#sasha perl-raver
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TOTALLY KILLER (2023)
Starring Kiernan Shipka, Olivia Holt, Julie Bowen, Randall Park, Lochlyn Munro, Charlie Gillespie, Liana Liberato, Kelcey Mawema, Stephi Chin-Salvo, Anna Diaz, Jeremy Monn-Djasgnar, Troy Leigh-Anne Johnson, Ella Choi, Nathaniel Appiah, Jonathan Potts, Kelcey Mawema, Stephi Chin-Salvo, Ella Choi, Jeremy Monn-Djasgnar and Nathaniel Appiah.
Screenplay by David Matalon & Sasha Perl-Raver and Jen D'Angelo.
Directed by Nahnatchka Khan.
Distributed by Amazon Studios. 106 minutes. Rated R.
It’s funny to imagine the pitch meeting for Totally Killer. “Well, it’s a slasher horror film about a masked killer targeting high school mean girls… And did we mention that it’s also a post-modern comedy? Oh, and also, it’s about time travel.”
Totally Killer has so many balls in the air at once that it is kind of shocking that it is as good it turns out to be.
With a relatively unknown young cast – lead Kiernan Shipka has a following for playing Sabrina the teenaged witch in The Chilling Adventures of Sabrina and Riverdale and her mom is played by Modern Family’s Julie Bowen – Totally Killer is a near complete surprise. And it’s a good surprise.
Now to be completely honest, Totally Killer works better as a comedy than as a horror – the killer sections in fact tend to be the soft spots here – but it’s a smart and funny film. And, let’s face it, most horror films since the original Scream work comic beats into their scripts.
It is all smartly and snappily directed by television scribe Nahnatchka Khan – best known for creating the quirky TV series Don’t Trust the B---- in Apt. 23 and Fresh off the Boat. (Her Fresh off the Boat star Randall Park has a funny supporting part as an ineffectual sheriff.)
It’s a terribly high concept idea. Jamie (Shipka) is a teenager who is in complete revolt from her overprotective do-good mother Pam (Bowen). It seems that back in the 1980s when mom was 16 (Jamie’s age now…), three of her friends were stabbed to death by “The Sweet Sixteen Killer” – and Pam has been expecting him to return ever since.
The killer has become something of a local celebrity – inspiring “Sweet Sixteen Killer” tours and Halloween costumes – but he has not been heard of since the original killings 35 years earlier.
And of course when Pam’s daughter turns 16, the killer returns, with filled with violent intents. Naturally he targets Jamie. Jamie’s best friend has been trying unsuccessfully to build a time machine from an old photo booth for the local science fair, based upon her mother’s long-ago notes, because of course she is. As the killer tries to get Jamie, she hides in the time machine. As the killer stabs at her in the booth, his violent stabbing inadvertently causes the machine to work.
Jamie arrives in 1987, on the day that the killings are about to start. (This is not as random as that may sound, she and her friend programmed in the date while the time machine was not operational. Now Jamie has to find the victims and save them, to figure out who the killer was, and to figure out how to get back to her own time. That last part is particularly tricky, as the time machine runs on Wi-Fi, which does not exist in 1987.
Also, it turns out, she has to keep her teen parents – who are much wilder than their future selves would suggest – from hooking up yet, because they are not supposed to get together until after they finish college.
Of course she quickly finds that telling the truth to alert the police and the potential victims of the danger, is not going to work. Even she recognizes that comparing herself to Marty McFly in Back to the Future to try to explain what happened makes her sound nuts. So she decides to act like a new student – recently moved there from Prince Edwards Island, Canada, of all places – and befriend her mother and the victims, who turn to be the local mean girl clique called the Mollys. (They idolize Molly Ringwald and tend to dress in outfits that match her different film wardrobes.)
With many fits and starts and roadblocks, she finally befriends teen Pam (Olivia Holt) and goes about trying to save everyone. But the more she tries, the more she slightly changes history, and she fails at stopping the killings.
