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It was also constructed and sold so as to not rely on the IP as a major selling force. Jumanji: Welcome to the Jungle was cheap enough to not have to break records. Now that’s a pie-in-the-sky scenario for any movie, but the cause-and-effect lesson still applies. Cue a $404m domestic and $962m global cume. That film went out of its way in terms of casting (Dwayne Johnson, Kevin Hart, Jack Black and Karen Gillan), concept (kids trapped in a video game) and marketing to make sure it looked appealing even to folks with zero interest in the Jumanji IP.
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Speaking of Sony, the second factor is the specific lesson of Jumanji: Welcome to the Jungle. It’s not quite the same, but Paul Feig’s Ghostbusters did okay for a comedy ($229m worldwide), but it cost $144m to produce so it was a $70m loser for Sony. Had those films been budgeted closer to $100m-$125m, presuming such a thing was even possible, they would have been far less disastrous. Tomorrowland grossed $209m global on $190m budget while Valerian earned $220m worldwide with a $175m price tag. John Carter grossed $272 million worldwide but on a $250m budget. That would have been pretty decent (but not spectacular) on a $90m budget, as opposed to the Ryan Gosling/Harrison Ford picture’s $160m price tag. Blade Runner 2049, an adult-skewing, R-rated sci-fi drama, earned $92m domestic and $259m worldwide. First and foremost, I am optimistic that Legendary is learning one big lesson and not spending $155 million on this picture. That being said, if it turns out to be visually compelling and halfway decent (yes, I’m the dolt who disliked Blade Runner 2049, but I can admit I’m in the minority), the key to even potential success for Legendary and (presumably, considering their recent reunion) Warner Bros.
BLADE RUNNER 2049 PLOT MOVIE
They (especially overseas audiences) didn’t even care about a Han Solo movie with Star Wars slapped on the title. It’s not like folks have been clamoring for The Paul Atreides Story. Their ensemble value notwithstanding, they may only be of value if the heroes and villains of Dune are remotely household names. That huge cast, and it is impressive, is not made up of by-themselves box office draws. Even Tom Cruise couldn’t make The Mummy into a smash since he was just playing “some guy” who had to stop the title villain. Merely having movie stars like George Clooney and Channing Tatum aren’t enough if audiences don’t know or care about who they are playing. The mere notion of a big-budget fantasy spectacular is no longer enough to lure audiences into theaters, as we’ve seen with Valerian and the City of a Thousand Planets, Tomorrowland, Jupiter Ascending and (barring a miracle) this week’s Alita: Battle Angel. This isn’t to say that Dune is automatically doomed, although the odds are not in its favor. That would be around $81m adjusted for inflation, although the budget would be around $105m in 2019. David Lynch’s Dune earned poor reviews and grossed just $31m domestic on a $40m budget back in 1984.
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Yes, come what may, a major studio is again giving Villeneuve potentially gobs of money to make a big-budget sci-fi spectacle based on a cult sci-fi property whose previous movie was a massive flop.īlade Runner 2049 was a critically acclaimed sequel to a cult flop and earned just $259 million on a (depending on who you ask) $150m-$185m budget. the World, Dredd, John Carter, Edge of Tomorrow (which earned a fine $370m worldwide but with a $175m budget) or Blade Runner 2049. Think Kick-Ass (which did an okay $98 million worldwide), Scott Pilgrim Vs. But will general audiences care? There is a long history of movies that were much buzzed-about online only to play to comparatively empty theaters. It’s likely that the man who directed Prisoners, Enemy, Arrival and Blade Runner 2049 will deliver a knockout fantasy actioner. Dune is a groundbreaking novel, one that inspired much of the sci-fi that came after (including Star Wars).