FILM Ethan Hill (SCS ’25) does not bust a gut laughing at "Ghostbusters: Frozen Empire." B2
MUSIC Tanvi Gorripati (CAS ’27) sings Hozier's praises in her review of "Unheard." B4
FILM "Love Lies Bleeding" is a mostly-enticing queer thriller, Caroline Woodward (CAS ’27) said. B6
April 5, 2024
Hot Chelle Rae and Owl City take on the Georgetown Program Board (GPB) spring concert.
Meghan Hall
Hoya Staff Writer
MEGHAN HALL/THE HOYA
“Ghostbusters: Frozen Empire” is the latest movie in Hollywood’s new, seemingly desperate attempt to recreate Generation X’s childhood. In other words, the film is another needless sequel designed to make money off of audience nostalgia instead of making good art.
The movie picks up where “Ghostbusters: Afterlife” left off, following the next generation of the Spengler family as they grow accustomed to Mr. Grooberson (Paul Rudd) being the new father figure of the family. The film mainly focuses on Phoebe Spengler (Mckenna Grace) and her struggle with coming of age amid pressure to continue her family’s legacy. The new Ghostbusters run into a magical orb that holds the spirit of an ancient frost monster, and they accidentally let it loose. Once again, the bust-
ers have to save the city once from another army of ghosts. Sound familiar?
Before dissecting the faults of the film, humor me as I give “Frozen Empire” the flowers for its few achievements.
The best thing I can say about this movie is that it is a self-contained bad, not undermining the legacy of the film. Unfortunately, we live in an era where every movie is not only an uninspired remake, reboot or sequel, but viewers have to worry about filmmakers seeking to disrespect everything that made the franchise so great to begin with — looking at you, “The Last Jedi.” While this movie is yet another soulless sequel with no narrative point, it doesn’t try to destroy the beloved originals.
Additionally, the acting department is adequate — don’t expect to be blown away, but everyone turned in a convincing and believable performance. Grace has the best showing, which plays as one of the film’s main
strengths, as she is at the core of the story. Now, for the bad.
Without getting into deep spoilers, the entire plot of the movie hinges on key characters acting extremely stupid and out-of-character to get the plot of the film in motion.
The pacing of the film is also a problem. There is one action set piece at the beginning and one at the end. In between those two scenes is a substanceless slog that feels way longer than its runtime.
The film is filled with hollow key-dangling moments calling back to the first movie. Slimer, the Marshmallow Man, the concrete lions and most of the original cast all make appearances. These moments hold no narrative purpose and don’t further the film’s themes in any meaningful way. Ultimately, these attempts come across as pandering to audiences, hoping to evoke nostalgia for an earlier, better film.
IMDB
A new generation of Ghostbusters takes on the latest supernatural threat in “Frozen Empire.”
What made the original “Ghostbusters” a classic is its potent blend of sci-fi, horror and witty comedy. Unfortunately, the few times I laughed at “Frozen Empire” had more to do with the unintentional amount of cringe oozing like Slimer off the screen rather than actual humor. The movie is filled to the brim with lowbrow innuendos, including Rudd at one point quipping, “busting makes me feel good.”
Despite all this, arguably this movie’s biggest issue is that it doesn’t justify its existence. Why do I, as a fan of the original, need to see this story of Spengler’s granddaughter and her maturation process? The answer is: I don’t.
In this way, “Frozen Empire” summarizes my biggest issue with the current Hollywood machine. We don’t need yet another sequel to a classic franchise. Instead of filmmakers attempting to create new exciting adventures, Hollywood is so focused on making the most generic and uninspired content infused with just the right amount of key-dangling nostalgia to make money. While ghostbusting may make Rudd feel good, good movies are what make me feel good. And unfortunately, this movie is not that.
Featuring an impressive lineup with openers Rosewater, a beloved student band, and Hot Chelle Rae and Owl City as the main acts, the Georgetown Program Board’s (GPB) Spring Concert bridged quality, price and convenience March 22.
