The News

Fans Service Fans

Fanspeak Speaks: “All these critics, producers and artists are more than happy to celebrate how Spider-Man’s $1.8 billion worldwide box office single-handedly helped save the business after COVID-19 derailed the entire entertainment industry, but they can’t possibly bring themselves to recognize that it was a really good movie with an emotional story and compelling lead performance from Tom Holland that audiences connected with. This isn’t to knock the other movies that have been nominated for Best Picture throughout awards season, but you cannot convince me that No Way Home wasn’t one of the 10 best films of the year. Not only did it deliver a satisfying ending to the previous two Spider-Man movie franchises, it also gave the Marvel Cinematic Universe’s Peter a reset before his possible finale in the current films. Comic book origins and big franchise connections aside, it was an extremely successful project that offered audiences a chance to once again bond over the movie-going experience. You’d think all this would be worth at least one compensatory Best Picture nod, even if it was just for the box office numbers? Unfortunately, there’s this stuck up, classist idea that comic book movies aren’t ‘real cinema. ‘Instead, they’re considered merely entertainment for the masses—not actual art. If famous directors don’t want to make comic book movies because they think they’re just big, dumb loud trash for stupid people, then fine. Don’t make them. But you can’t keep pretending these films don’t exist, and more importantly, that they don’t mean something to the people who see them. This obvious snub shines a spotlight on Hollywood’s hypocrisy when it comes to these projects. The industry is happy to cash the checks, but they will never be given the same status as films like BelfastThe Power of the Dog or Don’t Look Up, which actually wasn’t that good, but had all the right names attached to it.”

No Responses to “Fans Service Fans”

Comments are closed.

MCN Commentary & Analysis See All

THB #93: The Batman (no spoilers)

David Poland | March 6, 2022

THB #76: 9 Weeks To Oscar

David Poland | January 26, 2022

THB #73: Netflix Is Chilled

David Poland | January 24, 2022

The News Curated by Ray Pride See All


May 1, 2022

The New York Times

"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."
Jason Blum Sees Room For "Scrappier" Netflix

The New York Times | April 30, 2022

"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild

April 29, 2022

The New York Times

Disney Executive Geoff Morrell Out After Less Than Four Months

The New York Times | April 29, 2022

The Video Section See All

Mike Mills, C’mon C’mon

David Poland | January 24, 2022

The Podcast Section See All