Wish, Walt Disney Animation Studios Opzioni

[Hiroe]

Comunque il video del tizio che hai citato tu, underthesea, l'avevo visto anch'io qualche giorno fa, ed è veramente interessante, fa capire molto bene alcuni degli aspetti che non funzionano in Wish, probabilmente i principali, senonché salvo davvero poco del film. L'analisi che fa lui sulla mancanza del conflitto, sul sogno del protagonista, in questo caso troppo vago, la presenza di canzoni che non aggiungono niente al film ma sono solo meri balletti, è davvero condivisibile e fa capire quanto la Disney abbia voluto omaggiare sé stessa solo di facciata, con alcune trovate, ma non ha capito cosa ha reso grandi i film del passato.

[veu]

condividiamo quello che dici Hiroe... e non sei la sola... ecco cosa riporta DeadLine che conferma la perdita economica di Wish e il disastro a livello creativo...

Dal sito DeadLine:

Disney Detonates Four Bombs In Deadline’s 2023 Most Valuable Blockbuster Tournament

Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation in 2023 were the streamers, such as Apple, who have also realized the necessity of theatrical to eventize their movies. The financial data pulled together here for Deadline’s Most Valuable Blockbuster Tournament is culled by seasoned and trusted sources.

Everyone likes a trend in the movie business, but this one perhaps not so much. Disney for the first time in Deadline’s Most Valuable Blockbuster Tournament history dominates the annual bombs section, claiming four of the five (top? bottom?) spots on our 2023 list. Typically, the studio owns a majority of the year’s top 10 most profitable films thanks to Marvel movies, but not this year. A lot of this stems from feeding the beast of streaming service Disney+; the studio’s initial plan during Covid was to shell out $14 billion-$16 billion annually on content by this year. With Bob Iger taking the CEO reins from Bob Chapek, he’s trying to right the ship with a less-is-more strategy, zeroing in on quality so that the No. 1 motion picture studio can come back to form.

Some of you might ask: Where is Apple Original Films on this list? Wouldn’t Killers of the Flower Moon and Napoleon rank? Several film-finance sources tell us that Apple movies and Disney movies shouldn’t go in the same bucket. The former is a tech company, of which content is a fraction of their revenues. Essentially, any prestige losses made by Apple on movies are seen as advertising expenses to drive eyeballs to its OTT service. Meanwhile, content is king for Disney and drives all other ancillaries, extending to theme parks and cruise ships. Quite often we get the phone call from the studio saying, “You’re not taking into account other merchandise and theme park revenues on these films.” Make no mistake: Films that fall down at the box office don’t have afterlives.

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THE FILM

Wish
Disney
Net Loss: -$131M

Disney always needs to plant an animated family film in the Thanksgiving corridor; the only problem is that the studio hasn’t seen glory since before Covid with Frozen 2. Wish followed the 2022 bomb Strange World. While original animation is always an uphill battle to launch at the box office, audiences have seen this plug-and-play princess and silly sidekicks (in this case a talking goat and puffy star) movie before, and waited this one out for Disney+ (another potential catalyst for dwindling Disney moviegoing). Audiences and critics smelled that the movie reeked of corporate product rather than magical event. Essentially, a studio is in trouble when its movie’s narrative is more about a celebration of the company’s birthday than a riveting piece of content.

THE BOX SCORE




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