A Dama na Água

[Administrator]

A Dama na Água teve uma estréia decepcionante nas bilheterias americanas. Números estimados de Sexta-Feira, 21/7:

 

 

 

Rank*	Title (Click to view chart)	Friday 7/21 (Estimates)	Saturday 7/22	Sunday 7/23	Monday 7/24
1	PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST Buena Vista   4,133	$9,950,000   53.8% / $2,407 $296,634,000 / 15	N/A	N/A	N/A
2	MONSTER HOUSE Sony   3,553	$7,530,000   -- / $2,119 $7,530,000 / 1	N/A	N/A	N/A
3	LADY IN THE WATER Warner Bros.   3,235	$6,850,000   -- / $2,117 $6,850,000 / 1	N/A	N/A	N/A
4	CLERKS II MGM   2,150	$3,920,000   -- / $1,823 $3,920,000 / 1	N/A	N/A	N/A
5	YOU, ME AND DUPREE Universal   3,134	$3,910,000   55.1% / $1,248 $36,441,000 / 8	N/A	N/A	N/A
6	LITTLE MAN Sony / Revolution   2,537	$3,245,000   78.2% / $1,279 $32,856,000 / 8	N/A	N/A	N/A
7	MY SUPER EX-GIRLFRIEND Fox   2,702	$2,750,000   -- / $1,018 $2,750,000 / 1	N/A	N/A	N/A
8	THE DEVIL WEARS PRADA Fox   2,248	$2,165,000   32.3% / $963 $92,311,000 / 22	N/A	N/A	N/A
9	SUPERMAN RETURNS Warner Bros.   2,826	$1,905,000   14.9% / $674 $172,872,000 / 24	N/A	N/A	N/A
10	CARS Buena Vista   2,410	$1,305,000   10.7% / $541 $225,843,000 / 43	N/A	N/A	N/A
11	CLICK Sony / Revolution   2,312	$1,175,000   9.6% / $508 $125,364,000 / 29	N/A	N/A	N/A

 

[racha_cuca]

A Dama na Água teve uma estréia decepcionante nas bilheterias americanas. Números estimados de Sexta-Feira' date=' 21/7:

Rank*

Title
(Click to view chart)

Friday
7/21
(Estimates)

Saturday
7/22

Sunday
7/23

Monday
7/24

1

PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST
Buena Vista

4,133

$9,950,000

53.8% / $2,407
$296,634,000 / 15

N/A

N/A

N/A

2

MONSTER HOUSE
Sony

3,553

$7,530,000

-- / $2,119
$7,530,000 / 1

N/A

N/A

N/A

3

LADY IN THE WATER
Warner Bros.

3,235

$6,850,000

-- / $2,117
$6,850,000 / 1

N/A

N/A

N/A

4

CLERKS II
MGM

2,150

$3,920,000

-- / $1,823
$3,920,000 / 1

N/A

N/A

N/A

5

YOU, ME AND DUPREE
Universal

3,134

$3,910,000

55.1% / $1,248
$36,441,000 / 8

N/A

N/A

N/A

6

LITTLE MAN
Sony / Revolution

2,537

$3,245,000

78.2% / $1,279
$32,856,000 / 8

N/A

N/A

N/A

7

MY SUPER EX-GIRLFRIEND
Fox

2,702

$2,750,000

-- / $1,018
$2,750,000 / 1

N/A

N/A

N/A

8

THE DEVIL WEARS PRADA
Fox

2,248

$2,165,000

32.3% / $963
$92,311,000 / 22

N/A

N/A

N/A

9

SUPERMAN RETURNS
Warner Bros.

2,826

$1,905,000

14.9% / $674
$172,872,000 / 24

N/A

N/A

N/A

10

CARS
Buena Vista

2,410

$1,305,000

10.7% / $541
$225,843,000 / 43

N/A

N/A

N/A

11

CLICK
Sony / Revolution

2,312

$1,175,000

9.6% / $508
$125,364,000 / 29

N/A

N/A

N/A

[/quote']

E o interessante eh q piratas não perde o fôlego !!
Espero que lady se recupere no sábado e domíngo, oq infelizemente acredito que não irá acontecer.