The fish out of water aspects of a modern teen in the 1980s never fails to connect. Shipka frustratedly scolding her 1980s counterpoints with things like “unwanted touch” or “you can’t call her that” make for comic gold. Dealing with things like keggers and dodgeball and nude hot tubbing make for some wonderfully awkward humor.
Totally Killer also gets bonus points for having a major sequence in one of my favorite forgotten carnival rides, the Gravitron (redubbed the Quantum Drop here). As Wikipedia explains: “The ride is completely enclosed, with 48 padded panels lining the inside wall. Riders lean against these panels, which are angled back. As the ride rotates, the rider experiences a centrifugal force pointing outward from the ride's center. This force, along with the slant in the walls, allows riders to be completely supported by the walls, without their feet touching the ground. The ride can rotate at a maximum frequency of 24 rpm. It reaches that frequency in less than 20 seconds…. At this point, the riders are experiencing centrifugal force equivalent to three times the force of gravity.”
If Totally Killer somehow becomes responsible for the resurrection of the Gravitron regaining popularity in carnivals, then it will not just be a terrifically fun film, but it will have done a great service for humanity.
Jay S. Jacobs
Copyright ©2023 PopEntertainment.com. All rights reserved. Posted: October 6, 2023.
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Murder is so 1987. From producer Jason Blum, Totally Killer will be released on October 6 exclusively on Prime Video, but I’m giving readers in the Massachusetts area the opportunity to see the horror-comedy early - and for free!
Broke Horror Fan is sponsoring an advance screening of Totally Killer at Cinema Salem in Salem, MA on Thursday, October 5, at 9pm. Click here to register for complimentary passes while supplies last. Seating is first-come, first-served and not guaranteed, so be sure to arrive early!
Nahnatchka Khan (Always Be My Maybe) directs from a script by Jen D'Angelo (Hocus Pocus 2), David Matalon, and Sasha Perl-Raver. Kiernan Shipka, Olivia Holt, Charlie Gillespie, Lochlyn Munro, Troy L. Johnson, Liana Liberato, Kelcey Mawema, Stephi Chin-Salvo, Anna Diaz, Randall Park, and Julie Bowen star.
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35 years after the shocking murder of three teens, the infamous “Sweet Sixteen Killer“ returns on Halloween night to claim a fourth victim. Seventeen-year-old Jamie (Kiernan Shipka) ignores her overprotective mom’s (Julie Bowen) warning and comes face-to-face with the masked maniac and, on the run for her life, accidentally time-travels to 1987, the year of the original killings. Forced to navigate the unfamiliar and outrageous culture of the 1980s, Jamie teams up with her teen mom (Olivia Holt) to take down the killer once and for all, before she’s stuck in the past forever.
#totally killer#kiernan shipka#olivia holt#julie bowen#randall park#contest#article#nahnatchka khan#charlie gillespie#lochlyn munro#liana liberato#kelcey mawema#horror#jason blum#blumhouse#Youtube
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Totally Killer (2023)
Date de sortie : 06/10/2023
Réalisateur : Nahnatchka Khan
Scénario : David Matalon, Sasha Perl-Raver, Jen D’Angelo
Avec : Kiernan Shipka, Olivia Holt, Charlie Gillespie
#news#cinéma#actualité#acteurs#film poster#affiche de film#Blumhouse Television#Charlie Gillespie#Divide Conquer#film d'horreur#Kiernan Shipka#Nahnatchka Khan#Olivia Holt#slasher#Totally Killer (2023)
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Review: Totally Killer (2023)
Totally Killer (2023)
Rated R for bloody violence, language, sexual material, and teen drug/alcohol use
<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2023/10/review-totally-killer-2023.html>
Score: 3 out of 5
Totally Killer is a film where you can see the marks of Happy Death Day written all over it. That movie, which has grown in my estimation over the years, set a template for a kind of horror-comedy that Blumhouse has since come to specialize in, one that combines a slasher movie storyline with a big, high-concept hook straight out of a classic retro comedy (in Happy Death Day's case, it was Groundhog Day). In this case, director Nahnatchka Khan and writers David Matalon, Sasha Perl-Raver, and Jen D'Angelo not only put a slasher twist on the basic plot of Back to the Future and the Bill & Ted films, they went the extra mile and set large parts of the film in the '80s as well, having its modern-day protagonist confounded by the values of the decade as much as Marty McFly was by the '50s. The result is a film I enjoyed, but wanted to like more than I actually did given the wild ride that the trailers promised. On one hand, it nailed the comedy side of the equation and had a cool-looking killer, a great co-lead performance by Olivia Holt as an '80s mean girl, and a story that seemed to be going in some interesting directions, but on the other, the horror side was fairly rote, it held back on some of the ideas it leaned towards, and its leading lady Kiernan Shipka didn't do much to elevate the material. Ultimately, I'd sooner rewatch The Final Girls as a film that did a superficially similar story more effectively, but I can't deny that there's still a lot to like about this one, and I don't regret having watched it.