Rosewater had a fairly normal set before dropping an original song to close out a tried-and-true opening. Having played for bigger crowds and stages like club formals and Battle of the Bands, they performed with the professionalism and comfortability I would expect from experienced musicians. The band’s on-stage chemistry is fantastic, and overall, whether at McDonough Arena or the Alumni Square courtyard, Rosewater is a joy to watch perform.
Hot Chelle Rae’s rendition of “Tonight Tonight” was a crowd-pleaser, but what really brought the performance together was when the band
brought up an audience member to sing along with them. Our mystery Georgetown student who was pulled on stage most definitely stole the show — she knew all the words and even had a poster ready. Maddy, if you’re out there, you’re the real star of the GPB Spring Concert. In all seriousness, though, Hot Chelle Rae had a great stage presence, capturing the audience’s attention throughout their whole set. These songs were all very danceable and captured exactly what a student concert should be: singing along with your friends.
This attitude was embraced by many students adorned with light-up glasses and glowsticks, ready to wave them along to the music. The lead singer of Hot Chelle Rae talked about his exes and how they inspired some of his songs in an attempt to relate to the romantically fraught college students in front of him.
To end the show, Owl City began with a first song that featured him playing a variety of instru-
ments, from drums to keyboard to guitar. Who knew this was how the hit song “Fireflies” was made? After this, he transitioned into his main set with a backup cellist and drummer. He continued to hop between his instruments throughout the night, at one point even using a tambourine.
This musical medley provided an unpredictable and eclectic performance that surprised this casual Owl City listener. It was great to see this performance come to life, and Owl City seemed truly excited to be playing for us throughout the night, giving waves and bows to the crowd. Going to this performance was very full circle. Having sung Fireflies at an elementary school choir concert, it was quite special to hear it live.
At the end of the night, I walked away having experienced three uniquely entertaining acts, made some new friends and enjoyed the fruits of the GPB’s dedication to putting this event together. I look forward to their next event and wish both Hot Chelle Rae and Owl City a successful tour.
Owl City (left) and Hot Chelle Rae (below) dazzle the crowd at the Georgetown Program Board (GPB) spring concert.
MEGHAN HALL/THE HOYA
Hoya Staff Writer
Hozier released his new EP “Unheard” March 22 following his third studio album “Unreal Unearth.” Created as potential additions to “Unreal Unearth” that didn’t make the cut, the four songs on the new EP follow the same themes as the studio album, sharing motifs of the cardinal sins and Dante’s circles of hell as represented in his seminal work, “Divine Comedy”.
Hozier continues to showcase his masterful understanding of literary devices in his lyricism, weaving together various metaphors to portray his complex emotions. Upon first listen, it is difficult to grasp the intricacy of the lyrics; however, the musicality of the tracks is incredible enough to hold attention. Following a second and
third listen to the EP, it is easy to appreciate the poetry of the lyrics and entertaining to unearth the meaning behind the songs. The first track, “Too Sweet,” was teased on TikTok, gathering millions of views. In the track, Hozier draws a contrast between two individuals who seem to be in a relationship. One wants to live life at their own pace, drinking whiskey and falling asleep late in the night. The other adheres to a more rigid lifestyle, waking up with the sun and not indulging in as many substances.
“Too Sweet” represents the theme of gluttony and overindulgence, as the second individual seems to be attempting to push the first to live a more healthy lifestyle, getting drunk on life rather than on alcohol. Upon further listening, the song seems to serve as a gentle rejection, as the first individual describes all the ways that the two do not fit
together within the relationship.
The EP also features Allison Russell, a Canadian singer-songwriter, on the track “Wildflower and Barley,” which portrays a feeling of yearning for renewal. The song’s spring release date is fitting, as it describes springtime in the countryside. It speaks about the value of soil, which provides the literal grounds for the creation and growth of the new generation. With soft bird noises in the background, listening to the song is reminiscent of a spring walk through a meadow. The song serves as a perfect score for anyone who chooses to spend their days on Healy Lawn enjoying the nice weather.
