I’d say it’s even money if Sandler tries to make the worst comedy movie ever. Surely it would be funny if his team tried, and maybe the reality is they attempt to make a movie so bad that it’s meant to be funnier?
How does one set out to make an intentionally bad movie anyway? Sure, there is the Plan 9 from Outer Space filmmaking school of terrible, but Sandler has his own signature comedy films. They excel at the art of sophomoric humor. I don’t always laugh, but will usually smile and sometimes laugh out loud.
Also, with comedy you can have nonsensical stories, implausible characterization and, basically, break most of the rules for the sake of being funny. Purists of cinema might hold it against these kinds of films, but I tend to give much wider berth of stories for comedies than any other genre. Especially if part of the humor is breaking down the fourth wall.
Insider Daniel Richtman now claims, though, that Sandler is still planning to⭐️⭐️ purposefully create something terrible to deliver on his promise, with the Happy Madison head honcho reportedly eying a future Netflix vehicle as the one to make everyone pay. Of course, this should be taken with a grain of salt because it would be pretty unprofessional downright spiteful for him to do so, especially when nobody in the history of cinema has ever set out with the intentions of making a bad movie.
I don’t know how much creative control Netflix has over Sandler and Happy Madison. My guess is minimal. He’s been one of Netflix’s best deals for returns on their investment and subscribers viewing these movies. This suggests whatever Sandler wants to do, he pretty much can do.
Might even be better than even money that he sets out to make a terrible movie — and it might just turn out to be one of his funniest movies ever made. What do you think?
A study looked at how pain is depicted in popular movies for 4 to 6-year old children. What makes this study somewhat interesting is that it relies on the premise that children will learn from watched movies how to deal with pain.
The results were shocking. Pain was frequently depicted, approximately nine times per hour. Seventy-nine per cent of pain instances involved characters being seriously injured or experiencing pain due to violent acts. Although everyday pains are the most common pain experiences young children experience in real life, everyday pains comprised only 20 per cent of the pain instances. Medical and procedural pain, like needles, as well as chronic pains were depicted less than one per cent of the time.
The study seems flawed in the sense that it set out to analyze pain through the lens of fantasy worlds. Movies can be educational, yes, but they are there to tell stories first, not educate young children. Parents could — and should — watch these movies with their children and talk about what happened. What did the children like and dislike?
The movies that our grandchildren have enjoyed lately include. Angry Birds, Moana, Frozen II and others. They unsurprisingly prefer Disney+ as the streaming channel with the most animated movies they are interested in. Most live-action movies are less interesting to them.
I think more children learn about pain these days from what they do most often. If they fall down and get a bump or bruise, that’s a very real pain to be managed and evaluated. Learning about pain could come from movies, I suppose, but it’s more likely from all types of entertainment: games, daycare, playing inside and out, social interaction with brothers, sisters, parents, friends and other children.
This study sort of outlines my general feeling that anything can be studied and biased to a certain type of observation. Not sure how useful most of these studies are other than to make us think about movies as teaching tools. Maybe it’s better to teach children to use their imagination when watching movies than think of them as educational opportunities. What do you think?
I thought every studio had at least one lousy horror movie stashed away for just such an emergency. Somehow “Come Play” is the only movie from that stash, across however many studios, to make its way to theaters. This in spite of the opinion that it’s an uninteresting movie and the fact that its message is ill-timed for 2020.
Wanted that creature to be more menacing than it was. For the scares to work, it had to be. The setup was good, but to have it just shambling around mostly in the shadows, never really doing that much wasn’t as scary as having it show some teeth, rip someone through the screen Freddy Kruger style.
Hated the name. I mean, really, come up with something better to call the monster than Larry. I kept thinking of Larry The Cable Guy and that isn’t a horrifying image. It’s like waiting for the monster to open and chug a beer.
The Autistic Angle
One of the things I liked was how the story dealt with autism.
Reviews by Others
What do others think of Come Play?
Beyond Bollywood (3/5): “Though far from perfect, director Jacob Chase’s horror drama is a fine allegory that throws light on the lonely existence in the virtual world.”
