Eric Paddon wrote: ↑Sat Sep 12, 2020 1:47 pm Just a random goofy thought. Wouldn't it have been great if for a trailer, they reshot the "Apple 1984" commercial and substituted Gadot as WW rushing in at the end and had the tagline, "See how 'Wonder Woman 1984' won't be like '1984'"?

Yes, I like that. Would be cool for Ridley Scott to direct the trailer in a shot-for-shot recreation. Just pay him the money, it's worth it.

It'd be cool if Ridley would direct something other than psychotic androids -- would be a fabulous change of pace for him!

I don't know, but watching the trailers again, I'm starting to get that parallel CAPTAIN AMERICA: WINTER SOLDIER VIBE in terms of structure. Hero now in a modern setting, an old friend comes back, an evil Robert Redford-like authoritarian figure wanting to dominate the world and individuality, and add in a mish-mosh between Jim Carrey's RIDLER and Michelle Pfeiffer's CATWOMAN - and you have CHEETAH! This movie was completed over a year ago. Will it become too dated by the time it hits whatever format it will come out on?

I think it's been completed even longer ago than that, amazingly. Principal photography ended 2018, should've been out Summer 2019, they did reshoots and pushed it to last Christmas. Then delayed it to Summer 20 and I'm sure wish they hadn't at this point.

White flag raised

At least it will be in SOME theaters.

Eric Paddon wrote: ↑Sat Sep 12, 2020 1:47 pm Just a random goofy thought. Wouldn't it have been great if for a trailer, they reshot the "Apple 1984" commercial and substituted Gadot as WW rushing in at the end and had the tagline, "See how 'Wonder Woman 1984' won't be like '1984'"?

Thinking further, perhaps "Wonder Woman 1984" is not like "1984" it is being released in what might as well be "1984"!

Something is rotten in the state of Themyscira...

https://www.bbc.com/news/entertainment-arts-55394556


Wonder Woman sequel falters at international box office



The sequel to 2017's Wonder Woman has failed to get box office tills ringing, making just $38.5m (£29.1m) in the 39 countries where it opened last week.

Around half that tally came from China, where Wonder Woman 1984 made $18.8m (£14.2m) in its opening weekend.

That sum was less than half the amount its predecessor made in China when it opened three years ago.

The sequel's takings were inevitably affected by the coronavirus pandemic, which has shut cinemas in many places.

In the UK for example, only around a quarter of cinemas were open and in a position to screen it to their customers.

The film also did not open in the US, where its distributor Warner Bros plans to release it in cinemas on 25 December.

The Christmas Day roll-out will see the sequel made available simultaneously on the HBO Max streaming service.
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Warner Bros will make the film available on Premium Video on Demand (PVOD) in the UK and Ireland from 13 January.

The company said it would do so "in recognition of varying current market restrictions and to service the massive fan interest".

Directed by Patty Jenkins, Wonder Woman 1984 sees Gal Gadot reprise her role as the formidable DC Comics superhero.

Chris Pine and Kristen Wiig also appear in the film, which currently has an 85% "fresh" rating on the Rotten Tomatoes site.

The original Wonder Woman, the first female-led superhero film to be directed by a woman, made more than $822m (£619m).

Wonder Woman 1984 is the first major studio title to reach cinemas since Tenet, another Warner Bros title, opened in August.

The film has made $362m (£273.5m) to date - a not unimpressive amount, yet one not large enough for it to break even.

Tenet's estimated budget is around $200m (£151m), but the studio would have spent at least that amount again on advertising.

Christopher Nolan's science-fiction action thriller made its own debut on VOD and other home-viewing formats earlier this month.


Oh -- the still photographer for Wonder Woman, Clay Enos (whose pic of Gal Gadot appears in the article) was a classmate of mine in college. In our school days he was a consummate avant garde maverick, who clearly wanted to make abstract art films for a living.

Now he's a still photographer for comic book movies. Life's full of irony.

WB premiering their 2020 roster of movies on HBO Max is a good way to hide alot of gigantic bombs from shareholders. A peak at this list suggests, pandemic or not, many of these films would have crashed and burned.

Looks pretty good to me.

The franchise stuff looks pretty solid -- WW1984 was going to make a ton of money, and a rebooted/"geek approved" Gunn version of THE SUICIDE SQUAD likely would have also. CONJURING 3 and GODZILLA V KONG certainly would've performed well, they have built in audiences. It remains to be seen if DUNE would've been a huge hit or more like BLADE RUNNER 2049, but you have a bunch of films there that would've been surefire performers. MATRIX 4 has question marks but was likely to bring in healthy numbers worldwide, regardless of how it did domestically. Even MORTAL KOMBAT has a lot of fans these days, and James Wan produced it, so it might have some juice going for it.

The non-franchise things definitely had some commercial promise also. THE LITTLE THINGS -- Denzel, Jared Leto, Remi Malek -- was lined up to be a hit with that cast and serial killer subject matter. James Wan's original horror movie MALIGNANT would've had an audience, and there's a lot of buzz associated with that project since he directed it himself (it's not just a Conjuring spin-off cheapie). MANY SAINTS OF NEWARK is David Chase's "Sopranos" prequel. KING RICHARD, which tells about the Williams sisters and their relationship with their father, was a high profile project for Will Smith and would've had a lot of broad appeal in terms of the subject matter.

The TOM AND JERRY and SPACE JAM retreads, Hugh Jackman REMINISCENCE, Angelina Jolie western THOSE WHO WISH ME DEAD, JUDAS & THE BLACK MESSIAH, and Lin-Manuel Miranda musical IN THE HEIGHTS -- those are question marks that are harder to classify without seeing how they turned out (the ceiling seems more limited there on those), but the rest of that slate actually looks worthwhile to me. At least enough that I'll be buying the $15/month sub to HBO Max for it

This is the very reason why going to HBO Max was the right move. If it's not happening overseas, it won't be happening here either.

Looking forward to The Rescue. Scored by Elliot Leung. According to his bio, Elliot attended Wheaton College, where he majored in Music Composition, and has worked with Dante Lam, his previous film being, Operation Red Sea.

https://www.wheaton.edu/news/30-under-30/elliot-leung/

My college. Interesting.

Didn't watch it yet but this review is quite amusing. And also kind of sad they couldn't take politics out of something like this.

"This movie is laboratory-made processed corporate goop in a can."

I just watched the film on HBO Max and I really enjoyed it.

However, as soon as the movie transitioned to the 1980s, everything was really purple and green. When I see GIFs online, it seems like the colors are more normalized.


What would cause my TV to show green and purple as the primary colors for the film? Everybody's lips are purple, the WW outfit is purple, really doesn't make any sense...