'Doctor Strange 2' របស់ Marvel ត្រូវតែបញ្ជាក់ឡើងវិញនូវភាពខ្លាំងរបស់ Box Office របស់ Walt Disney

With tickets going on sale tomorrow, we are one month out from the domestic debut (counting Thursday previews) of វេជ្ជបណ្ឌិតចម្លែកក្នុងពហុវណ្ណៈ។ ជាមួយ ងាកក្រហម ending up mostly on Disney+ instead of theaters, the Marvel flick is the first “Walt Disney proper” (all due respect to the 20th Century Studios and Searchlight releases) to reach theaters since Walt Disney’s មន្តស្នេហ៍. That animated gem’s Thanksgiving theatrical release was arguably treated as a marketing campaign for its Christmas Disney+ debut, and frankly ច្រៀង ២’s $395 million global compared to $253 million for មន្តស្នេហ៍ shows that money was left on the table in the rush to what would have always eventually been huge Disney+ viewership. The Benedict Cumberbatch flick is in the usual position of having to reassert the notion that Disney’s MCU movies (and Disney’s biggies in general) can still rule the box office.

ស្កត់ឌ្រីកសិនសុន វេជ្ជបណ្ឌិតចម្លែក was a rock-solid hit in late 2016, earning $232 million domestic from an $88 million debut and grossing $677 million from a $165 million budget. The big question heading into the final lap of marketing is whether audiences will view the Sam Raimi-directed installment as a straight-up sequel to វេជ្ជបណ្ឌិតចម្លែក or as the first “mythology episode” of the MCU since Avengers: Endgame. Yes, we know that the multiverse adventure will likely have its share of Easter eggs, cameos (including presumably Patrick Stewart reprising his previous incarnation of Professor Charles Xavier from the Fox មនុស្ស​មាន​ថាមពល​ចំ​លែក movies) and major franchise-shattering events. Marvel is hoping for an uplift akin to អាមេរិកប្រធានក្រុម: សង្រ្គាមស៊ីវិល which introduced Spider-Man and Black Panther while pitting the Avengers against each other for a 61% jump from The Winter Soldier’s $ 714 លាន។

Conversely, if the film “only” plays as វេជ្ជបណ្ឌិតចម្លែក 2 and the bump is closer to Ant-Man និង Wasp ($620 million versus $519 million for ស្រមោច-បុរសម្នាក់) ឬ បុរសដែក 2 ($623 million versus $585 million for មនុស្ស​ដែក) and the film doesn’t get an otherwise-expected $100 million from China (since we’re pretty much at the point of having to write off the previously massive supplemental territory), then the film might “only” earn between and $620 million and $715 million. And in a vacuum, especially with still-lingering Covid concerns and (presumably) a $175-$225 million budget, that would be mostly okay presuming decent reviews and strong consumer approval. However, fair or not, there is some pressure to again show that the MCU, specifically Disney’s films contained wherein, remains the most dominant franchise in Hollywood. Because that hasn’t been the case of late.

ស្ត្រីមេម៉ាយខ្មៅ’s mid-summer release was compromised by Disney+ availability (for a $30 upcharge), but its $380 million global cume was well below pre-Covid expectations. I never expected the stand-alone, fantasy-free Scarlett Johansson-led prequel to crack $1 billion, but it’s telling that ស្ត្រីមេម៉ាយខ្មៅ is about to get surpassed by Sony"s $120 million video game adaptation មិនអាចដឹងបាន (373 លានដុល្លារនិងរាប់) ។ ភាពអស់កល្បជានិច្ច did crawl to $400 million, essentially tying with Dune, but the “Marvel tries to make a DC Films flick” fantasy earned the worst reviews in MCU history and (with $164 million domestic) sold fewer domestic tickets than even ការមិនគួរឱ្យជឿ Hulk ($132 million in 2008). Thank heaven for ស៊ាងជីនិងរឿងព្រេងនៃចិញ្ចៀនដប់។, which earned terrific reviews, $225 million domestic from a $94 million Fri-Mon Labor Day debut and $432 million worldwide on an over/under $175 million budget.