The film starts on Halloween in 2023, thirty-six years after Pam Hughes survived a killing spree where three of her friends were murdered by the "Sweet Sixteen Killer", a masked murderer who stabbed each of his victims sixteen times on their sixteenth birthdays in late October. Now, Pam is a soccer mom with a teenage daughter named (what else?) Jamie -- and tonight, she herself gets murdered by the Sweet Sixteen Killer, who was never caught and seems to have come back to finish the job. Jamie, distraught over her mother's death, suddenly receives two leads, first from a local true crime podcaster named Chris who tells her that Pam had received a note from the killer reading "you're next, one day" that she had kept secret, and second from her best friend Amelia, a science whiz who's trying to enter the science fair with a time machine that her mother Lauren designed but which she can't get to work. Thanks to some accidental intervention by the killer, Jamie somehow manages to figure out how to make the machine work, and gets sent back in time to 1987 on the day of the first murder. With a heads-up from the killer, she sets out to not only solve her mother's murder in the present, but also save her mother's friends in the past.
The comedy side of the film was clearly where Khan and the writers were most invested in the material. A lot of humor is mined from Jamie's reactions to not only how different the adults in her life were when they were her age, but also how the '80s were a very different time when it came to everything from politics to permissiveness, and not necessarily for the better, a rather appropriate perspective to take given how much of the film's plot concerns Jamie realizing just how much of a bitch her mother was back when she was her age. And on that note, Olivia Holt as young Pam was this film's heart and soul, not only looking like a perfect dead ringer for a young Julie Bowen (who plays her grown-up self) but understanding the assignment and feeling like nothing less than a more mean-spirited (if still heroic) version of the characters that her idol Molly Ringwald plays. Whenever Holt was on screen, which was fortunately often, this movie sparkled to life. The supporting cast, too, served as capable accomplices for Holt, whether it's their job to act frightened or make you laugh, and occasionally do both at the same time. (One kill in particular late in the film stands as one of the funniest "comedy" deaths I've ever seen.) The horror side of the film was a fairly boilerplate whodunit slasher that would be familiar to anyone who's seen Scream (a film that this one namedrops) or any of the films that followed in its wake. However, it was elevated by a killer whose look alone was creepy, wearing a Max Headroom-inspired mask that feels right at home in this movie's darkly comic sendup of the '80s and giving a twisted sort of edge to him. It may have just been aesthetics rather than substance, but those aesthetics were really damn cool, and given how much this movie is powered by a love of the visual and sonic landscape of '80s pop culture, it was exactly what the movie needed.
