT and let change and evolution go overboard and UNHINGED and dont care to have control and restore some balance to AMPAS.
There should be a guideline overarching that can fix this and limit role of streaming movies in AMPAS AS FOLLOWS: this could TRANSFORM THE PUBLIC PERCEPTION which take time but ensure OSCARS CENTENARY would be celebration for all to celebrate certainly more than what going down atm…
of 10 best picture contenders 10 EVERY YEAR:
A) NO MORE THAN 4 ARTHOUSE FILMS OF THOSE 4 MAXIMUM OF 3 BEST PICTURE MOVIES FROMN STREAMING MOVIES
B) 4/ 10 BEST PICTURE NOMINEES MUST BE BIG SCREEN BLOCKBUSTER MOVIES- THAT WELL WRITTEN, ACTED AND TALKED ABOUT THROUGHOUT IT RELEASE
C) OF 4/10 BIG SCREEN MOVIES MUST INCLUDE A STAND OUT SCIENCE FICTION MOVIE AND EITHER ACTION THRILLER OR ACTION DRAMA-
D) 2/10 BEST PICTURE big screen NOMINEES/..ALTERNATIVE.. GENRE STAND OUT HORROR FILM FOR THE YEAR ONE OF THOSE SLOTS AND 1 CONTROVERSIAL DARK THEMED VISUALLY AND BIG SCREEN FILM DRAMA
This would start to reconnect AMPAS with what it supposed to stand for..selecting the best within 10 best picture that reresent how they engage and reconnect respect film industry AND cinema viewership demographics of some for straming LOT MORE RESPECT FOR big screen and end the genre discrimination!! it well past time AMPAS AND IF THIS PRESIDENT AND BOARD IS INCAPABLE THE BRAND AND REPUTATIONAL DAMANGE THEY INFLICTED ON AMPAS THEN THE CEO OF AMPAS MUST SACK THEM ASAP! IT NOT BOUT THEY WOMAN IT BOUT THERE MOTIVATION AND INTENTIONS AND NEGATIVE PROFOUND DAMAGE THEIR POLICIES HAVE INFLICTEDON DIRECTION OF AMPAS!
Netflix: the ultimate at subterfuge when it comes to manipulating the narrative around it overblown overrated puff piece excuse for cinema..specifically when it comes to likes of Power of the Dog..last year was Nomadland….but point is calculating by number of hours does nt necessarily mean that viewers watch a movie on line watch it start to finish what the bet..like last years flatlining of oscars through outcome in NOBODYSLAND that half of the views were half views of this years front runner if barely that? THIS IS EXACLY WHY ONLINE STREAMING AT BEST NOW AND IN FUTURE AS OSCAR CONTENDERS SHOULD PLAY SECOND FIDDLE STRICTLY AT THE MOST TO BIG SCREEN RELEASE MOVIES IN CINEMAS BECAUSE PPLE LESS LIKELY TO WALK OUT ON BIG SCREEN MOVIE WHERE THEY PAY MORE PER MOVIE THAN U DO FOR A SINGLE COST ONE OFF A YEAR FOR STREAMING MEMBERSHIP..EVEN A ONLINE PURCHASE FOR EXCLUSIVE STREAMING FEATURE ON NETFLIX FOR INSTANCE COST FAR LESS THAN A MOVIE TICKET..U CAN CANCEL ANYTIME NOT SO EASY IN BIG SCREEN MOVIE THIS IS WHY TRADITIONAL BOX OFFICE OUGHT TO BE YARDSTICK OF TYPE OF FILMS BETWEEN BIG SCREEN AND SMALL SCREEN STREAMING TO LEAN BACK TOWARDS BIG SCREEN MOVIES..YOU CANNOT RELIABLY COUNT ON THE UNREGULATED CYBERSPACE CALCULATIONS OF HITS OR VIEWS LIKE U CAN BUMS ON SEATS!
Dune is the big one. Box office counts. David Lynch’s version was considered a flop back in 84 and here it is 2022, and Dune is a high profile hit with all the dvd sales, and the long word of mouth it had. It will probably rack up the technical crafts.
Power of the dog and King Richard are now crowd pleasers. One being at home, the other a hit for Will Smith and company.
West Side Story tanked. Belfast is doing well internationally and with Braganh’s new movie Death on the Nile bringing in a older crowd
CODA is on Apple TV. Hard to get for some people. Nightmare Alley and Driive my car are the dark horses.
Don’t Look Up shouldn’t be on the list. They snubbed Spidey for Don’t Look Up, wrong,
Licroice Pizza has the best soundtrack out of the 10. It’s old school favorites from the 70’x
oh please. don’t look up is brilliant.
https://media4.giphy.com/media/d1E3cfkAacBAYJY4/giphy.gif
I think McKay thinks that Don’t Look Up is a satire, which is troubling. DLU doesn’t skewer anything, or teach us anything, or do anything useful: it’s a platform for McKay (and by extension self-congratulatory people in Hollywood, especially all those who signed on to do it) to poke fun at people they think are stupid without offering any real insight or wisdom into how to combat it and pat themselves on the back for making millions of dollars and not having to do anything further than send out a tweet. It’s a smart movie for dumb people
This is the single best paragraph I’ve seen written on this disgracefully bad movie. Excellent thinking, Werner Herzog. I’m still waiting for someone to explain to me what’s being satirized in this movie. Nearly as I can tell, there’s no clear target, so there’s no satire.
