Rouge Wave Poll Results
So how did Rouge Wavers feel about Gorenography? Interestingly, very mixed.
29% said that they really didn’t care about it one way or the other
30% said that it is deeply offensive
28% said their main concern is that it gives the horror genre a bad name.
Apparently, on its opening weekend, CAPTIVITY grossed a mere $1.5 million which according to the box office wonks is the death knell for the movie. To put that box office in perspective, all three SAW movies together averaged $27 million on the opening weekend. That’s an average; the first installment only made $18 million. At any rate, that does make $1.5 million look rather paltry. Rumors are swirling around that Lionsgate is going to eat their shorts on the fourth installment of the SAW franchise; it is slated to be released this October 26th and interested parties within and without the industry are predicting a box office tank-fest. Time will tell whether this sub-genre of horror is dying, dead or simply needing to take a long nap and reinvent itself.
In other Rouge Wave poll reflections, 68% of Rouge Wavers admit to not having seen ON THE WATERFRONT. Put it in your Netflix queue and do it now. Seriously. It is Eva Marie Saint’s first feature film and she is luminous. Marlon Brando is superlative and finally, you’ll be able to put “I coulda been a contender” in context. The scene is actually quite moving. Make this movie a priority; you won’t regret it.
As for CITIZEN KANE, the second runner-up of movies Rouge Wavers admit to having not seen – the Wave-inatrix will risk a pillorying to admit that of course I’ve seen it but – meh. Not an entertaining experience as far as I am concerned. If you don’t mind popping it in for a few minutes and giving it a try, you really should. It’s part of Hollywood film history and you should give it a chance. If you don’t like it, you won’t be the first one to say so.
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6 comments:
I'll stop short of screaming "BLASPHEMY!" if only to note that my opinions of Kane and Waterfront are almost exactly the opposite of yours.
I can watch Kane over and over; it's visually magnificent in a way that hasn't aged at all — I saw it for the first time in a movie theater during its 50th anniversary re-release and, even though I was just a high schooler who preferred action films to highfalutin' dramas, I was spellbound.
On the other hand, Waterfront feels dated to me, and seriously drags. Kazan's lead-footed '50s dramas just haven't aged well, to my mind.
Oh, I know there are many who would agree with you Chris, including a friend and member of my writing group who has written an award-winning play about Orson Welles. Likes and dislikes are subjective.
But the Wave-inatrix grows completely dismayed by the writers she interacts with who simply haven't seen SO many movie classics. If you want to write movies and work in the movie business, you have an obligation to be familiar with CITIZEN KANE, ON THE WATERFRONT, and far, far too many movies to name here. It is appalling how many aspiring screenwriters simply don't bother with anything older than GHOST BUSTERS, anything foreign, anything off the beaten-track.
This poll and other blog entries like it are to simply illustrate the need to see the greats. Among which CITIZEN KANE is indisputably counted for several reasons. I'm glad you're a KANE fan. Shows you know your film history and that you have an appreciation for Welles. I can go toe-to-toe with just about anybody when it comes to movies seen from the time they were invented on - but I just don't care for KANE. So sue me :)
Kane doesn't work well in the DVD era. It needs a big screen and uninterrupted viewing in order to succumb to its spell.
Still, Best. Movie. Ever.
I feel that Magnificent Ambersons is better than Kane, and A Face In The Crowd is better than Waterfront, though both films were ignored when released.
The very first time I saw "Citizen Kane" was on the big(gish) screen at the aptly-named Orson Welles Cinema in Boston. I've seen it maybe twenty times since and still consider it a hugely original work, especially considering its director and star was only in his twenties.
But I do agree--if you can catch this on something bigger than your plasma, do so by any means.
I'm so glad Captivity tanked. I was appalled by the underhanded way in which they marketed that misogynistic piece of garbage. I was hoping the studio didn't get rewarded for that behavior.
At least American theater goers have kept a little dignity.
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