Very glad to see After Yang on both of your lists! I haven't seen it pop up on too many of these, and it's an exceptionally moving, singular film. It was disappointing to see that even in NYC, it screened in only 1 or 2 theaters. It's visually stunning and seemed well suited for at least a larger arthouse release.
I would also like to be included in the “EEAAO was good not great” camp. The film sheds a lot of the importance of its multiverse and sci-fi plots as it ramps into its climax. *SPOILERS* It reduces itself to scenes of her making amends to each family member. *END SPOILER* But its not like the climax is terrible! I had a fun time! It was a great ride, I liked it enough! 🤷♂️
I think people are missing something in the OH GOD THE BOX OFFICE DISASTER takes: we're in a particularly Heavens Gatey era right now, for some reason.
Why was Babylon given 100 million and then (apparently) does everything it can during the first reel to dare people to leave the theater?
Why is Spielberg making movies that recreate his childhood? I liked West Side Story a lot and I *loved* The Fabelmans but neither are broadly commercial compared to his past hits
Why is Nightmare Alley 150 minutes long and grotesquely gore-filled?
Why is Tar 160 minutes long as a character study?
Banshees of Inishirin is terrific but it's far less commercial than In Bruges and 3BB
These movies would be unlikely to be hits in ANY era.
Basically, we're living in a world where there are...
-big giant IP blockbusters which are succeeding
-directors being given blank checks for personal, esoteric, off-putting movies that are not connecting with audiences
-Middle of the road movies like Where the Crawdads Sing and Bullet Train that no one writes about.
Why is no one focusing on point 3? Crawdads made 80m on 24m. Black Phone and Violent Night did fine. But oh no, the 60-on-RT, punishingly long, divisive, nonsensical-trailer Babylon failed!! Well yeah, so did Heavens Gate.
We don't need more Tars to save theaters (and Tar will be in my Top 5). We need some Beverly Hills Cops
I think 2022 offered more reasons for optimism about the future of theaters than you're giving it credit for. Sure, Avatar 2, Top Gun 2, and Black Panther 2 all cleaned up, but lots of other kinds of movies found varying levels of unexpected and encouraging success in theaters as well: Barbarian, Smile, Where the Crawdads Sing, Elvis, Nope, The Woman King, Don't Worry Darling, Bullet Train, Pearl, Terrifier 2, and (of course) Everything Everywhere All At Once. I'm sure there are some I'm forgetting as well. None of those movies were sure things and none of them cost more than $90 million dollars (most cost much less), but people still came out to see them. Hell, at least two of those (Smile and Barbarian) were made for streaming and got theatrical releases after testing well. To me, that demonstrates that studios still at least have some investment in theaters.
One of the only things I miss about being on Twitter is missing little bits of news like DISAPPOINTMENT BLVD. being renamed BEAU IS AFRAID, and spending a couple days wondering if the former had been shelved before I get around to Googling it. (DB was always hyped as a comedy instead of a horror, so the rebranding and re-genreing is perplexing - desperate marketing, or accurate description of the final product?)
do I just not connect with McDonagh? I enjoyed BoI quite a bit: it's very funny, very bleak, there's some great acting and there's beautiful scenery.... but it didn't move me. We got to the climax and it felt extremely similar to the ending to Three Billboards. Like, it felt copied. Again, really good film, but I don't get the love it has seen.
But then again (and I know I've already disagreed about this with you previously, Scott) I don't get the love for Kimi this year. Is it because Soderbergh doesn't speak to me? I feel the constant comparisons to 70's paranoia classics like The Conversation did it a disservice, because it's only superficially like those movies: we know very very quickly that our protagonist isn't imagining anything. It was very enjoyable and spry, but nothing more than that to me. (and having watched Run, Lola, Run for the podcast, it pales in comparison. Kimi's script needed some polishing, but that's something I not infrequently think of Soderbergh's work)
ok, let's talk theaters! I, too, saw Glass Onion in it's theatrical release and can't understand how Netflix didn't have a plan in place to extend it's run if it was successful
But how are we judging theatrical success in a world in which movies are release streaming same day or within a month? in which studios don't seem to know how to market to people who don't head to the theater every week? in which we have no idea how much revenue these movies are driving for their streaming-service owners?