“Empire Now” also has more overt political themes, speaking of empires and revolutions. Hozier instills a feeling of hope with lyrics alluding to a future away from the control of the empire. With powerful percussion
@HOZIER/X
Hozier collaborates with Canadian singer-songwriter
instruments and a twanging bass line, the music matches the themes of the songs, stirring up a longing to fight and rebel.
The final song, “Fare Well,” illustrates Hozier’s ability to capture emotions through metaphors. The song represents the upward journey out of hell, describing how the speaker would not survive within the underworld and will appreciate any and every joy once they are back to the human world. The lyrics are a series of metaphors to different ways that he would not fare well in hell, including “Hedgehog-under-a-van-wheel kind of wouldn’t fare well” and “A kitten-cosy-inthe-engine type of wouldn’t fare well.” As the last song on the EP and the end of the “Unreal Unearth” era, the song is an apt farewell to the themes of hell and the seven sins.
Anyone who enjoyed “Unreal Unearth” is sure to love the continuation of the album in these four tracks. The tracks on the EP fit many moods, from inciting a yearning for upheaval to lounging in the grass, making it suitable to a variety of emotions. The EP is a must-hear for fans of folk music, Dante’s “Divine Comedy” or anyone who just appreciates poetic lyricism.
Allison Russell on the track “Wildflower and Barley.”
Sophia Lu Columnist
As the force of nature behind Indiana Jones and Star Wars, George Lucas is renowned in the world of filmmaking. His immersive worldbuilding has made indelible impressions on generations of moviegoers: His futuristic vision has driven incredible technological innovations, and his pioneering ways have set a robust foundation for the future of motion pictures. A true giant in his field, Lucas’ franchises have earned him the most fame, but his vast contributions to advancing independent filmmaking and entertainment technology must also be celebrated.
Coming out of the University of Southern California School of Cinematic Arts, Lucas dove into making 16mm short experimental films like “6-18-67,” “Anyone Lived in a Pretty How Town” and “Herbie.” He honed his eye for visual storytelling behind the camera, becoming an expert in capturing scenes thematically
and tonally. Not long after, Lucas founded American Zoetrope alongside Francis Ford Coppola to create a supportive environment for independent filmmakers who felt stifled inside the Hollywood studio system. This set the stage for Lucas’ long-standing commitment to supporting others in telling the most compelling and innovative stories.
Lucas yearned to have complete creative freedom for himself as well, so he founded Lucasfilm in 1971. The studio setup served as ground zero for workshopping the rough contours of what would become the 1977 blockbuster “Star Wars” — later retitled “Star Wars: Episode IV — A New Hope.” The catalyst for the entire Star Wars universe, the film was an instant classic and established itself as the highest grossing film of all time when it was released. After the box office hit, Lucas focused on charting out the future of Star Wars and empowering other creatives around him to do so as well.
The subsequent two films in the original Star Wars trilogy — 1980’s “Star Wars: Episode V — The Empire Strikes Back” and 1983’s “Star Wars: Episode VI — Return of the Jedi” — each exhibited meaningful influence from Lucas,
For an activity with an educational twist, join Rev. Diedre Gray in White-Gravenor Hall 201A at 5 p.m. Monday, April 8 for a conversation about transgender history in the DMV. GU Pride is hosting Gray, the former director of the Rainbow History Project Trans History Initiative and the founder of Auntie’s Home, a safe transitional house for gender-diverse people.
but were also seminally shaped by the directors Lucas had entrusted to direct them. Irvin Kershner and Richard Marquand, respectively, brought the Star Wars fever to new heights, attracting even more attention to Lucasfilm.
Around the same time, the Graphics Group at of Lucasfilm, which was responsible for behindthe-scenes computer effect, was purchased by Steve Jobs and spun off into Pixar. This was a huge testament to how cutting edge technologically Lucasfilm’s technology was already was at the time. Lucas relentlessly pursued innovation on the experiential, sound and visual fronts, intent on using new technologies to drive forward his storytelling. Today, Industrial Light & Magic and Skywalker Sound, two entertainment technology organizations, represent the continuation of Lucas’ legacy in the future of entertainment technology.