It was fortunate that this movie had Holt and its totally killer (sorry) style propelling it, because there were otherwise a lot of weak links here -- and unfortunately, they were some big ones. For starters, while I liked Kiernan Shipka on Chilling Adventures of Sabrina, I found myself very disappointed with her performance here, a problem given that she was supposed to be the main character. She acquitted herself well enough with the scares and as the "straight man" to the humor, but this film was built around Jamie's relationship with her mother, and while Holt carried her side of that story well enough, Shipka fell flat and couldn't get me interested in the character. What's more, the writing missed some very interesting and incisive directions that it could've gone in, tying Jamie's shock at her mother's awful behavior as a teenager to the jokes poking fun at the political incorrectness of the '80s and using both to craft a broader theme about how our memories of the past are all too often colored by selective nostalgia that glosses over the uncomfortable sides of the things we love. It's a dramatic throughline that was practically right there, waiting to be tapped, and yet the film barely even seems to think about how two of its primary elements might connect to one another. Finally, the reveal of the killer's identity was telegraphed almost from the moment we're introduced to one particular character, and the film did nothing to play around with it, resulting in a flat, uninteresting villain with a motive that's been done many times before and often better.
The Bottom Line
Totally Killer is goofy to a fault, seeming to actively avoid finding any deeper meaning in what it's saying in favor of delivering a sugar rush of '80s nostalgia. On that front, it delivered exactly what it set out to, a mix of retro aesthetics, lots of funny jokes, and a performance by Olivia Holt that ought to be a stepping stone to bigger and better things. If you wanna have some fun, check it out, though I do wish it got a bit meatier than it wound up being.
#totally killer#2023#2023 movies#horror#horror movies#comedy#comedy movies#horror comedy#olivia holt#kiernan shipka#slasher#slasher movies#time travel#julie bowen#liana liberato#lochlyn munro#randall park
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TOTALLY KILLER (2023) Comedy horror slasher soon on Prime - red band trailer!
Totally Killer is a 2023 comedy horror slasher film about a teenage girl who goes back in time thirty-five years to stop a serial killer.
Directed by Nahnatchka Khan from a screenplay co-written by Jen D’Angelo, David Matalon and Sasha Perl-Raver from a story by David Matalon and Sasha Perl-Raver. Produced by Jason Blum, Greg Gilreath, Adam Hendricks and Adan Orozco.
The Divide/Conquer-Blumhouse…
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#2023#Charlie Gillespie#comedy horror slasher#Kiernan Shipka#Liana Liberato#Lochlyn Munro#movie film#Nahnatchka Khan#Olivia Holt#red band trailer#Totally Killer#Troy Leigh-Anne Johnson
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Totally Killer Review: A Time-Travel Slasher Extravaganza
Totally Killer, directed by Nahnatchka Khan and crafted from the imaginative minds of screenwriters David Matalon, Sasha Perl-Raver, and Jen D'Angelo, is an enthralling, suspenseful, and shockingly wholesome film that seamlessly melds elements of thriller, horror, and time-travel genres. Set against the backdrop of 1987, this film takes audiences on a roller-coaster ride through time, weaving a tale of suspense, nostalgia, and the unbreakable bond between a mother and daughter.
https://www.youtube.com/watch?v=vNm3VPPKEQI
The Good:
At its core, Totally Killer revolves around a haunting premise: after witnessing her mother’s friends fall victim to the Sweet Sixteen Killer on Halloween night, Jamie, portrayed with exceptional depth by Kiernan Shipka, embarks on a journey back in time to 1987. This daring venture thrusts her into a race against time, forcing her to confront the killer before he can unleash his reign of terror, all while attempting to find her way back to her own timeline.
One of the film's strongest points is its impeccable casting. Kiernan Shipka delivers a stellar performance as Jamie, capturing the character’s determination, vulnerability, and resilience with remarkable finesse. Julie Bowen, as Pam, the adult version of Jamie's mother, exudes a mix of strength and vulnerability, anchoring the film emotionally. The seamless transition between Olivia Holt and Bowen as the teenage and adult Pam, respectively, adds a layer of authenticity to their shared role, highlighting the subtle nuances of their performances.