My personal addition, which I wouldn’t ask you to associate yourself with, is, in that televised, red-faced, on-air scream-fest, how many times did Leo use the F-word to pump himself up? And I have no trouble picturing McKay, standing beside the camera, saying, “F-yeah, Leo, say the F-word whenever you F-ing feel like it. You’re making movie history with this speech. Go, Leo!”
Looking back, how many F-words did Peter Finch use? Chayefsky didn’t need F-words to make a point. And Lumet knew when to let sharp writing and inspired acting do their work.
One of the most incredible facts I’ve learned about this disgraceful excuse for a film is that Leo signed on AFTER making script requests to McKay. Like, what the hell did he request? Certainly not a better script. That this many big names signed onto the film with a script that terrible reflects poorly on all of them
Thanks very much for this information. Precisely the right question: What on earth did Leo request? Certainly not the inclusion of any actual ideas. And I totally agree that all the big names involved here have caved in to cheap, lazy sensationalism by agreeing to do this appalling script — if, other than Leo, they even read it, or read much of it, before gleefully signing on. I’m guessing that McKay has some sort of cachet in town among actors and agents as a “daring” director. Deeply desperate to appear “relevant” is how I’d describe him.
The acting was satirical but that is it. Di caprio always does a good job. Meryl Streep as madame president was daring. Guess they want Hilary Clinton back in the White House
Leo is such an effortless star. Twink or dad bod, shaven or full beard, cool or pathetic, comedy, drama or action, he opens movies. Other stars spend their time in a gym as if their star power would disappear without a sixpack but Leo crosses over to any genre, any appearance and people keep coming.
L. DiCaprio, J. Hill, M. Streep, J. Lawrence, T. Perry, all those names are huge. Even though spider-man passed Avatar this week. Leo Di Caprio still has what it takes. Sorry for being so biased towards DLU. It’s a effortless satire hit.
No worries. Like I said, it already had a place in the line up, long time before Spidey was even in the picture (remember, Marvel’s Oscar pony was, lol, Eternals). What did get in instead of Spidey is Nightmare Alley. Bomb but with high pedigree in front and behind the camera, and I bet that film noir appealed to voters who miss that kind of movie-making.
Ever since 2009-2010 one-two punch of rejecting billion dollars blockbuster with passionate fandom nom (TDK) and win (Avatar) in favor of much smaller movies (Hurt Locker was the lowest grossing winner ever or in decades with only 16M domestic take), AMPAS broke the public trust and made it clear ROTK like win was a thing of the past. For some reason, that win broke AMPAS (did they feel their hand was forced?) and they broke the public in return. Worst ratings ever incoming.
Who really cares about the ratings. It’s the box office that matters and the prestige of films that matters.
everyone cares about ratings since they are the top year after year.
Problem with Dune is, when they got f’d out of a director nomination by Hamaguchi IMO, there may not be that much tech support as we all were led to believe.. They should win every tech award it’s nominated for, but now, that’s in doubt. They may only win half of them.
Part two will get the recognition it deserves. I say 4 wins for dune. Surely it does deserve all of them but when part two comes around it will be exceptional. VFX, score, sound and maybe director of photography Greig fraser. Drive my car will shock us in adapted screenplay
They didn’t snub Spidey for DLU. DLU has always been a player – Leo, big name supporting cast, McKay, topical af, and yes, we knew it would be a huge hit cause Leo opens all genre movies like nobody’s business. It was just a question whether Spidey would make #10 but DLU has always been in Top 7-8.
This is why I think the “Spider-Man should’ve gotten a BP nom” thing is so useless too; smaller films getting that BP Bump is essential for keeping non-superhero, non-franchise films relevant and alive.
If (big flipping if) Drive My Car has any kind of shot at a major prize, their decision to premiere on HBO Max two weeks before the final ballots go out was a savvy move.
Watch out for Adapted Screenplay. I feel there’s a good chance it could win that. I have been thinking that for weeks.
Apparently, I can’t say that Drive My Car could win Adapted Screenplay and I’ve been thinking that for weeks. Is something wrong with that? It’s marked as spam for some reason.
Funny everyone just started talking about DRIVE MY CAR. What is happening…
Four Oscar nominations including BP will drive the conversation with the public.
And this is exactly why the Oscar nominations matter.
The strong streaming numbers for Power of the Dog certainly add credence to the notion that streaming is the main thing hurting box office.
It’s getting to the point where it doesn’t make sense to talk about a film’s popularity strictly in terms of box office. I don’t know anyone who saw Parasite in theaters, for instance, but I know quite a few who streamed it.