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 Posted:   Feb 25, 2020 - 4:26 PM   
 By:   Khan   (Member)

Another feminist flop like Fembusters 2016,Terminator:Woke Fate, Elizabeth Banks Woke Angels,and The Rhythem Section.

How much money do these studios need to lose before they realise that audiences are sick of their gender and identity politics?


Oh, look, another misogynistic post from you. Go figure.

 
 
 Posted:   Feb 25, 2020 - 4:41 PM   
 By:   joan hue   (Member)

Go figure Yep, perfect.

Funny how we make what I call glittering generalities about movies and audiences. Audiences vary. Some movies flop because they are poorly made whether they have a male or female lead.

I thought Ed Norton's Motherless Brooklyn was very good, but it lost money, and I find that sad.

Gerwig's Little Women was SUPERB. Estimated cost to make it was about 40 million. In the U.S.A, it grossed around 107 million and a 199 million world wide. I find that thrilling.

 
 Posted:   Feb 25, 2020 - 6:47 PM   
 By:   Khan   (Member)

Go figure Yep, perfect.

Funny how we make what I call glittering generalities about movies and audiences. Audiences vary. Some movies flop because they are poorly made whether they have a male or female lead.

I thought Ed Norton's Motherless Brooklyn was very good, but it lost money, and I find that sad.

Gerwig's Little Women was SUPERB. Estimated cost to make it was about 40 million. In the U.S.A, it grossed around 107 million and a 199 million world wide. I find that thrilling.


Or films like Ocean's Eight or Captain Marvel doing big business.

 
 
 Posted:   Feb 25, 2020 - 9:38 PM   
 By:   Mephariel   (Member)

Go figure Yep, perfect.

Funny how we make what I call glittering generalities about movies and audiences. Audiences vary. Some movies flop because they are poorly made whether they have a male or female lead.

I thought Ed Norton's Motherless Brooklyn was very good, but it lost money, and I find that sad.

Gerwig's Little Women was SUPERB. Estimated cost to make it was about 40 million. In the U.S.A, it grossed around 107 million and a 199 million world wide. I find that thrilling.


Or films like Ocean's Eight or Captain Marvel doing big business.


Also:

Wonder Woman
Star Wars
Black Panther
Crazy Rich Asian
Fast and Furious

 
 Posted:   Feb 25, 2020 - 10:06 PM   
 By:   Ray Worley   (Member)

Another feminist flop like Fembusters 2016,Terminator:Woke Fate, Elizabeth Banks Woke Angels,and The Rhythem Section.

How much money do these studios need to lose before they realise that audiences are sick of their gender and identity politics?


More misogyny from one of the usual suspects who can always be counted on to bring their regressive politics into a discussion of film music.

Also, just plain wrong. There is no evidence that the "gender and identity politics" of a film have anything to do with their financial success or failure, despite the fervent wishes of trolls and troglodytes that it does. There IS evidence that if you make films that appeal to women and minorities and not just white males, they can be very successful, IF they are good films and are properly marketed. Some examples have already been cited.

As for HARLEY QUINN: BIRDS OF PREY, different strokes I guess. I found it to be a quite enjoyable film that really captures the essence of the Harley comics of the Amanda Connor/Jimmy Palmiotti era and later. Worldwide it has grossed over $80 million and is breaking even, so the verdict is not in yet that it is a flop. Expectations may have been a bit high, but it still can end up making money. I liked it a lot. The score didn't impress me much. More scenes seemed to be scored with pop songs than Pemberton's score and what I heard of it was not in the foreground much.

 
 Posted:   Feb 26, 2020 - 12:51 AM   
 By:   AdoKrycha007   (Member)

CD coming 7th February

https://www.amazon.com/dp/B083XVZ46F

If my instincts are right, possibly we have the score in digital stores this Friday.


I clicked the amazon link and the product details doesn't list it as a CD-R. Either Amazon withholds the product details about their albums being a CD-R or it might be a pressed CD?


It's a CD-R ! Not pressed CD-Audio.

 
 
 Posted:   Feb 26, 2020 - 5:45 AM   
 By:   lonzoe1   (Member)

CD coming 7th February

https://www.amazon.com/dp/B083XVZ46F

If my instincts are right, possibly we have the score in digital stores this Friday.


I clicked the amazon link and the product details doesn't list it as a CD-R. Either Amazon withholds the product details about their albums being a CD-R or it might be a pressed CD?


It's a CD-R ! Not pressed CD-Audio.


By any chance you know if Amazon UK is selling it as a CD-R or pressed CD?

 
 Posted:   Sep 19, 2020 - 8:41 AM   
 By:   davefg   (Member)

CD coming 7th February

https://www.amazon.com/dp/B083XVZ46F

If my instincts are right, possibly we have the score in digital stores this Friday.


I clicked the amazon link and the product details doesn't list it as a CD-R. Either Amazon withholds the product details about their albums being a CD-R or it might be a pressed CD?


It's a CD-R ! Not pressed CD-Audio.


By any chance you know if Amazon UK is selling it as a CD-R or pressed CD?


It is a CD-R unfortunately. Saw the film last night and I thought it was pretty poor. It is no Wonder Woman frankly.
One saving grace is the score, which is excellent. I was rather disappointed to see the negative reaction when Pemberton was announced as the composer. So many critics here complaining about the lack of originality in modern film scores, yet Pemberton is easily the most creative voice of his generation. I have been rarely disappointed by any of his scores. Indeed, the only scores from his generation that I buy are his.

 
 
 Posted:   Sep 19, 2020 - 11:13 AM   
 By:   lonzoe1   (Member)

It is a CD-R unfortunately. Saw the film last night and I thought it was pretty poor. It is no Wonder Woman frankly.
One saving grace is the score, which is excellent. I was rather disappointed to see the negative reaction when Pemberton was announced as the composer. So many critics here complaining about the lack of originality in modern film scores, yet Pemberton is easily the most creative voice of his generation. I have been rarely disappointed by any of his scores. Indeed, the only scores from his generation that I buy are his.


Thanks. I still haven't seen the movie, which looks obnoxious to put it nicely. And I 100% agree about Pemberton being one of the more creative composers of his generation.

 
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