The screenplay, crafted by Matalon, Perl-Raver, and D'Angelo, masterfully navigates the complexities of time travel. The narrative is meticulously woven, incorporating intricate details and clever plot twists that keep the audience on the edge of their seats. The dialogues are sharp, poignant, and laden with underlying tension, adding depth to the characters and their relationships.
To be honest, it's hard to find another film that traverses the subject of time travel as beautifully as this movie does. It's extremely similar in tone to Christopher Landon's Freaky - a movie that's most definitely a slasher at heart, but is also filled to the brim with wholesome vibes. It's quite random, sure, but can we please see a crossover with this and Happy Death Day and Freaky?
Director Nahnatchka Khan deserves accolades for her exceptional vision and execution. She skillfully captures the essence of the 1980s, immersing the audience in a vibrant world of neon lights, retro fashion, and iconic music. The meticulous attention to period-specific details lends authenticity to the film, invoking a sense of nostalgia for viewers who lived through that era while providing younger audiences with a captivating glimpse into the past.
The film's cinematography, helmed by Judd Overton, is visually striking. The juxtaposition of eerie, dimly lit scenes with the neon-drenched landscapes of 1987 creates a visually dynamic experience. The use of suspenseful camera angles and innovative visual effects intensifies the film's overall impact, heightening the sense of dread and anticipation.
Additionally, the film's score, composed by Michael Andrews, perfectly complements the on-screen action. The haunting melodies and pulse-pounding beats enhance the atmosphere, eliciting a range of emotions from the audience. From heart-pounding chase sequences to poignant moments of introspection, the music serves as a powerful narrative tool, elevating the film to greater heights.
Totally Killer is not merely a thrilling time-travel escapade; it delves deep into the themes of family, love, and the resilience of the human spirit. Through Jamie and Pam’s poignant relationship, the film explores the lengths a mother and daughter would go to protect each other, even across the barriers of time. This emotional core adds a layer of depth to the narrative, resonating with audiences on a profound level.
The Bad:
However, the film is not without its minor flaws. At certain points, the pacing feels slightly uneven, with moments of intense action giving way to slower, contemplative scenes. While these moments contribute to character development, a tighter grip on pacing could have elevated the film's overall intensity.
Overall:
Totally Killer stands as a testament to the power of compelling storytelling and exceptional filmmaking. Its gripping plot, stellar performances, meticulous attention to detail, wholesome undertones, and emotional resonance make it a standout entry in the time-travel subgenre. The film's ability to transport audiences to a different era while unraveling a riveting mystery is a testament to the talent and creativity of its creators. It's also a great film to watch if you want to be put in a great mood, even with all the killings on-screen. This is sure to be a sleeper hit, so make sure to go check it out right away.
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Prime Video and Blumhouse Announce TOTALLY KILLER
The slasher-comedy horror film stars Kiernan Shipka, Olivia Holt, Julie Bowen, and Randall Park.
Julian Ungano/Jake Cloobeck/Theo & Juliet/Storm Santos
Prime Video and Blumhouse Television announced the upcoming slasher-comedy horror film Totally Killer, from Amazon Studios and Blumhouse. The film will star Kiernan Shipka (Chilling Adventures of Sabrina, Mad Men), Olivia Holt (Cruel Summer), Julie Bowen (Modern Family, Life of the Party), and Randall Park (Always Be My Maybe, Fresh off the Boat). Nahnatchka Khan (Always Be My Maybe, Young Rock, Don Wong) is directing, and Jen D’Angelo penned the screenplay based on an original script by David Matalon and Sasha Perl-Raver. Principal photography begins today in Vancouver.
The film follows Jamie (Shipka) whose mom, Pam (Bowen) is terrorized by the resurgence of the Sweet Sixteen Killer—a masked maniac that slaughtered a group of teenage girls in the ‘80s. With the help of her friend Amelia (Kelcey Mawema), she travels back in time to 1987 and teams up with the teen version of her mom (Holt) to try and stop the killer.
