A while ago, like mid-to-late aughts maybe, it was in vogue to joke about Ben Affleck being a shitty actor. I haven’t seen all his roles and granted I’m sure he’s had his duds, but the existence of the Dogma parking garage scene was always evidence enough to me that he had the chops.
No judgement on his skill as a producer but Kinberg sucks as a writer from what I’ve seen of his. He strikes me as a studio-friendly hack, and this is a dumb move to keep the franchise “safe” rather than trying better to make it interesting.
Deadline is a film industry trade paper, so success metrics like Box Office are of interest to it, especially insofar as those metrics guide the trajectory of industry trends.
I view the first in a vacuum because the others actually harm it
Lol I do the same thing! If I watch any of the sequels I view them essentially as fanfic. Your point about emotional payoff in the first is really good too. It’s easy to forget watching the sequels that the dramatic core of the first movie was John’s grief for his wife. The dramatic core of the sequels is little more, as I remember, than the convoluted bureaucracy and politics of John trying and failing to be left alone.
The best moment in the entire franchise is after the assassination squad is sent to his house in the first movie. I saw it in theaters and fully, unconsciously anticipated that when the police strobe lights started flashing through the windows, that we would get a tense scene of John Wick attempting to distract the cop and send him away without the bodies being discovered.
When instead he opens the door wide, and the cop casually peers past his shoulder, and just asks, “you working again?”, it’s such a delightful, comical, surprising reveal. The concept worked best when we as the audience expected the world to function familiarly, and it could playfully subvert those expectations in small ways. They dove so deep into the capital-L lore beginning in the second movie, that we no longer expected the world to function familiarly, and thereafter stopped being surprised.
The first flick is a bonified good movie. The rest are, varyingly, titillating scenes of artfully choreographed and executed action set pieces loosely strung together by indulgently juvenile nonsense.
forecasts ad revenue to hit $1 trillion
I didn’t go to the theater for a few years due to both the pandemic and a new baby. When I did return for the first time last year, I was truly shocked at how many ads there are now at the major chains before curtain draw. It used to be ads before showtime, then trailers when the lights dimmed at showtime. Now it seems like there are just as many trailers as there were before, but intercut by an equal number of ads, so the time between showtime and actual movie start is ridiculous.
Best theater experience I’ve had by far was seeing The Descent on release. In that crucial mid-movie moment, the whole theater freaked out, and after things settled down I saw someone climbing back over the seat they’d apparently jumped over when it happened.
I’m not convinced that cameras and Nextdoor are having a material impact on the vague idea of “trust between neighbors,” but I admit it’s hard to gauge because I only have my own experience, which exists on a potentially wide spectrum.
I’m barely on Nextdoor and was surprised to hear there’s apparently a pretty common use of it for public shaming. The potential for petty community conflict does seem heightened by some of these technologies.
Some of us buy printers because we have abuse and humiliation fetishes. My OfficeJet is the kinkiest product I own.
OSS 117
A goofy, Zucker-Abrahams-Zucker-adjacent spy spoof from France. Stunningly, the same director and male and female leads wouldater collaborate on 2011’s Oscar winning The Artist.