Avatar has, despite all expectations, gotten decent critical attention. It did not flop. but is it a wild success? (maybe you know the money it's pulling down and know it is) I will say that I do not know a single person who is not a film critic that has seen it. I'm glad people think it's impressive, but it doesn't seem to be drawing people in my circles.
Is Fabelmans a failure? It's not performing up to "spielbergian" standards, but what *should* a period coming of age film with no supernatural features be expected to do? It's still playing in my area and there was a decent crowd over the holidays? maybe it's still performing? (thought I do think they botched the advertising and rollout for that one)
we know blockbusters will continue to bring people to the theater. but unfortunately I think we still don't know what else might draw them. (myself, a theater enthusiast, included. when viewing windows are short and you know something will immediately be on streaming, it can be hard to prioritize going out exactly when the film is available. we've been spoiled)
Because I'm an idiot, I saw every wide release in 2022 and the real problem I see is the studios taking whole months off from releasing any major titles. Between Bullet Train and Black Adam, there were no studio movies aimed at a wide audience. A couple horror titles like Barbarian and Smile and arthouse movies that should have platformed like 3,000 Years of Longing. When commercial movies like Glass Onion, Prey, and Turning Red are dumped on a streaming service during otherwise barren times like those at the box office, you're training general audiences to not even check their local listings.
"Is there a place for simply liking Everything Everywhere All at Once with mild reservations?" Scott, if you ever find this place, please post directions, because I want to go to there.
I'm not sure if you'll see this, Scott, but I would love an article that untangles Steven Soderbergh's prolific output. I haven't seen several of his films of the last decade, and wonder which are worth watching.
Very glad to see After Yang on both of your lists! I haven't seen it pop up on too many of these, and it's an exceptionally moving, singular film. It was disappointing to see that even in NYC, it screened in only 1 or 2 theaters. It's visually stunning and seemed well suited for at least a larger arthouse release.
I would also like to be included in the “EEAAO was good not great” camp. The film sheds a lot of the importance of its multiverse and sci-fi plots as it ramps into its climax. *SPOILERS* It reduces itself to scenes of her making amends to each family member. *END SPOILER* But its not like the climax is terrible! I had a fun time! It was a great ride, I liked it enough! 🤷♂️
No Everything Everywhere All at Once, Scott? Zero credibility! You're through!
I think people are missing something in the OH GOD THE BOX OFFICE DISASTER takes: we're in a particularly Heavens Gatey era right now, for some reason.
Why was Babylon given 100 million and then (apparently) does everything it can during the first reel to dare people to leave the theater?
Why is Spielberg making movies that recreate his childhood? I liked West Side Story a lot and I *loved* The Fabelmans but neither are broadly commercial compared to his past hits
Why is Nightmare Alley 150 minutes long and grotesquely gore-filled?
Why is Tar 160 minutes long as a character study?
Banshees of Inishirin is terrific but it's far less commercial than In Bruges and 3BB
These movies would be unlikely to be hits in ANY era.
Basically, we're living in a world where there are...
-big giant IP blockbusters which are succeeding
-directors being given blank checks for personal, esoteric, off-putting movies that are not connecting with audiences
-Middle of the road movies like Where the Crawdads Sing and Bullet Train that no one writes about.
Why is no one focusing on point 3? Crawdads made 80m on 24m. Black Phone and Violent Night did fine. But oh no, the 60-on-RT, punishingly long, divisive, nonsensical-trailer Babylon failed!! Well yeah, so did Heavens Gate.