The cast of newcomers and established actors portraying characters in the film include Lochlyn Munro (“Adult Blake”), Charlie Gillespie (“Teen Blake”), Stephi Chin-Salvo (“Marisa Song”), Anna Diaz (“Heather Hernandez”), Jeremy Monn-Djasgnar (“Teen Randy Finkle”), Troy Leigh-Anne Johnson (“Teen Lauren”), Ella Choi (“Teen Kara Molnar”), Kelcey Mawema (“Amelia”), Liana Liberato (“Tiffany Clark”), Nathaniel Appiah (“Teen Doug Summers”), and Jonathan Potts (“Adult Chris Dubusage”).
The news comes on the heels of the announcement that Prime Video and Blumhouse acquired worldwide rights for the horror-drama and Sundance Grand Jury Prize winner Nanny from first-time feature writer/director Nikyatu Jusu. Additionally, the two companies have released eight films in the past two years as a part of their “Welcome to the Blumhouse” series, including: Bingo Hell, Black as Night, Madres, The Manor, Black Box, Evil Eye, Nocturne, and The Lie.
“The idea of a horror-comedy time travel movie is, I’m gonna be honest, something I never thought of in my life. So when I was approached by the amazing creatives at Blumhouse and Amazon about Totally Killer, it was just so unique and exciting I had to be involved. And then add this incredible cast on top of that? Everybody get readyyyyyyy,” said director Nahnatchka Khan.
“We thought this genre mash-up of slasher/comedy with a twist of time travel was just so fun, and Nahnatchka Khan is perfect to direct,” said Chris McCumber, president of Blumhouse Television.
“With Nahnatchka’s vision and the exciting cast led by Kiernan Shipka and Olivia Holt, we are confident Totally Killer will resonate with our audience around the world,” said Julie Rapaport, head of movies at Amazon Studios. “We could not be more thrilled to watch this story come to life and to continue our longstanding collaboration with the incredible team at Blumhouse.”
#film news#movie news#blumhouse#Prime Video#nahnatchka khan#jen d’angelo#david matalon#sasha perl-raver#kiernan shipka#olivia holt#julie bowen#randall park#horror#time travel#serial killer#comedy
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Collider’s TV Talk crew dressed as one another for 2016 Halloween.
#tv talk#halloween#josh macuga#2016#the wildman#sasha perl raver#david griffin#sinead de vries#podcast
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DC FIlms might be doing better than most of the bloggers lead you to believe
Why #DCEU might kick some #MCU ass in the coming years.
In order to make this point, I will use facts and some speculation, but overall compare some behavior and trends. As for the speculation part, i will clearly outline the FACT that is such and not present it as anything else.
First off, let’s start using more facts and less opinion. Opinion is when you say #MCU is better, because a site has given them certified scores. Also, please start making a difference between an aggregate score of a number of critics that said yes or no, and the actual score of the movie [situated below that flashy %].
Currently the average score for #MCU is at 6.9 compared to the “horrible failure” #DCEU at 5.85. Looking at this, it says only thing, none of these fanboys of the Disney cult, take the time to delve deep in the stats and meaning of them, they just use the convenient flashy aggregate number that fits their twisted narrative.
You can easily check this information on https://www.rottentomatoes.com/ , its not like a Collider reaction video, where most of the information is rumors and personal opinions. Or like a SchmoesKnow podcast back in the day featuring a Sasha Perl Raver exclusive that claimed, “Wonder Woman” is a huge mess from the same source, she says, told her “Batman V Superman: DOJ” is bad. Well after the movie came out and made 821 Million worldwide, something that has been achieved by 0 MCU origin stories [since they all rely on featured characters to make such Box Office results] the video was taken down. The reason being that I and many other fans, asked them to give us more info on their source and we got blocked by her and Kristian Harloff on Twitter with some swearing on his part for the ultimate experience.