The other franchise Lucas is best known for, Indiana Jones, got its start in the early 1980s. George Lucas took a step back from directing for Indiana Jones, recruiting Steven Spielberg instead, but nonetheless played an enormous role in crafting the world of Indy. The widespread audience and critical acclaim that
By Jasmine CriquiIs there not enough music in your life? Come see “Autumn Leaves,” an original musical presented by No Pressure Creatives, an Asian American musical production group on campus. From the same team that brought you last year’s “(No) Pressure: An Asian American Musical,” “Autumn Leaves” tells the story of an Asian American family’s Seattle jazz bar through a two-act musical in Gaston Hall. Tickets for this Friday’s show, from 7 p.m. to 10 p.m., are on sale now for $8 a pop.
met Indiana Jones once again proved Lucas’ genius storytelling and how widely resonant his narratives of adventure, human connection and perseverance have proven to be.
Along the way, Lucas also made several other films such as “American Graffiti,” a 1973 comedy musical about rock ‘n’ roll culture, “Willow,” a 1988 fantasy thriller about magic and “The Land Before Time,” a 1988 children’s adventure film about prehistoric dinosaurs — all of which deserve recognition in their own right. I would strongly recommend going beyond the usual Lucas favorites and checking some of these out. Lucas’ bold creative vision and limitless range solidify his place in the pantheon of the greatest filmmakers ever.
While best known for creating the world of the clone troopers, Darth Vader and Yoda, as well as that of Indiana Jones and his companions, Lucas should be more closely studied and appreciated for his larger body of work. He certainly changed the childhoods of millions around the world, but he also catalyzed waves of independent filmmaking and technological advancements that continue to shape the way stories are created, shared and experienced today.
THIS WEEK’S THEME: Celebrate for a Cause
Trying to figure out where to put all those books you’ll never read again? This National Library Week, visit the Bryant Street Market Annual Book Drive to benefit D.C. Books to Prisons, an organization that provides free books to incarcerated individuals. The drive is collecting paperback books that are in good condition through Tuesday, April 9. Books can be in English or Spanish, and nonfiction is in particular demand.
If you want to enjoy some tasty treats and fundraise for a good cause, No Lost Generation is hosting a Refugee Awareness Week Gala Saturday, April 6 from 6:30 p.m. to 8:30 p.m. in the Healey Family Student Center (HFC) Social Room. George’s King of Falafel and Cheesesteak will cater the food and Jenin Pastry will provide desserts. Proceeds from tickets ($10 each) will go to the Palestine Children’s Relief Fund.
Even as ‘Love Lies Bleeding’ is Intense, Campy And Queer, There’s Still Something MissingCaroline Woodward Hoya Staff Writer
“Loves Lies Bleeding” is a gritty, queer and atmospheric entry into the A24 catalog, a movie with an overall great viewing experience, plot and passion behind it. Yet, I feel this film leaves the audience desiring something, particularly toward its rushed, thematically mismatched and somewhat “shock for the sake of shock” style ending.
The movie begins with Lou (Kristen Stewart), a secluded small-town gym manager with a mysterious and dangerous past. Her world entirely changes when she meets Jackie (Katy O’Brian), a bodybuilder who runs away from home with the goal of competing in Las Vegas. The two begin an intense relationship involving steroids, secrets and eggs (got to get those gains). The movie takes a dark twist, however, when Jackie’s steroid use begins to turn her into a much darker, rage-filled version of herself. This creature-like state of Jackie’s reacts brashly when Lou’s brother-in-law J.J. (Dave Franco) badly injures Lou’s
sister, sending the women into a mess of murder, cover-up and conspiracy that all traces back to Lou’s past and her father (Ed Harris).
“Loves Lies Bleeding” is a crazy ride that had the audience hooked from start to finish, with so many good aspects that are essential to sing the praises of before getting into some of my more negative thoughts.
What stands out most to me about this movie is just how good it looks. The lighting and cinematography play a crucial role in establishing the setting and overall vibes, and they do so wonderfully. The gym scenes feel viscerally sweaty, dark and gross, the desert setting feels stiflingly hot and the competition scene literally made me stressed. The sound design and shot composition are refreshingly thought out and contribute directly to feelings of intense danger, claustrophobia and intimacy. It’s overall a beautiful movie to look at with a (mostly) clear direction.