We don't need more Tars to save theaters (and Tar will be in my Top 5). We need some Beverly Hills Cops
I think 2022 offered more reasons for optimism about the future of theaters than you're giving it credit for. Sure, Avatar 2, Top Gun 2, and Black Panther 2 all cleaned up, but lots of other kinds of movies found varying levels of unexpected and encouraging success in theaters as well: Barbarian, Smile, Where the Crawdads Sing, Elvis, Nope, The Woman King, Don't Worry Darling, Bullet Train, Pearl, Terrifier 2, and (of course) Everything Everywhere All At Once. I'm sure there are some I'm forgetting as well. None of those movies were sure things and none of them cost more than $90 million dollars (most cost much less), but people still came out to see them. Hell, at least two of those (Smile and Barbarian) were made for streaming and got theatrical releases after testing well. To me, that demonstrates that studios still at least have some investment in theaters.
One of the only things I miss about being on Twitter is missing little bits of news like DISAPPOINTMENT BLVD. being renamed BEAU IS AFRAID, and spending a couple days wondering if the former had been shelved before I get around to Googling it. (DB was always hyped as a comedy instead of a horror, so the rebranding and re-genreing is perplexing - desperate marketing, or accurate description of the final product?)
do I just not connect with McDonagh? I enjoyed BoI quite a bit: it's very funny, very bleak, there's some great acting and there's beautiful scenery.... but it didn't move me. We got to the climax and it felt extremely similar to the ending to Three Billboards. Like, it felt copied. Again, really good film, but I don't get the love it has seen.
But then again (and I know I've already disagreed about this with you previously, Scott) I don't get the love for Kimi this year. Is it because Soderbergh doesn't speak to me? I feel the constant comparisons to 70's paranoia classics like The Conversation did it a disservice, because it's only superficially like those movies: we know very very quickly that our protagonist isn't imagining anything. It was very enjoyable and spry, but nothing more than that to me. (and having watched Run, Lola, Run for the podcast, it pales in comparison. Kimi's script needed some polishing, but that's something I not infrequently think of Soderbergh's work)
Great list from the big dog. I give you full marks on all your picks.
I’d have to disagree on Mark Rylance in BONES AND ALL, I’d have his Old Gregg impression on my “worst performances of 2022” list.
ok, let's talk theaters! I, too, saw Glass Onion in it's theatrical release and can't understand how Netflix didn't have a plan in place to extend it's run if it was successful
But how are we judging theatrical success in a world in which movies are release streaming same day or within a month? in which studios don't seem to know how to market to people who don't head to the theater every week? in which we have no idea how much revenue these movies are driving for their streaming-service owners?
Avatar has, despite all expectations, gotten decent critical attention. It did not flop. but is it a wild success? (maybe you know the money it's pulling down and know it is) I will say that I do not know a single person who is not a film critic that has seen it. I'm glad people think it's impressive, but it doesn't seem to be drawing people in my circles.
Is Fabelmans a failure? It's not performing up to "spielbergian" standards, but what *should* a period coming of age film with no supernatural features be expected to do? It's still playing in my area and there was a decent crowd over the holidays? maybe it's still performing? (thought I do think they botched the advertising and rollout for that one)
we know blockbusters will continue to bring people to the theater. but unfortunately I think we still don't know what else might draw them. (myself, a theater enthusiast, included. when viewing windows are short and you know something will immediately be on streaming, it can be hard to prioritize going out exactly when the film is available. we've been spoiled)
Because I'm an idiot, I saw every wide release in 2022 and the real problem I see is the studios taking whole months off from releasing any major titles. Between Bullet Train and Black Adam, there were no studio movies aimed at a wide audience. A couple horror titles like Barbarian and Smile and arthouse movies that should have platformed like 3,000 Years of Longing. When commercial movies like Glass Onion, Prey, and Turning Red are dumped on a streaming service during otherwise barren times like those at the box office, you're training general audiences to not even check their local listings.
What were you thoughts on BONES AND ALL? (I’m sure you reviewed it but it’s so hard af to find a search feature in this mobile app)
"Is there a place for simply liking Everything Everywhere All at Once with mild reservations?" Scott, if you ever find this place, please post directions, because I want to go to there.
I'm not sure if you'll see this, Scott, but I would love an article that untangles Steven Soderbergh's prolific output. I haven't seen several of his films of the last decade, and wonder which are worth watching.