So, we established the critical scores difference of 1 in favor of #MCU, now let’s see how things are looking monetary.
Unfortunately #MCU is at their 18th movie now, and #DCEU at their 5th one, so we can compare them movie for movie, but we can clearly see that #DC’s average is currently 3 Million per movie more than the #MCU’s average gross per movie, and by the looks of it, with AQUAMAN coming this December, the DCU phase 1 movies [6 movies vs 6 movies] will finish as 3.766 Billion + Aquaman’s Box-office [which could be anywhere between 600-800 Million] compared to MCU phase 1 - 3.811 Billion, which consisted from The Avengers [1.5 Billion BO] and only positive RT scores.
So that 50 Million difference is about to be swept under a wave in December with or without a good RT score. The average price of a ticket in 2018 is about to surpass 9.00 USD, and if Aquaman sells the same number of tickets like Thor did, it will gross around between 509-521 Million, now in case Aquaman decides to sell more than Thor and act like Man Of Steel in terms of sold seats it will end around 739-756 Million range, Wonder Woman seats put him in the 828-847 Million range and BVS DOJ type seats would mean a gross around 908-929 Million.
In any case, Aquaman will put the phase 1 at a minimum of 450 Million advance on #MCU phase 1, with an option to out-gross #MCU phase 1 with something close to 850 Million, not too bad for a “failed” franchise, I must say.
Now we all know #MCU fans have a ready answer for everything, one of their favorite points is that #MCU phase 1 existed between 2008 and 2012 and that Marvel had only B list characters. Well TDK came out in 2008 and made 1 Billion, so I guess the year wasn’t the issue and Superman in 78, first ever movie that appeared on the big screen with a superhero made adjusted to 2017 1.2 Billion. He did have a TV show previously. Something many Marvel characters tried and failed at, not our fault though. The character isn’t b or c list for the big screen until it hits it, as you can see #justiceleague had Batman and did not make 1.2 Billion guaranteed, nor did Batman Forever, Batman and Robin etc,. There is no guarantee for any brand, its the movie itself that makes money based on word of mouth.
So, to summarize:
Average critics score on RT
DCEU 5.85 MCU 6.9
Average gross per movie
DCEU 753 Million MCU 750 Million
Phase 1 vs Phase 1
DCEU 3.766 Billion MCU 3.811 Billion [DC has not released AQUAMAN to make it 6 vs 6], and as for adjusted ticket price and inflation, DC first 5 movies sold 434,457 Million seats and Marvel sold 491,466 seats, so AQUAMAN needs to sell 60 Million tickets for a tie, that's as many as the first Thor sold. Should be achievable and beyond.
And now let’s see the future: And here is the speculation is pointed at in the beginning.
DC has coming phase 2 the following: Shazam, Suicide Squad 2, Wonder Woman 2, The Batman, Nightwing and or Flash, how do you think this Phase 2 will behave?
A Matt Reeves Batman movie, that can get all of them #TDK fans back in the seats ranging between 900 Million -1.1 Billion if not comedic and Joss-like. Wonder Woman 2, should this time perform better overseas, that’s a possible 900 Million sequel for a movies that made 821 Million with 50 % of that coming from international markets, which is usually around 60 + % for such movies. Suicide Squad 2 if done the right way sounds like it could beat the first one and go for that 800 Million plus range, with the studio having learned what is a straight no for this franchise from the first one.
Nightwing, with all I am hearing and a good action martial arts movie set in Gotham, this can attract that Batman crowd and go somewhere between 600-700 Million possibly or less. Shazam could behave like Nightwing in terms of Box Office or if it's more comedic and family friendly even better due to the light and easy digestible tone it has, plus the huge boost it will get by its Producer The Rock.
In case the movie titles match my prediction with the actual phase 2 - DC films and the Box Office predictions match a possible scenario like the one I mentioned, then we can assume , something at worst at 3.6 Billion, best case 4.2 Billion, which will take them over 8.3 + Billion by a lot in only 2 phases. How is that a bad? Its beside me.