The acting is also really masterful and fun to watch. It’s not news that Kristen Stewart has fully
rehabilitated her acting image since the “Twilight” days, and that skill is on full display here as she has some of the most emotional moments in the movie. However, I felt the true performance standouts were O’Brian and Harris.
To start with O’Brian, Jackie is a tough character to portray. She’s single-minded to the point of almost being frustrating, drifting from place to place with no real loyalties at the beginning and making all the wrong choices. Yet O’Brian’s portrayal made me both understand the character, feel for her and continue to root for her, even when she makes absolutely idiotic decisions.
Lou’s father’s role in the story is introduced later in the plot, and it’s well worth the wait. Ed Harris’ acting is subdued and terrifying — he so convincingly plays the role of a master manipulator that he almost single-handedly drives the film toward the end. He’s such a visible creep that just his presence on screen feels off-putting in a fascinating way.
I also want to touch on the queer representation in this film. To put it simply, Lou and Jackie’s rela-
IMDB
Katy O’Brian and Kristen Stewart star as Jackie and Lou, respectively, who get drawn into a bloody tale of revenge.
tionship was so refreshing to see on the big screen. These two are not the watered-down, nonoffensive gays or barely-seen, kiss-in-background queer women so often portrayed in movies, as studios are afraid to offend both those who want representation and those who are vehemently against it.
Lou and Jackie are messy, complicated and different — they fight and argue, and their dynamics closely reflect real-world queer relationships. Intimate scenes felt as if they had a queer woman behind them, not a male director attempting to get away with porn. Homophobia did not play a major role despite being set in an ’80s small-town Americana, which is a welcome relief from so many narratives set during this time. This relationship was simply fascinating to watch, the characters not driven by their queerness, but by their genuinely developed personalities and goals.
However, the plot, or more specifically the ending, is what deters me from giving this movie a higher rating. Without giving too much away, the end of this movie feels so rushed, tonally separate and detached from the rest of the movie. This is intentional, clearly, but to the point that the story is trying too hard to elicit a reaction from the audience. The movie definitely has thematically different scenes before its conclusion, with some dark, morbid humor ramping up towards the end, but the final scene takes it to an extreme that just does not mesh with me. It all felt unnecessary and wrong for a relatively previously grounded narrative.
This was so extremely disappointing as I feel the realistic, gritty and dangerous tones worked so well in this story. These aspects, as well as all of the narrative tension, was utterly wasted. There was so much potential of this being a truly impactful film and it was all thrown away for a some three-minute fever dream that felt manufactured and random.
Ultimately, with a stronger ending, “Loves Lies Bleeding” would be a solid four star movie — it’s visually, directionally and thematically strong, but is not revolutionary by any means. Yet, I feel the final minutes bring this down so significantly as they entirely cheapen the narrative. Overall, I would recommend the film to anyone wanting a snappy, visceral, campy and gay thriller who would be alright with an out-of-left-field and somewhat disappointing conclusion.
@ARIANAGRANDE/INSTAGRAM
Ariana Grande’s latest album, “Eternal Sunshine,” proves an intimate, innovative and infectious addition to her discography.
The world has changed a lot since 2020 and so has Ariana Grande.
During the challenging COVID-19 pandemic lockdowns, Grande’s release of her sophisticated R&B-infused album “Positions” provided musical escape. Featuring collaborations with artists such as Doja Cat, Ty Dolla $ign and The Weeknd, the album was packed with mainstream styles and catchy hooks.
In contrast, Grande’s new album “Eternal Sunshine” adds a more intimate and illuminating layer to her existing body of work. With its dreamlike melodies, clever lyrics and ethereal harmonies, the album seamlessly weaves through vulnerable emotions and cherished musical genres.
“Eternal Sunshine” opens with the lyric, “How can I tell if I’m in the right relationship?” This sets the stage for the internal dialogue and self-discovery in the tracks that follow. Transitioning seamlessly into the upbeat and spirited track “bye,” Grande explores the themes of moving on with a cheeky and radiant beat in the background.
