the boy retweetledi
the boy
739 posts

the boy retweetledi

@metaplexmovies Maybe it’s bc I’ve watched the movie 100 times but that theme is instantly recognizable to me
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my favorite part of this trailer is when Hand Covers Bruise by Reznor and Ross comes in at the end like it's an instantly recognizable theme like the opening music in Star Wars
Sony Pictures AUS@SonyPicturesAUS
Every revolution begins with a reckoning. The Social Reckoning, a companion piece to The Social Network, is coming exclusively in cinemas October 8.
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@AMCTheatres @ZachhPope Why time it like it’s a concert that will sell out. 90% of the theaters will not sell out at release, so why act like they will and have the app crash. Just do a release for imax. Also, why release tix so far out that A-Listers need to take up spots for weeks for this + oddysey
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Tickets for #SpiderManBrandNewDay go on sale in ONE WEEK on 6/17.
Set your ticketing reminders on our site or app, and get ready for the film as it swings into AMC Theatres 7/31!
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@TylerCWhitmore It felt off the whole trailer then the music kicks in and ’m like “what is this…?” The OG showed us the corruption of a genius and him betraying everyone who helped him. This is just showing him taking advantage of people who use his product and the fallout? Why’s this a sequel?
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This is still so weird to me. Looks competent enough. Jeremy Strong is going to be a freak. But why do they keep pushing it as a sequel? Just feels off. The score kicking in at the end of the trailer was really out of place.
Might just be me!
DiscussingFilm@DiscussingFilm
First trailer for ‘THE SOCIAL NETWORK’ sequel, starring Jeremy Strong, Jeremy Allen White and Mikey Madison. The film follows an engineer who becomes a whistleblower on Facebook's most guarded secrets. In theaters on October 9.
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the boy retweetledi

made some mid then went back to his roots 🔥
Reel Updates@worldofreel
ARI ASTER says he’s written a HEREDITARY prequel tinyurl.com/433p5rz6
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the boy retweetledi
the boy retweetledi
the boy retweetledi

@GlobalBoxOffice Think this rly just shows the AMC app sucks. My app crashed at release and I was terrified I wouldnt be able to go opening night, but about 20 tix had sold by the time I got in. Pretty interesting to me that signs are pointing to this movie not being as big as cinephiles assumed
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@ERCboxoffice I dont get why this is a summer movie. It could have made good BO $$$ if it was released in spring/fall, but you are releasing a $200M IP movie that only 45 yr old guys care about against TS5, M&G, SM6, and all the horrors. The avg person is picking 5 other movies before this
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the boy retweetledi

@nickvlah561 Jeez I love movies and all but idk if I’d do it. They’re basically making you pay $140 just to get the chance to go in a projector booth and look at an imax camera. Feel like I could ask guest services at my amc and they’d let me go for free
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@VanLathan @caseyshoots Because you end up on every podcast I listen to
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@caseyshoots @jc102501 Fennessey has milquetoast takes. CR keeps it interesting with some outre thinking.
Big Pic is mroe of an industry/overview show. but sometimes they get into deep readings and whatnot
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the boy retweetledi

Why do I feel proud of a podcaster I listen to ffs 😭
Gracie@graciem120001
Sean Fennessey Apex Mountain
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@mjarbo Chris was famous for reviewing other people’s work, not making anything new or building an audience off of his own content. He also basically copied a bunch of elements from movies he’s praised for a decade, and it made a bad movie. Parsons/Barker made something new and exciting
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I keep thinking about Chris Stuckmann and SHELBY OAKS right now.
Not in a dunking way. I genuinely hope he is doing okay.
But it has to be strange watching OBSESSION, BACKROOMS, and even IRON LUNG connect theatrically in a way SHELBY OAKS just did not.
All of them come from the YouTube/online creator space.
But SHELBY OAKS was the first one out of the gate, and it stumbled.
The movie started as a record-breaking Kickstarter tied to the PARANORMAL PARANOIDS internet mystery. It was always described as a traditional feature with found-footage elements, but the hook was still very much missing investigators, fake online lore, and found-footage horror.
Then the final movie became more of a hybrid.
That may have hurt it.
BACKROOMS also mixes found footage with traditional filmmaking, but it seems to understand exactly what its audience wanted from that world. OBSESSION understood its audience too.
SHELBY OAKS feels like it may have been caught between the movie people backed, the movie NEON helped finish, and the movie general audiences were willing to show up for.
That does not mean Chris Stuckmann failed as a filmmaker.
It means he was in the worst possible position: first through the door, before Hollywood fully understood how to sell this new wave of YouTube-driven horror.
I hope the internet does not beat him up too badly over it.
Because one movie not connecting does not end a career.
But watching the next wave of YouTube filmmakers break out right after your debut underperforms has to be a rough thing to sit with.


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