Too Many Hollywood Reboots? Right here's why!










In Episode 35 of the Robot Film Challenge, we check out the hot wave of Hollywood reboots, and dig a little bit deeper as we have a look at this development.

“Pilot Gentle”
Written and carried out via
Dave Derby
Courtesy of Casablanca Media
Copyright 2002
To be had in iTunes.
https://itunes.apple.com/us/artist/dave-derby/identity13756406

All fabrics used in response to Phase 107 of the U.S. Copyright Act of 1976 allowance made for “honest use” for functions of schooling, analysis, grievance, research, remark, schooling, and scholarship.

Please do not sue!

Particular due to Darrell Taylor and Amy Tomaso from the Taylor Podcast Community
taylornetworkofpodcasts.com

And Andre Storvesen from Nighttime’s Edge.

https://www.youtube.com/channel/UCvrd6VtgWF7CwaZH1S0N-Qg

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14 Comments

  1. Speaking of Mandarin, that they didn't have an Asian Mandarin in Iron Man 3 it's cause Marvel was producing with China. But I think if the movie have had a Chinese-centric theme with half the characters would have been Chinese(so many Chinese given jobs), Mandarin as a Chinese/Asian viillain wouldn't been a problem. You could even have had a Chinese hero teaming up with Tony. to face Mandarin.

  2. One additional factor that should be noted is the ridiculous duration of modern copyright laws. Essentially, the ability to have a monopoly over a franchise with no chance of it reaching the public domain in a reasonable length of time means movie studios are more likely to favour exploiting old "properties" than taking risk on new ideas. From there, it's just a feedback loop:

    – The movie studios more likely to hold the valuable franchises are the bigger more established players as they have inherited them over time.
    – The power to have franchises again is biased in favour of bigger movie studios since they have the resources to produce such films as well as the legal power to enforce these monopolies (thus greater barriers to entry for new competition).
    – These bigger companies have incentive to merge (see Disney) and amass their repository of copyright monopolies.
    – These big media conglomerates hold so much power as to shape the market however they please regardless of free market trends.

    From this, the solution seems obvious to me – copyright law should return to a shorter duration, say 5-10 years, total, for a work. This way, the incentive to repeat/reboot/remake franchise films ad nauseam is reduced (since these works would be in the public domain and therefore available to many competitors) while the desire to differentiate with new creative ideas (creating competitive advantage) is increased. Also, those aforementioned barriers to entry are reduced (increasing competition).

  3. no offense to your friend at midnights edge. but his videos are really hard to follow what he is saying. because he doesn't add pictures to his words. he has long descriptions with one picture. and repeats it for like 12 minutes. your vids are way easier to understand and follow. keep up the great work.

  4. Well put together video…but in my opinion? Your point is flawed. Why? Because you are putting way too much stock in overseas grosses. For most Hollywood productions? There are different distributors who release the films overseas. It doesn't matter if Total Recall or RoboCop made over a hundred million overseas because the studio would be lucky to even get half of that profit back. Due to the cut taken by the overseas distributors and the theaters.

    Plus the profit overseas? Is nowhere near as profitable as the domestic gross. If this really wasn't the case? Then Total Recall, Point Break, and RoboCop would have all gotten sequels. And we know that is not going to happen. It's an interesting point. But when you look at the numbers? It doesn't add up that any of these reboots are that profitable for the studios that make them, regardless of overseas grosses. And throwing in sequels like X-Men Apocalypse, TMNT 2, and TASM 2 only clouds your overall point here if you ask me. What do those have to do with reboots? That's a whole other topic entirely.

    And you did not factor in advertising costs either. Which can sometimes be in the hundreds of millions of dollars. Thrown in extra advertising costs, the cut the theaters in the US and overseas take, and the other overseas distributors and most of the films you mentioned that were big hits overseas? The studio that released them would be lucky if they broke even. Sure the numbers look nice when you do not factor in the other factors I mentioned. But when you do? These reboots are hemorrhaging money. So if you ask me? I have no idea why these studios keep greenlighting these cheap lazy reboots. They do not make that much of a profit for the studios that do release them, and definitely not enough to keep blowing so much money on them every year just for overseas audiences.

    it makes no sense at all to make a movie just to barely make a tiny profit or break even because it did better overseas in China or somewhere else than it did in the US. Red Dawn and Point Break were flops. Most of the reboots you mentioned in this video are considered flops despite their box office grosses overseas. Hollywood makes most of it's money in the united states. Not abroad. This is the way it has been for decades. And it's still the same.

    No matter how many millions a film makes overseas? That doesn't mean it's automatically a hit and it made a good profit for the studio. Look at Terminator Genisys. Made over 350 million overseas. Still not getting a sequel. Oh and I wonder why….It made over 300 million overseas! But that really doesn't matter to the studio and nor should it.

  5. I seen A Most Violent Year in a sneak preview. never heard of it before. amazing movie and I usually don't watch this type of movie. shame.

  6. Excellent video! With the number of foreign investors, US moviegoers are no longer the targeted audience. That's why they keep rehashing those titles. It's insane.

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