The $90 million buddy cop fantasy is getting lukewarm reviews, and was criticized by Chance the Rapper on Twitter earlier this week for its “shallow” use of “allegorical racism,” but it’s also being credited with ringing in the era of “the algorithmic blockbuster.” In other words: If you put enough buzzy things into the same project, it doesn’t matter if they’re good together or not. People will probably click just to see what the deal is.
Bright boasts stars Will Smith and Joel Edgerton, plus Suicide Squad director David Ayer and a ton of special effects—all of which are huge financial investments for a first-of-its-kind project. According to Nielsen, though, it looks like the investments are paying off. The film was reportedly watched by 11 million U.S. viewers in its first three days, and that’s only counting times the movie was played on a TV. Netflix is notoriously private about its internal numbers, and Nielsen does not measure mobile streams or views on computers, so the true Bright opening weekend numbers are likely much higher than reported.
The partial number of viewers lands Bright behind the second season premiere of Stranger Things (which was watched by 14.8 million in the same period), but way ahead of The Crown season 2, which had 3 million viewers for its premiere Dec. 8.
Teaming up with big names for a movie with an enormous budget is part of a push from Netflix to get its original film branch onto the same level as its prestigious original TV offerings. The mainstream success of series like Orange Is the New Black and House of Cards have cemented the company as a major player in original series over the years, but its movies still seem to be finding their feet. Back in May, The Ringer’sSean Fennessey wrote that 2017 “has thus far been the Year of the Netflix Original Movie. Which is not to say that 2017 has been the Year of the Great Netflix Original Movie. We don’t yet know what a great Netflix movie looks like.”
Seems like we may need to wait until 2018 to find out.
From Latex Strippers to Killing Hitler: Inside Netflix’s Wildest Series
Sex isnt included in the title of Love, Death & Robots, the new animated Netflix series from directors David Fincher and Tim Miller (premiering March 15). But that doesnt mean there isnt plenty of R-rated eroticismnot to mention myriad Hitler deaths!to be found in this 18-episode anthology of sci-fi shorts about the strange, surreal and sinister.
Created by Miller (Deadpool, the upcoming Terminator: Dark Fate), who also serves as an executive producer alongside Fincher (Fight Club, Zodiac, Netflixs Mindhunter), Love, Death & Robots is a deliberately diverse affair rife with violence, humor and a healthy dose of sensuality. No matter that its installments are all computer generatedits for adults only, peppered with full-frontal female nudity, intermittent profanity and a dark, demented view of the world, both now and in the future, which is where most of its vignettes are set. Delivering bleakness and black comedy in distilled form via stories that rarely last more than fifteen minutes, its like Black Mirror for the ADD-addled video game crowd.
Interactive games are certainly evoked by two of the six episodes that were provided to press in advance, as both boast the photorealistic environments and admirably lifelike and emotiveif still clearly artificialhuman faces and figures found in AAA title cutscenes. Theres something startlingly authentic about the way vehicles move and physical spaces are rendered in Sonnies Edge, the shows first episode, even though its grimy blacks, greens and reds define the action in somewhat familiar sci-fi terms. Thats true of its narrative as well, about a young, facially-scarred combatant preparing to compete in a fight to the death against a male opponent. The Real Steel-ish catch is that shes not the one doing the actual brawling; instead, she uses mind-meld technology to pilot a giant reptilian creature (its head stretching backwards into a deadly spiked tail) against her adversarys brutish beast………………………………………………………………………”
The Disappearance of Madeleine McCann | Netflix
A detailed look at the disappearance of 3-year-old Madeleine McCann, who vanished while on holiday with her family. The Disappearance of Madeleine McCann. Only on Netflix March 15th.
Someone Great – Netflix Trailer
Aspiring music journalist Jenny (Gina Rodriguez) has just landed her dream job at an iconic magazine and is about to move to San Francisco. Rather than do long distance, her boyfriend of nine years (Lakeith Stanfield) decides to call it quits. To nurse her broken heart, Jenny gathers up her two best friends Erin (DeWanda Wise) and Blair (Brittany Snow) for one outrageous last adventure in New York City. From writer/director Jennifer Kaytin Robinson (creator of MTV’s Sweet/Vicious) SOMEONE GREAT is a hilarious and heartfelt story of friendship, love, and what it means to let go of your twenties and enter adulthood. Watch Someone Great April 19 on Netflix!