The tone gradually shifts into deeper emotion-
al territory with the self-empowering track “don’t wanna break up again,” where Grande confronts her feelings of neglect and abandonment. She states, “I fall asleep crying / You turn up the TV / You don’t wanna hear me.” However, despite the weight of the subject matter, the melancholic lyrics are sonically disguised with Grande’s airy vocals and an infectious pop melody created with her signature high harmonies.
The album’s interlude samples a video of astrologer Diana Garland, who says that “Saturn comes along and hits you over the head…and says, ‘Wake up.’” Though the clip is in reference to the personal astrological phenomenon of the Saturn return, Grande’s choice to include it likely alludes to her personal journey of self-realization as well as the album’s thematic inspiration: the 2004 romantic drama “Eternal Sunshine of the Spotless Mind.” The film follows two main characters who were once in love as they awake from a surgery that has removed the other from their memory.
Grande explores these themes of heartbreak and longing in the tracks “eternal sunshine,” “i wish i hated you” and “we can’t be friends (wait for your love).” In “eternal sunshine,” she writes, “Get me out of this loop / So now we play our separate
scenes,” and in “i wish i hated you,” she writes, “I rearrange my memories / I try to rewrite our life.” Through candid introspection, Grande explores the layers of love and heartbreak that can make one regret its existence in the first place.
This theme is most vividly portrayed in the track and music video for “we can’t be friends (wait for your love).” In the video, Grande and her love interest, played by Evan Peters, transition from lovers to strangers as mementos — like their pictures and Grande’s necklace — morph into foreign objects. Against heartbeats in the background elevated by synths and electro-house sounds, Ariana Grande sings “You cling to your papers and pens / Wait until you like me again,” referring to the contract to erase one’s memories.
One of the boldest stylistic departures of the entire album for Grande emerges in a track called “imperfect for you.” Combining a country cadence, R&B beats and pop vocal stylings, the song highlights the intricate and unexplainable nature of relationships. Grande echoes the sentiment of the lyrics, “Messy, completely distressed” and describes her relationship as a strangely fulfilling journey, describing the wreckage as a “happy disaster.” There is also a sense of acceptance as she
sings, “How could we know / We’d rearrange all the cosmos?” This song beautifully encapsulates the blurring of boundaries between perfection and imperfection, as seen in the title, which could easily be read or heard as “I’m perfect for you.”
In addition to her emotionally resonant songs, listeners cannot overlook Grande’s masterful skill of creating trendy and popular music. Her single “yes, and?” is a self-empowering pop song with a refreshing house twist. With lyrics encouraging resilience like “And if you find yourself in a dark situation / Just turn on your light and be like / ‘Yes, and?’” Grande raises the spirit of the album. Similarly, her song “the boy is mine” is another sassy addition to the track list, showcasing a playful and lighthearted pop beat that celebrates confidence.
Harnessing a blend of synth-pop house, and R&B over her career, Ariana Grande has honed a unique and infectious style for herself in the industry. Despite featuring no other artists (unless you count her grandmother, who appears on the final track), her album is diverse in styles, and her genuine and intimate lyricism take center stage. Releasing nothing short of an innovative and moving album, Grande has done it again.
Preston Shirazi Guide Columnist
After the smash hit of “Dune: Part Two,” which flew past a $600 million box office boom, the surprising successes of “Godzilla x Kong: The New Empire” and the startlingly solid debut of “Ghostbusters: Frozen Empire,” it seems as though science fiction is taking Hollywood by storm.