Deepest Dream: “The scares that I received from Come Play were generated from Chase letting a scene breathe and evolve (the parking lot sequences with Gallagher Jr. are terrifying).”
Haunt Jaunts (3/5): “Because Come Play ends up more of a sweet, sad story about the power of a mother’s love, I found it less a horror movie and more one about the sacrifices some parents make to protect their kids and ensure the best for them.”
Horrify / Michael P. Cleworth: “…seems to be just another cookie-cutter bogeyman film. However, after peeling back the many layers, you will be met by a surprisingly emotional element.”
Ms. Cinema Gal (8/10): “I was surprised by how moved I was especially through the theme of being overprotective which can be misunderstood and could break relationships.”
Techmepro: “I am a horror fan and I have watched a bunch of horror movies and shows in the past few months. So, I am a bit too familiar with the tropes and tricks of the genre and that’s why a lot of the scares or chills might’ve missed me. And yet here I am saying that Come Play is scary.”
Zach’s Zany Movie Reviews: “…really works because it isn’t just a cheap jump scare horror movie. It is one of the rare ones that has a deeper emotional core at its center than others in the genre and the jump scares aren’t cheap at all, they are well shot, well choreographed, and well earned.”
David A. Lynch: “…could’ve used bit more imagination and a lot more self-awareness”
The Chanticeleer (4/10): “I would not recommend this movie if you’re the type who lives for a heart-stopping jump scare. You won’t find it in this movie. It’s a predictable, and overdone piece of work and you wouldn’t be missing much.”
To Watch Next (4/10): “…it feels like a half baked idea that was thrown on a studio table with the hopes of coming off as a horror flick, and it’s pretty disappointing considering the fact that it had potential.”
Linked above and wondering what would be cool to do next? Commenting once in awhile is always good (I like reader and other blogger interaction). If you have the trackback/pingback come to your site then just approve it because after people read your review then they can come here and follow links and read someone else’s review. What comes around goes around and sharing is the ultimate “thank you!” on the internet.
Did I miss your review? Use the comments to tell me about your movie-related/review blog and I’ll follow. I like following movie-related blogs and pull quoting from my reading list as well as other new blogs shared, liked and discovered.
Dethklok is a metal band that started as an adult animated TV series on Adult Swim. Such a great name for a metal band show: Metalocalypse.
Part of the show’s appeal has always been its intersection with the metal scene IRL — a subculture that has never lacked for self-awareness. From the outside, the world of heavy metal music might seem frightening — even dangerous — but the scene has always been more about pageantry than pain. There’s always been a winking understanding between the performers and the fans that heavy metal is one big costume party, and death has always been more of a theme than some kind of religious totem. Perhaps that’s why it was so easy for Metalocalypse and Dethklok to crawl off the screen and into the third dimension.
This sounds like the opening to a joke and coming from gossip site TMZ it just might be …
A policeman was caught on a hot mic having sex on the Psycho Bates Motel set at Universal Studios.
An on-duty Los Angeles County sheriff’s deputy allegedly had sex with a woman near the Bates Motel section of the Universal Studios lot — and accidentally left his microphone on for a dispatcher to hear a blow-by-blow of the sleazy romp.
No, it wasn’t with Norman Bates mother … or so we think. This would be funny if not for being so closed to the holidays. I’m just curious if he wanted to be caught. The dispatcher trying to get his attention … lol!
Starting December 20 Internet Service Providers (ISPs) can no longer legally charge customers to rent a router they already own.
Of course we shouldn’t need a law to force ISPs to remain honest when billing, but these companies all too often charge customers BS fees because they can.
Is your internet service provider charging you every month for the cable modem or router that you purchased with your own money? Or, perhaps, have you never bothered to buy those items because you couldn’t escape the fee? That fee will be illegal starting Sunday, December 20th, and you should tell your ISP that you’ll no longer tolerate it, threaten to sue, and/or take advantage of any binding arbitration clause it may have with you.
