![]() The reviews weren’t quite as toxic as those that met Netflix’s last big Christmas bet, the Will Smith-starring fantasy Bright, but they immediately put a stop to any awards chatter and pegged Bird Box as yet another misjudged original gamble. “A toy-chest apocalypse in which the rules of the game are, to all appearances, never understood,” complained the New Yorker’s Richard Brody. “These characters feel so crammed together and underwritten that they add up to almost nothing,” wrote the Guardian’s Amy Nicholson. “A wannabe shocker … shortchanged in terms of suspense, scares and thrills,” said the Hollywood Reporter’s Todd McCarthy. Then critics caught a glimpse and, well, fear was far from realised. ![]() Both promising signs of a prestige project. They also targeted voters with a sneak peek Directors Guild of America screening in New York. Netflix remained confident, despite bad buzz, and nabbed a slot at the AFI film festival alongside awards-friendly titles such as Roma and Green Book. For those unlucky enough to catch a glimpse, their greatest fears become realised. While the John Krasinski/Emily Blunt thriller focused on monsters who used sound to hunt their victims, in Bird Box, a demonic force targets sight. ![]() But a last-minute marketing campaign planted seeds of doubt with a trailer that left many calling it an ill-timed, sense-swapped copy of A Quiet Place, released to critical and commercial success earlier in the year. The film, led by Sandra Bullock, was seen as one of the platform’s splashier original offerings of 2018 with a juicy set-up, an in-demand director and a high-profile pre-Christmas release.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |