| March 6, 2022
I never liked the show, “Cats.”
Critics never liked the show, “Cats.”
More than 73 million people have bought tickets to the show, “Cats.” And even if just half of them liked it and one-quarter loved it, that’s over 36 million people who will enjoy this movie.
Tom Hooper and co-writer Lee Hall didn’t transform the show. They made a movie with cinematic skills and recreated the show. Cats.
It is one of the saddest things in film criticism when critics decided that pissing on something is more cool — or hip, if you will — than actually reviewing what the movie is.
It’s fucking CATS!!!
I don’t know what “jellicle” means. I don’t care.
I don’t care about Jason Derulo’s schlong. But I was fascinated by the amount of digital work and costume choices to eliminate any human sex parts in a film where everyone under 45 is wearing skintight costumes. (They also made some butts rounder and more dramatic.)
I am not the audience for this movie. Not in the least. I love the theater. I never come late. But I still have anxiety about going to see anything in the Winter Garden Theater on Broadway because “Cats” was there for so long.
But my lord… it’s “Cats.” “Midnight… all the kitties are sleeeeeeeping.”
I feel a bit like this about the hatred that showed up for Charlie’s Angels. I mean… come on. It’s Charlie’s Angels!
I am going to recommend Cats on Rotten Tomatoes because if you like Cats: The Show you are going to like or love Cats The Motion Picture.
And I have news for you… I still get shit from lazy thinkers about The Phantom of the Opera (which was my frontrunner for a week before I was the first and only person for weeks to call Million Dollar Baby the likely winner). I would not see that show on stage. I have never seen that show on stage. But I thought Joel Schumacher made the gay soap opera that it was rather nicely and way beyond my expectations and I thought both Emmy Rossum and Gerard Butler acquitted themselves quite well. I never said I loved the movie. I didn’t. And I misjudged how the negativity would affect Academy voters (and that they really didn’t want more movie musicals). But the movie did $155 million worldwide. 33% Tomatometer. 84% Audience Score.
I expect much the same for Cats.
It isn’t for me. It isn’t for film critics. But it is what it is.
| March 6, 2022
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| January 24, 2022
May 1, 2022
"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
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