The article also touches on trying to find out if the ISP will try to raise the $10/month some other way, through some other associated fee. Not to be too cynical, but this sounds very much like when we were supposed to have $20 car license tabs in Washington State. We got them for like one year and the next it was $30 and years later we’re back to hundreds of dollars for each of our cars.
Fees, fees, fees. The ultimate way to generate a bunch of cash for something from a group of customers. No wonder many people despise these larger corporations.
The Science Fiction and Fantasy Writers of America association claims other authors of books tied to projects from Indiana Jones to Buffy the Vampire Slayer came forward with similar stories of non-payment, all under similar circumstances to the Star Wars issue. Once Disney acquired the properties, the checks were no longer in the mail.
Polygon did some digging and unearthed somewhat of an answer, but get your boots, it gets a little muddy (emphasis mine):
According to Kowal, Disney lawyers told SFWA that while it owned the underlying rights to Foster’s Alien novels, among others, holding the copyright did not obligate the company to pay him royalties — his contract was with Warner Books, not with 20th Century Fox or Disney. During SFWA’s November press conference, Kowal explained that the organization had trouble setting up a meeting with Disney to discuss and clarify the issue. Furthermore, Disney asked for their discussions to be kept confidential and that whatever they discussed couldn’t be used in further legal action. (Representatives for Disney declined to speak to Polygon on the record for this story.)
So, if I’m following the murky copyright logic, Disney’s legal team is saying work-for-hire writing arrangements don’t necessarily transfer? Seriously. So it’s not Disney that should be paying Foster, it’s Warner Books? Is Warner Books making money from his books now or is Disney?
Will keep following news on this one, because it barely makes sense. Feel free to weigh in below if you can make more sense out of this than me.
Wonder Woman 1984 opened with just under $20 million box office in China which, in the current pandemic times, respectable. Absurdly, the Variety article quoted below is comparing to the first movie that wasn’t released in the current crippled theater environment.
“Wonder Woman 1984” opened to a less than heroic $18.8 million in China over the weekend and a disappointing $38.5 million overseas. That’s far less than the $38 million that the first “Wonder Woman” grossed in its opening weekend in China and likely means that the follow-up will earn far less than the $90.5 million that its predecessor pulled in from the country over the course of its run.
Why we are comparing anything in the box office to prior years is puzzling. Sure, it makes it sound like the new movies are not doing well because people aren’t going to see them. That is only partly true. People can’t go see them — at least in some areas. That might not be the case in China.
This makes me wonder why WarnerMedia paid $10 million more each to Patty Jenkins and Gal Gadot. Was it so they wouldn’t submarine the promotion of their movie onto HBO Max as day and date release? (Conversely, they’ve been supportive of this release) $20 million on top of the $200+ million already budgeted is going to make it even harder for WarnerMedia to recoup and sets a challenging precedent with the other 17 movies in 2021 they plan to release similarly. Are they going to pay hundreds of millions to the other lead actors and directors or was this a one-off? What about the rest of the crew?
Not bashing Jenkins or Gadot for taking the money, btw, good for them. If you’re a director or lead actor on those other 17 films, you’re going to want your million plus paydays. That doesn’t seem like something WarnerMedia is going to be able todo with every film they release.
(or will they?)
Meanwhile, Monster Hunter, the movie based on a Capcom video game made $2.2 million in the United States on its opening weekend. Again, if you think this is somehow disappointing then re-read the article and remember that the majority of movie theaters in the United States remain closed. I want to see this movie!
Maybe it’s just not a good time to be making some (most?) movies or … maybe it’s all one big promotional pitch. Let’s deal with the former first.
Look, this is what we do at this site: we exist for talking about movies. There are plenty of movies to cover for a couple lifetimes already, so not having new movies sucks, but it doesn’t paralyze what we do here. If it’s not safe to make movies right now, then by all means don’t make them. Follow the darn safety protocols, crew members, studios, filmmakers. Seriously.
Apparently, Tom Cruise during the filming of Mission Impossible 7 appears out of patience for crew members not following the pandemic safety rules. A profanity-laced rant escaped into the wild and went viral.
