Minus In the Name of the King, Statham has
a pretty good box office record, generally earning $ 20 million or more in week one.
Not exact matches
If that all sounds
pretty good, the real issue is how big a slice of this pie is the US industry getting, and how important overall is China
box office revenue to the studios?
But a movie with millions of fans should still do
pretty well at the
box office.
I don't know if Kong: Skull Island will do
well enough at the
box office to justify its $ 185 - million - plus production budget on top of a dedicated park attraction, but what I do know is that I went into the film
pretty skeptical... and came out feeling like the Summer 2017 film season had just kicked off three months early.
Every year is a
good year for action cinema, at least from a financial standpoint: If you count superhero movies, the genre
pretty much has the top of the
box -
office charts on perpetual lockdown.
After all, the film is already shattering
box office records and receiving glowing reviews from critics, so it's safe to say Marvel Studios has a
pretty firm grasp on what works and what's
better left to our imaginations.
However, 42 performed
pretty well at the
box office, and Boseman has clearly impressed the right people at Marvel.
It's almost a cliche at this point to mention that the films the end up on critical
best lists (whether print critics or bloggers), the films that end up the year's
box office champions, and the films nominated for Oscars are
pretty much three different groups of films.
As I already noted, the movie did
pretty well at the
box office, though it didn't turn into a massive smash ala Independence Day, but it surpassed any other Emmerich flick; both The Patriot and Godzilla topped $ 100 million but fell
well short of this flick's take.
Aside from that
pretty wonderful holiday short film / commercial released last month, things have been
pretty quiet for director Wes Anderson in the wake of 2014's The Grand Budapest Hotel, which was a critical darling, a
box office hit, a genuine Oscar contender, and very much the
best movie released that year.
That movie was a success by
pretty much any available metric:
box office (an eye - popping $ 980 million worldwide), critical appraisal (89 percent approval on Rotten Tomatoes), and the countless millions of American children (two of whom reside in my house) who spent weeks singing the movie's anthem, «Let It Go» — a likely shoo - in for
Best Song — from the moment they got up in the morning to the moment they were asleep at night.
While adaptations like «Silent Hill» and the «Resident Evil» series have their adamant defenders, and with the Angelina Jolie - starring «Tomb Raider» films faring
pretty well at the
box office in their day, there's also a glut of terrible titles like «Doom,» «Street Fighter,» and most of Uwe Boll's filmography.
It also meant that the chances of another player ever bothering to rent a set were
pretty small, as once again it generally made more sense to make a movie that had no special requirements since they typically do just as
well at the
box office.
It did
pretty well at the
box office, we are told.