This is one of the rare times where they reported the number of tickets sold rather than how much money they made. Looks like Markiplier has access to this information and decided to share it!

Unfortunately, that law was overturned.

As part of a 2019 review of its ongoing decrees, the Department of Justice issued a two-year sunsetting notice for the Paramount Decree in August 2020, believing the antitrust restriction was no longer necessary as the old model could never be recreated in contemporary settings.

Somehow, Air Bud returned.

Oregon.

A self-funded, low budget independent passion project, with little to no marketing, that managed to get a wide theatrical release in over 3,000 theaters (WITHOUT the involvement of a distributor), and make back its’ budget in just three days is nothing short of amazing.

Congratulations to Markiplier for this fantastic achievement!

To be eligible for selection in the National Film Registry, a movie has to be at least 10 years old.

https://en.wikipedia.org/wiki/National_Film_Registry

One Re-release After Another

they’re re-writing how their movies will be structured to pander to people who aren’t interested in them.

Oh, they’re not currently re-writing their films. They have been re-writing their films for the past couple of years.

Here’s the full text from the article. But I’ll admit, I like your pitch much better.

EXCLUSIVE: Neon will open Steven Soderbergh’s The Christophers in New York and Los Angeles on Friday April 10 before a nationwide break this spring.

The Parasite and Anora multi Oscar winning studio acquired the movie following its world premiere at TIFF. Previously Neon released Soderbergh’s ghost story Presence at the box office a year ago.

Men in Black writer Ed Solomon penned The Christophers which stars Michaela Coel and Ian McKellen, along with Jessica Gunning and James Corden. Pic follows estranged relatives (Gunning, Corden) of a famous painter, Julian Sklar, (McKellen) who enlist the help of a struggling artist (Coel) to steal and complete the artist’s unfinished works.

Sklar was once a star of London’s 1960’s and 70’s pop art explosion, but he hasn’t painted in decades and has been broke for years. His two estranged children (James Corden, Jessica Gunning), desperate for an inheritance, hire Lori, an art restorer and former forger (Michaela Coel), to pose as a prospective assistant in order to access eight unfinished canvases Julian has buried deep in storage. Her plan is to complete them, then return them to storage, where they are to be “discovered” upon Julian’s death.

Neon received 21 Golden Globe nominations, the most of any motion picture studio this year, and took home three wins across The Secret Agent and Sentimental Value. Five of Neon’s films have also been selected by their home countries as official selections for the Best International Feature Film category at the 98th Academy Awards. Neon’s 2026 slate of upcoming releases include Ugo Bienvenu’s Arco, releasing Jan. 23; Oliver Laxe’s Sirat, releasing Feb. 6, Matt Johnson’s Nirvanna the Band the Show the Movie, on Feb. 13; Baz Luhrmann’s EPiC: Elvis Presley in Concert, on Feb. 20; Genki Kawamura’s videogame-based horror flick, Exit 8; and Boots Riley’s I Love Boosters, which is set to open SXSW this year; and more.

Aw, here it goes…

I know for certain that Fathom uses DCPs for their annual Ghibli Fest, and I didn’t notice any compression artifacts when I watched Fellowship of the Ring recently, so I assume that was a DCP instead of a livestream.

I think the livestreams are only for the Met Op screenings. I see no reason why they wouldn’t distribute Wildwood on a DCP.

It’s a shame. But I think at this point, anyone who still cares about 2D animation on the big screen has moved on to anime.

Last year we had Demon Slayer and Chainsaw Man in theaters, and I’m sure there will be plenty of other anime in theaters this year, too.

Sometimes I feel like I’m completely abnormal in this world.

The fact that we’re on the Fediverse right now is proof of this. Embrace it!

Yes.

*2016

WB hired the people who put together the trailer to edit the movie. The results were…not good.

Box office records are never adjusted for inflation unless specified otherwise.

The reason for this is that you’d need to also adjust for inflation for every country the film released in, and convert it back to USD. And you also have to remember that Bambi and Snow White were released at a time where going to the movies was one of the only forms of entertainment, relatively speaking. Today, we have a lot more options for entertainment - television, video games, anime, streaming, social media, etc., so movies now have to compete for audiences’ attention from other formats. And of course, you need to account for population differences now vs. 80 years ago.

Comparing box office grosses unadjusted isn’t perfect, but it’s the best we got for now.

You should check out !homevideo@feddit.uk, I think you’d love it!