[Bob Harris]

Ambos "A Dama na Água" e "A Casa Monstro" tiveram péssimas estréias. Mas, foi o que eu havia dito no tópico 'Bilheteria'. Antipatia do publico (pós "A Vila") + críticas negativas = fracasso. Dúvido que alcance U$25 milhões nesse fim de semana.

[Big One]

Como eu disse no tópico das bilheterias, não chega a decepcionar, mas eu esperava um pouco mais, visto que os reviews do público estavam aprovando o filme, vamos ver se o público gostar, o boba a boca pode ajudar.

 

 

 

 

[Administrator]

 

Antipatia do publico (pós "A Vila") + críticas negativas = fracasso. Dúvido que alcance U$25 milhões nesse fim de semana.

 

Exatamente o que eu pensava e temia. A combinação foi fatal.

 

[Ocean]

Sem dúvida o péssimo boca-a-boca que A Vila teve pode ser o culpado pela negatividade em relação à Lady in the Water. Mesmo que o filme seja bom, muita gente vai virar o nariz ou então esperar pelo DVD.

 

 

[sunderhus]

Não consigo entender pq A Vila teve um péssimo boca-a-boca...

 

Sunderhus

 

 

[Ocean]

 

Na minha opinião A Vila, que nem é um filme ruim, foi vítima do marketing errado. Não era uma história sobrenatural, nada do que muita gente esperava ver, mas sim uma história sobre humanidade. E nos EUA a gente sabe que qualquer filme que exija um pouco mais de raciocício ( e não me entendam por arrogante, mas é meio que uma opinião geral sobre a audiência média americana), é rejeitado. Se não tiver no meio explosão ou algo mais para compensar, eles simplesmente odeiam. Então a audiência ficou com aquela impressão de Shyamalan, o que a gente vê agora claramente na reação à Lady in the Water.

[Noonan]

Não consigo entender pq A Vila teve um péssimo boca-a-boca...

Sunderhus

Eu entendo. Boa parte do público que Shyamalan cativou ia ver os filmes dele por causa dos últimos quinze minutos. Ninguém estava nem aí para a história, só queriam ficar tensos durante um tempo e depois ser surpreendidos.

Eis que Shyamalan lança A Vila, que REALMENTE tem uma surpresa no final... mas o público pensou que o principal assunto do filme fossem as criaturas, e a questão delas é liquidada mais ou menos meia hora antes do fim. O público não gosta disso e pronto, a merda está feita.

[Big One]

As vezes me pergunto, o que diabos Shyamalan fez com estes filme, acabei de ver um vídeo entrevista, daqueles ficam no Rotten, e o Shymalan disse que o filme é arriscado porque ele tinha uma visão, e ele queria contar esta visão de uma forma diferente, de uma forma livre, e que ele quebrou várias regras ao contar a história, por isso o risco. 

 

No final o entrevistador pergunta, qual a pergunta que Shymalan gostaria de responder e ainda não fizeram, Shyamalan diz, "Se o filme fará sucesso", o entrevitador pergunta, "Fará? E o Shyamalan responde "Não importa".

 

 

 

 

[Ocean]

No final o entrevistador pergunta' date=' qual a pergunta que Shymalan gostaria de responder e ainda não fizeram, Shyamalan diz, "Se o filme fará sucesso", o entrevitador pergunta, "Fará? E o Shyamalan responde "Não importa".[/quote']

Eu não sou a maior fã de Shyamalan, mas me pergunto por que o público simplesmente não dá mais valor a um diretor que sempre tem algo novo a oferecer e que faz questão de manter sua visão sobre o projeto, não importa se gostem ou não. Difícil isso hoje em dia onde a visão do diretor vem depois da aprovação pelo estúdio, que na maioria das vezes faz é prevalescer a visão do $$$ e não da idéia, da originalidade.

[Bob Harris]

http://www.mnightfans.com/ladyinthewater/review.php

 

Bem. Eu sei que é um site voltado aos fãs do Night... Mas... Se agradou EXCEPCIONALMENTE a este fã, imagino que irá me agradar também.

[Noonan]

22% no RT...

E já voltam a aparecer as acusações de auto-indulgência, egocentrismo, etc., da época de A Vila.

Começo a achar que o Pablo irá sim descer o pau no filme.

Noonan2006-7-23 12:55:14

[Thiago Lucio]

Não querendo fazer comparações ... mas tava vendo que na TV tá passando "Stuart Little 2" e me lembrei que o Shyamalan dirigiu o primeiro filme do ratinho ... e um contexto que é bastante aproveitado é o tom da fábula, ou seja, precisamos "comprar" a idéia de que estamos diante de uma história onde uma família aceita um rato como membro dela mesma. E como "A Dama da Água" trata-se de um conto ( até 2ª ordem pelo menos ) deixa ainda mais curioso ver qual será a abordagem adulta que ele dará ao tema já que em Stuart ele fez uma adaptação claramente infantil ... o que acham ?

[Nacka]

Em Stuart Little só o roteiro é dele Thiago...

 

[texer]

Naum sabia q Shyamalan havia escrito o roteiro do Stuart Little...O primeiro filme é de quando?Foi antes de O Sexto Sentido?

 

[Nacka]

Os dois foram lançados no mesmo ano, 1999...

 

[Administrator]

Parece que o boca-a-boca ou não ajudou em nada ou foi negativo.. Vide as estimativas da bilheteria do final de semana de estréia do filme: ao invés de subir, chegou a cair no Sábado (assim como A Vila).

 

3

LADY IN THE WATER Warner Bros.   3,235

$6,850,000   -- / $2,117 $6,850,000 / 1

$6,530,000   -4.7% / $2,019 $13,380,000 / 2

$4,800,000   -26.5% / $1,484 $18,210,000 / 3

 

 

[Noonan]

Está seguindo os passos de A Vila... Espero que também na qualidade.

[Big One]

E espero que nas doletas também, porque se não, como eles vão continuar financiando o Shymalan...

 

O que está acontecendo com as bilheterias?

 

 

[Administrator]

Vocês vão gostar de ler isto aqui.

Já está havendo um certo sentimento de solidariedade para com Shyamalan, em meio ao caos generalizado.

 

 

I See Good Movies

In defense of M. Night Shyamalan.

By Ross Douthat

 

M. Night Shyamalan It's shaping up to be the worst summer of M. Night Shyamalan's charmed career. Nearly a decade has passed since The Sixth Sense catapulted

him onto the Hollywood A-list, and the critics have been souring on his

twist endings, earnest mysticism, and crowd-pleasing thrills. His last

film, 2004's The Village, received generally derisive reviews, and the about-to-be-released Lady in the Water

has been dogged by lousy buzz ever since the script-shopping stage,

when Shyamalan bolted to Warner Brothers after executives at Disney,

his longtime home, didn't show sufficient respect for his brilliance.

Worse, he's using the movie as a laboratory for his ambitions as a

thespian: After laboring through cameo roles in his previous films, M.

Night has handed himself a major part in this one, as (what else?) a

struggling writer out to change the world.

All of this would be reason enough to tag Lady in the Water as a career-deflating bust. But Shyamalan has another cross to bear—the tell-all book that he foolishly allowed Sports Illustrated's Michael Bamberger to write, about Night's heroic struggles to get Lady

made. The book is the mother of all embarrassments: If Night and his

movies were suddenly ripped out of this plane of existence by a rogue

wormhole and only The Man Who Heard Voices: Or, How M. Night Shyamalan Risked His Career on a Fairy Tale

survived, it would be treasured by future generations as proof that

those whom the gods destroy they first make petty, vain, and

ridiculously insecure.

