Posted by Nick on July 3, 2014
The usual benchmark of box office success is whether a movie grosses more than their production budget in the US market. Edge of Tomorrow is poised to gross less than $100 million, however there is a new variable at play lately with many broad-appeal action movies. The overseas market!
The overseas market is growing rapidly, in particular in Asia, such that a movie like Edge of Tomorrow doesn’t need to make a lot of money in the U.S. market in order to be profitable. The movie currently sits at $86M domestically, but an astounding $234M internationally. That has allowed it to turn a big profit in spite of the somewhat weak US showing.
The movie itself deserves the money it made based on the reviews it has received. In it, Tom Cruise and Emily Blunt (who looks like she got into great shape for her role again) are super soldiers that crush all enemy resistance with the might of their lovemaking. The impact of their genitals creates a shockwave which stuns all nearby enemies with each thrust, allowing them to gun the weird aliens down without much resistance. I’m pretty sure they bought one of the biggest CrossFit equipmet packages they could find and got so buff that way.
Posted by Nick on June 18, 2014
When a book gets turned into a movie or a TV show, all sorts of things can go wrong. Take, for example, Game of Thrones. Oh wait, that’s an example of doing an awesome job and even improving on the source in some instances. No, take the Sword of Truth series from Goodkind. It was popular enough to reach #1 on the NYT Bestseller list when new books came out, yet the TV series was at best mediocre. What happened?
Well, first you have to hire people that care about the story and the characters, and preferably keep the author on board to oversee these things and give advice, just like Martin does with GoT. If you get an author like Stephen King or (apparently) Goodkind, who just sell the rights and have no say in anything, you usually get crap because someone else twists a great work into something they think will be more marketable, or focus-group friendly, and the result is something far from what made the original great.
This is also apparently what happened in City of Bones, as the abysmal Tomatometer indicates. Granted, most authors are faced with two choices: either completely sell your rights to the material and hope for the best, or don’t sell them at all. Very few movie studios want to give the author the ability to make changes or be a part of the approval process, but ultimately it’s the author’s choice whether to go for the cash grab, or stick to their guns and insist on some kind of creative control to help the producers of the movie understand why their book was popular and what needs to be conveyed in the movie for it to succeed. All too often it seems as though these authors are convinced that the movie is in the hands of professionals who know what they’re doing, when in reality some of the boneheaded choices that are made by directors/producers/studio execs can be spotted by even a layman a mile away.