After a glaring start to the first three days of its release, the film Thor: Love and Thunder on Taika Waititi and amazing studios instead comes against the almost systematic abrasion in the second or third week of operation. Since the COVID-19 pandemic, blockbuster cinema has found itself stuck in a real stress test, and few projects have managed to maintain good marks over time. However, a few well-chosen ones happened to be, until recently, the final release of amazing studios. The latest adventure of the Scandinavian god of Jack Kirby perhaps paying the price of a generally sloppy or disappointing critical and public reception.
The Battle of Hastings
The drafting of Heroic Webs nevertheless says that, from the point of view of the American market, Thor: Love and Thunder recorded a record decrease in attendance from one week to the next. A sad medal in a market that has repeatedly beaten slow performance from the end of the week to the end of the week in the last twelve months. Many movies shrink quickly, so the importance of taking care of start-ups (along with multiplying previews), and in this configuration, the film in Taika Waititi cannot be taller. He can’t catch up Thor: Ragnarokwhose final score rose to 854 million at the worldwide box office, and will have to cross Thor: The Dark Worldwhich in part ended his race with 644 million in total.
So the difficulty comes with measuring these numbers in a more global context – relatively declining cinema attendance, sometimes driven up by some of the more popular blockbusters as a trompe l’oeil in a departure by many. in public for other forms of cinema, persistence of contaminations of COVID-19 in various territories, possible negative word of mouth, accumulated destruction of the franchise Thor after four films, and the lack of overall direction in a Stage 4 still struggling to match the numbers in the pre-pandemic world. The commitments of amazing studios for diversity has also contributed to the weakening of emissions in territories that apply more or less perceived homophobic censorship policies, and the loss of the Chinese public is noticeable from emission to emission.
As it stands, the question must be asked: where is the profit cursor, the estimated purpose of the films in Kevin Feige for now? The president of amazing studios Would he be content with a film that would have to struggle to exceed 700 million for one of its most famous characters and one of its most established franchises, given these opposite variables? Or will this scenario simply be presented as yet another non -occurrence of a routine of releases that always have enough revenue not to call for a deconstruction of the production model?
To see, if the end point has been established.