MCU phase 2 is around the 4.6 Billion mark, with its last two movies to make over 1.1 Billion, Avengers 2 [AOU] and Iron man 3. MCU phase 1 and 2 are worth around the 8.4 Billion give or take, and #DC has the chance to surpass that with critically acclaimed and original movies. As i mentioned, their phase 1 will likely close around the 4.1-4.4 Billion mark, add another 4.2 from phase 2 and you get a round 8.6 Billion. Again speculation on my part for DC, but they average per movies is currently 753 Million, and they aren't going to go lower for sure. While Marvel CU is doing fine mostly in phase 3, they first 2 phases were profitable due to Avengers 1 & 2 and Iron Man 3. We have two more Avengers movies that are coming and if they reach the success of the 1st one, i will be surprised. Nevertheless they will be aiming at a minimum Civil War Box Office, and if the plot is too generic and there isn’t enough closure, they will surely land on that 1 Billion circle, which can’t be that good for a movie with the cost of 490 Million plus.
Now remember, this is all speculation, because even with Zack Snyder gone for critics to use as an excuse for the same old same old rotten scores, they still went after David Ayer twice [Suicide Squad, Bright], Joss Whedon [who did most of Justice League as we saw and was praised for Avengers]. So, they might just come for all DC films in the future based on brand bias. We can't know, but what we do know, is that the new directors brought to work on these films have been nothing but successful elsewhere and the only issue that might exist is the suits behind WB Pictures and their will to cut the movies to make them unoriginal and bland, like they did with Justice League.
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People like sasha perl raver clearly know that talking about "a DC movie is gonna be a mess" will get them clicks, views, likes, etc. They probably also know that there are many people who will see it as facts like "damn, I knew the movie was gonna suck!" But they still act like it's all ok to talk about these unconfirmed DC rumors and they're just like "you guys are too dense. I said I want it to be great. I just heard that the movie was a mess. I'm holding out hope"
That’s what pisses me off. They always hide behind the mask of concern and act like victims for spreading negative bullshit. Campea is the most egregious offender with that ‘’Don’t spread this around’’ nonsense before he started that rumor about Ben Affleck.
They know exactly what They’re doing and They’re perfectly fine with damaging the image of the universe to get attention. What’s fucking worse is that They then act innocent when Their actions have consequences.
I have no intention of letting Raver or Campea or anyone else who spread that nonsense about WW ever live it down. Not until They admit to being wrong and try to learn from it at the very least.
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Badlands75RT @sashaperlraver: Since this cat is out of the bag... (sound up) https://t.co/FXZicQlzXW
Since this cat is out of the bag...
(sound up) http://pic.twitter.com/FXZicQlzXW
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TOTALLY KILLER (2023) Comedy horror slasher soon on Amazon Prime
Totally Killer is a 2023 comedy horror slasher film about a teenage girl who goes back in time thirty-five years to stop a serial killer.
Directed by Nahnatchka Khan from a screenplay co-written by Jen D’Angelo, David Matalon and Sasha Perl-Raver from a story by David Matalon and Sasha Perl-Raver. Produced by Jason Blum, Greg Gilreath, Adam Hendricks and Adan Orozco.
The Divide/Conquer-Blumhouse…
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#2023#Charlie Gillespie#comedy horror slasher#Kiernan Shipka#Liana Liberato#Lochlyn Munro#movie film#Nahnatchka Khan#Olivia Holt#Totally Killer#Troy Leigh-Anne Johnson
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Wonder Woman’s Crazy History You Never Knew!
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It took 75 decades, but Ponder Girl, which has been in non-quit print due to the fact her to start with solo title in 1942, was finally released in theatres previous night. We decided that this is the excellent time to dive into her heritage and look at why it took so prolonged for her to get her own movie!
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