Not that Bamberger meant for it to turn out that way. At times, his book reads like The Devil Wears Prada,

rewritten to be more sympathetic to the boss's point of view. Shyamalan

is a "savant," an "athlete" of cinema beset by fools and blunderers:

the philistines at Disney, led by then-president Nina Jacobson, his

longtime producer (Night "had witnessed the decay of her creative

vision right before his own wide-open eyes"); the critics and filmgoers

who dislike his movies because they envy his success; his new

assistant, who Bamberger frets might not know "exactly how her

lactose-intolerant boss liked his hot chocolate." Elsewhere, the book

resembles American Son, Richard Blow's memorialization of his

man-crush on John F. Kennedy Jr. "I go down the New Age route

skeptically," Bamberger writes of his first meeting with Night, "but I

felt a powerful force coming off the guy. … If he had these powers,

where did they come from?" Later, while marveling over Night's ability

to know exactly when to let him read the script for Lady,

Bamberger blurts out, "His timing was improbable. …I had never been so

well managed—and I don't mean that crassly—in all my life."

---

What

emerges through the haze of hagiography is a study in egomania and

insecurity—the artist as pathetic prima donna, whose "Oscar nominations

and his money and his farm and his beautiful wife and his adorable

girls" aren't enough to keep him from pitching a fit when a Disney

executive puts off reading his script to take her son to a birthday

party. If you hate Shyamalan's movies, The Man Who Heard Voices will leave you feeling vindicated; if you like them, you'll find yourself wishing that you didn't.

Better,

then, if nobody reads it at all, because while Shyamalan may be a

narcissist with delusions of grandeur, he's also a filmmaker of rare

talent and creativity (these are hardly mutually exclusive categories,

after all), and however lousy Lady in the Water proves to be,

he deserves to survive this summer of embarrassment and live to film

again. He's not a Dylan or a Disney, to pick just two names from the

roster of ridiculous comparisons that Bamberger fastens on, and his

potential has often gone frustratingly unfulfilled in the nine years

since Haley Joel Osment told Bruce Willis about all the dead people he

kept spotting. But Shyamalan's missteps have been interesting, his

mistakes worth a second look, and his obsession with the integrity of

his own artistic visions, however irritating, has distinguished him

from nearly all his young-Hollywood competitors.

It's worth

comparing Shyamalan's career choices, for instance, with those of Bryan

Singer, another wunderkind director whose big break was a dark-horse

hit with a twist ending. Since establishing himself with The Usual Suspects

in 1995, Singer has essentially reinvented himself as a director of

comic-book blockbusters, a man to be trusted with massive budgets and

well-known franchises. He's been making movies for the studios, in

other words, instead of doing what Shyamalan has tried to do—which is

to persuade the studios to make movies for him.

Of course there's nothing wrong, per se, with directing the two X-Men movies and Superman Returns,

and Singer deserves all the kudos he's received for crafting

high-standard summer entertainment. He's hardly alone, too, in taking

the tent-pole-movie career path: Doug Liman started off with Swingers and now handles blockbusters like The Bourne Identity and Mr. & Mrs. Smith; Christopher Nolan went from helming Memento to revitalizing the Batman franchise; Sam Raimi leaped from the dark intimacy of A Simple Plan to the director's chair for the Spider-Man saga. This summer's highest-grossing movie to date, Pirates of the Caribbean: Dead Man's Chest, is the work of another of Shyamalan's contemporaries, the versatile and talented Gore Verbinski.

But

this path comes with a price. You find yourself making sequels and

franchise pictures rather than finding (or writing) new and unusual

stories of your own. You labor to elevate essentially flimsy material

rather than starting off with something deeper and more complicated.

And even when you raise the bar, you aren't raising it terribly high:

For all the poise and polish and "subtext" of Singer's superhero

movies, nothing he's done lately rises much above the level of a

well-oiled July afternoon thrill ride, let alone his early work in Suspects.