In the leaked audio, Cruise called the set of the film the “gold standard” of shooting amid pandemic conditions.
“We are creating thousands of jobs you motherf–kers,” he shouted. “I don’t ever want to see it again. Ever. And if you don’t do it, you’re fired, and I see you do it again, you’re f–king gone.”
The MF bombs aside, I can kind of sympathize with Cruise. He shouldn’t have to be the COVID cop on the movie sets, you’d think he’s pay somebody else to have that unthankful job, but he’s sure taking responsibility for the health of everybody involved.
Just me speaking here, but I don’t need to see Mission Impossible so badly that I want people to be in serious danger making it. I realize all movies have some danger associated with them, but if shooting the movie involves increased pandemic-related danger, then just wait. Film scenes you can and shut down production until it’s safe. Maybe that’s not an option for those financing the film, I don’t know, but somebody is going to have a mental breakdown on set. Maybe Cruise.
It’s ironic that a guy who does so many dangerous stunts himself is faced with a danger he mentally can’t overcome.
Now, to turn everything above on its head, what if this Cruise rant was all staged? It’s just a clever publicity stunt?
She explained that the entire episode was likely a crafted media ploy to spin the church’s reaction to COVID in a positive light. “Tom does not care about the families of his crew; this is all for publicity. Tom does not believe in family values,” Remini wrote. “Anything you see coming from Scientology and Scientologists, such as mask-wearing and supposedly humanitarian efforts, is just a show. It’s for public relations reasons only.”
Disclaimer: we don’t know anything official or have any insider sources, this is a pure guesswork based on industry observation, business and instinct, but we think Roku and HBO Max will ink a deal before Christmas 2020.
I’d say we know it will, but that just sounds too confident. I’m like 90% certain it gets done.
If this is wrong, then come back in the comments and freely say, “ha, you were wrong!”. If this prediction is right, then give us credit. It’s a fair deal for speculative results 😉
We’ll dig into why this deal makes so much sense after the words of WarnerMedia CEO.
Roku has resisted adding HBO Max to its services due to what it perceives as low-ball offers. Killar, though, said the two entities have “respect” for each other and are undergoing “productive conversations.” Killar seems to be fairly confident the two sides can reach an agreement at some point. “I do have optimism that something gets done,” Killar stated.
Killar wants to get the deal done. The fact that he’s telegraphing the deal is a good sign that both sides are close. Also, the fact that Roku is not trying to block HBO Max access through Apple Airplay devices. The HBO deal is up soon, also, meaning there won’t be any other way to access HBO on Roku. That’s just too much pressure for Roku to continue to hold out over “low-ball offers.”
The biggest film — yes, perhaps even bigger than Tenet — of 2020 is coming Christmas day, Wonder Woman: 1984. Many people will only be able to watch this movie on HBO Max. Roku is going to want to be part of this mega advertising opportunity. They want to be able to say, “Watch Wonder Woman 1984 on HBO Max via your Roku connected device!”
Roku is feeling the pinch of not playing ball with other channels, and they should.
For a long time, we’ve thought of Roku as the streaming media king. Not just because its software is so easy to use and its devices so affordable, but also because of its popularity — the company has traditionally enjoyed a much larger share of the streaming market than its competitors. But it looks like the company’s contentious relationships with some of the biggest names in streamed entertainment may be hurting that reputation: Amazon has just announced that its Fire TV platform has hit 50 million monthly active users on its devices globally, a number that comfortably edges out Roku, which reported 46 million monthly active users in November.
So, there you have it, my money is on a deal being announced that on/before Christmas day a Roku HBO Max app will be available. Apparently, there is already one ready to go, the deal just needs to be signed.
Let’s see if our guess is right. Who needs insider sources anyway? What do you think?
If it does not happen, then it won’t drag too much longer into 2021. Not with all 17 Warner Bros. movies day and date releasing on HBO Max. Roku just can’t sit on the sidelines for that. No way.
The time is now Roku and WarnerMedia, the clock is almost done ticking. Put that gift under the tree. Get it done.