Despite the trend of declining movie theater attendance, certain films have managed to defy expectations and draw audiences back to the big screen. Upon the release of “Dune: Part Two,” IMAX Chief Executive Officer Rich Gelfond said, “You can’t get a ticket until three weeks from now,” a testament to the overwhelming demand for the film’s theatrical experience. The success of “Dune: Part Two” offers a glimpse into where Hollywood and movie theaters might be headed: IMAX screens, Dolby surround sound systems and other premium offerings — the things that streaming services just cannot compete with. In the wake of blockbuster hits like
“Avatar: The Way of Water,” “Top Gun: Maverick” and “Oppenheimer,” “Dune: Part Two” proves yet again that audiences still crave experiencing cinema in the theaters, but it takes a particular kind of movie to get them into seats. Theaters can no longer simply offer a movie; audiences want to witness the deafening explosion in “Oppenheimer,” the bloodpumping fighter jet scenes in “Top Gun: Maverick” and the chilling war cries of Paul Atreides in “Dune.” Audiences want to be fully immersed in a story so they can feel like they are a part of it, a feeling only premium formats can offer.
Advertising movies as must-see events is nothing new, but with films like “Oppenheimer” and “Dune: Part Two,” studios have capitalized on the trusted reputations of their auteur directors, the sheer spectacle of the films themselves and more recently, the allure of enhanced screening formats like IMAX. These enhanced formats drive audiences to theaters in vast numbers, making them appear to be the primary driving factor in attendance for such visually spectacular films.
Although the total 2023 box office sales were down more than 20% compared to levels prior to the COVID-19 pandemic, premium ticket sales increased by more
than 10% over pre-pandemic levels. Examining what movies seem to be doing well in today’s theaters, most of the top films involve action. It seems as though giant monsters fighting on the big screens are exactly the kind of spectacles that people are willing to pay top dollar for. Films like “Godzilla x Kong: The New Empire” have demonstrated that audiences are eager to witness larger-than-life battles and breathtaking visuals in premium formats like IMAX, even if it means spending upwards of $20 per ticket. And, due in large part to the critical and commercial success of “Oppenheimer,” 2023 was the second highest grossing year for IMAX in the company’s history, raking in a mindblowing $1.06 billion worldwide from movies playing on its large-format screens, according to Variety.
This jump in revenue for IMAX has led to the building of nearly one hundred more IMAX screens across the world. “Dune: Part Two,” which, like “Oppenheimer,” has been marketed as “Filmed For IMAX,” also benefited from this audience interest. Approximately $100 million of the more than $600 million “Dune: Part Two” has earned is
from IMAX screenings alone.
Even less visually impressive films like “The Super Mario Bros. Movie” drew substantial audiences to premium formats. About 35% of the $204.6 million the animated film earned in its first five days was from large-screen and 3D formats, according to Universal Pictures. This trend suggests that the IMAX experience has become just as much about the fandom and filmgoing experience as it has about the picture and sound quality. Although streaming services have gained popularity in recent years, Hollywood and movie theaters are working hard to keep up. By focusing on premium formats such as IMAX and Dolby Cinema and delivering visually spectacular, immersive experiences that a computer screen could never compete with, theaters might just have a chance of survival. The responsibility of a filmmaker seeking to create a top box office film is to produce spectacle-driven scenes that demand to be seen in the highest quality possible. The future of movie theaters may lie in the hands of those who can continue to deliver such unforgettable experiences, reminding audiences of the wonders of the movie theater.
1. Trying to get a townhouse is a ___ errand
Last issue’s solutions 1
6. Logo for Restoration Hardware
7. Double it and you get arguably the place with the best late night sandwich
8. Oops, _ ___-ended her minivan
10. Type of caramel corn with chocolate drizzles
11. Nada, Nothing,...
1. Humidity + hair = ___
2. What you might say when surprised by a famous outdoor store?
3. A circle
4. Movement on your hands and knees, backwards
5. Snook, best known for her work in Succession
9. Estimate blood loss, or the middle of “nosebleed”
9E
1. The best deputy guide editor
The Hoya has ever seen/the thing that traps bugs as fossils
6. Orange protector
7. “It’s awfully ___ of her to put her own name in the crossword!”
9. Spanish for the fifth sign of the zodiac, often associated with confidence.
10. Liquid ___s are just soy sauce for healthy people
1. Jeramey from Love is Blind has sleep ___
2. “ ___, I only buy West ___” said the wealthy furniture customer
3. ___n Wall
4. Descriptor for Orlando Bloom in Lord of the Rings
8. Gong ___ plays the Salesman in Squid Game