Shyamalan, by contrast, doesn't make sequels or franchises (he turned down a chance to script Indiana Jones IV).

He doesn't adapt Dan Brown best sellers, or Robert Ludlum potboilers,

or Disney theme-park rides. He doesn't rely on CGI, or even use it

much—and while he seems to love comic books as much as any of his Marvel and DC-adapting peers, his own superhero movie, Unbreakable, did something different and more interesting. Unbreakable

feels incomplete at times, like a shard of a larger, better motion

picture, and it doesn't use Bruce Willis' essential flatness and

opacity nearly as well as The Sixth Sense did. But for all

its flaws, it succeeds in bringing the superhero genre down to earth in

ways that no Superman or Batman film could even think about attempting

(consider the remarkable moment when Willis discovers his superhuman

strength while lifting weights in the basement with his son). By

example, the movie also hints that Singer's more conventional

comic-book movies—and Raimi's and Nolan's, for that matter—are a good

way to make a living, but a creative dead end.

Similarly, Steven Spielberg was widely praised for stripping last summer's War of the Worlds of countless genre tropes—panicked generals, heroic presidents, mad scientists, and so on. But it was Shyamalan's Signs,

three years earlier, that was actually the more daring space-invader

movie, in its attempt to meld science-fiction and horror by bringing

the aliens home, to a single farmhouse and family, and using

them as the sum of all our metaphysical fears. Sure, it lost momentum

in the last act, with a literal deus ex machina and a

less-than-frightening computer-generated alien, but then again, the

third-act problem is one that no alien-invasion movie has managed to

solve, Spielberg's least of all.

Even The Village,

Shyamalan's least-liked movie to date, has a great deal to recommend

it. A weird, slight, and beautiful fable about utopia and modernity, it

was dressed up as another twist-ending zapper and marketed as a Sixth Sense-style

thriller, which left critics and audiences alike feeling understandably

cheated. But if you strip away the studio hype and the director's

showman tics, it makes an intriguing counterpoint to his earlier

movies—as a partial rebuke to their credulous supernaturalism, perhaps,

and as an attempt (by a director as sex-shy as Spielberg) to grope,

with his blind heroine, through the comforts and terrors of fairy tales

toward the darker wisdom of adulthood.

In The Village,

as in all his films, Shyamalan seems to be aiming for something, amid

our summers of high-grossing superhero movies and our winters of

little-seen Oscar-bait projects, that's increasingly rare these days: a

marriage of entertainment and art, of mass-market tastes and elite

sensibilities. This is a hard combination to pull off, as his stumbles

have demonstrated, but it's precisely the goal that the film industry,

home to our last mass art form, ought to be aspiring to. So, Shyamalan

deserves credit, despite his vanity and his missteps—not because he's

succeeding, necessarily, but because he's willing to keep trying and

unwilling to take his place with those timid, highly compensated

directors who know neither victory nor defeat.

 

 

[Thiago Lucio]

Em Stuart Little só o roteiro é dele Thiago...

Sério ???? Eu jurava que ele tb dirigia ... bom ... informação correta sempre é bem-vinda ... valew ...

[Dook]

Não consigo entender pq A Vila teve um péssimo boca-a-boca...

Sunderhus

Pois é... impossível entender, principalmente pq a grana faturada pelo filme desmente isso: mais de $100 mi nos EUA em 2004...

[Dook]

Em Stuart Little só o roteiro é dele Thiago...

Sério ???? Eu jurava que ele tb dirigia ... bom ... informação correta sempre é bem-vinda ... valew ...

Quem dirigiu foi o Rob Minkoff, diretor de O Rei Leão...

[Dook]

22% no RT...

E já voltam a aparecer as acusações de auto-indulgência' date=' egocentrismo, etc., da época de A Vila.

Começo a achar que o Pablo irá sim descer o pau no filme.

[/quote']

Eu já tenho certeza...