Warner Bros.’ Dune earned $400 million worldwide on a $165 million budget but also spawned a (likely to be bigger) sequel and won six technical Oscars. រាជវង្សស្ឆាងជី was a buzzy and well-liked hit, but its global gross was well below the likes of F9 ($721 million, including $203 million from China) and គ្មានពេលស្លាប់ទេ។ ($774 million, including $61 million from China) and earned about as much overseas ($207 million) as Disney’s buzzy បុរសទំនេរ ($209 million including, to be fair, $94 million in China). The Marvel movies all A) earned less worldwide than Godzilla Vs. កុង ($468 million, including $188 million from China) and B) earned less overseas than even Chris Nolan’s ដេត ($305 million, including $66 million in summer 2020). However, Sony’s Marvel movies didn’t play in China and still soared past the Disney releases.

Venom earned $269 million in China in late 2018, making up 31% of its $854 million global cume. Venom: សូមឱ្យមាន Carnage did not play in China and still earned $214 million domestic and $505 million worldwide. Likewise, ពីងពាង - បុរស: ឆ្ងាយពីផ្ទះ earned $199 million in China on the way to a $1.131 billion global cume in the summer of 2019. Spider-Man: គ្មានផ្លូវនៅផ្ទះទេ didn’t play in China and still earned an astonishing $803 million domestic and $1.89 billion worldwide. Disney gets a portion of មនុស្ស​ពីងពាង revenue, but the Sony release scored partially by being a metatextual Spider-Man 4 និង Spider-Man ដ៏អស្ចារ្យ ២ which also took place within the MCU. It is easily the biggest global earner to not play in China and has the fourth biggest no-China overseas gross ever behind Avengers: Endgame, Titanic និង Avatar.

Sony’s Marvel movies outperform Disney’s MCU flicks (sans any help from China) and the Disney MCU movies ended up well below a surprising number of non-Disney releases. មិនអាចដឹងបាន is going to top ស្ត្រីមេម៉ាយខ្មៅ, Godzilla Vs. កុង សរុប រាជវង្សស្ឆាងជី និង Dune (which moved, way back in August of 2019, from November 2020 to December 2020 to get away from ភាពអស់កល្បជានិច្ច) ended up neck and neck with Marvel’s big-scale fantasy adventure with little critical acclaim or pop culture impact. And now Batman is on its way to an over/under $775 million global cume, including an over/under $375 million domestic total. After a four-year run (2016-2019) of theatrical domination courtesy of Avengers, សង្គ្រាមផ្កាយ, Pixar, WDA and those live-action remakes, Disney needs to show that they can still rank at or at least near the top of the mountain.

The MCU summer kick-off movie playing like an MCU summer kick-off movie and pulling grosses on par (on a Covid curve and without China) with អាណាព្យាបាលនៃ Galaxy Vol ។ 2 ($390 million domestic and $890 million worldwide in 2017). The non-Avengers movies can still thrive even if they don’t quite reach grosses on par with ពិភព Jurassic: Dominion (Lost Kingdom earned $417 million domestic and $1.308 billion worldwide, bigger than any of Disney’s non-Avengers MCU flicks save for Captain Marvel និង ខ្លារខិនខ្មៅ) ឬ នាទី៖ ការកើនឡើងនៃហ្គ្រុយ (គួរឱ្យស្អប់ខ្ញុំ 3 was the only $1 billion grosser of summer 2017). But the relative overperformances of No Time to Die, Spider-Man: No Way Home និង Batman មានន័យថា វេជ្ជបណ្ឌិតចម្លែកក្នុងពហុវណ្ណៈ has to make a case that Marvel and Disney should still be feared among theatrical giants.

It is 20 years ago that Sam Raimi’s មនុស្ស​ពីងពាង turned the comic book superhero movie into an A+ tentpole sub-genre, and it’ll be ten years ago next month since Joss Whedon’s អ្នក​ប្រយុទ្ធ turned the MCU into the envy of Hollywood. Yesterday was the eighth anniversary of ប្រធានក្រុមអាមេរិច: ទាហានរដូវរងា, which asserted the post-Avengers MCU’s ability to successfully approximate rival genres and annex their competitions’ fandoms into their collective. The last two years, for a variety of reasons, have seen Disney’s MCU movies operating like “just another franchise.” To paraphrase បុរសដែកទី ៣ the last three MCU movies have shown that god can bleed. With a well-liked actor in Benedict Cumberbatch, a marquee director in Sam Raimi and the promise of “required viewing” spectacle and surprises, នៅក្នុងពហុមេកន្ទ្រាញ is the first chance for Disney to ward off the sharks.