‘Dahmer’ Gets Big Debut During ‘Do Revenge’ Rally In Week 2

On the latest weekly Netflix
NFLX
ratings, teen girl comedy Jennifer Kaytin Robinson revenge made great progress in its first week of release. This original, teen-targeted MA-rated comedy tells the story of two attractive high school students (Camilia Mendes and Maya Hawke). Strangers on the Train and agree to take revenge on their respective mortal enemies. Spoiler alert: mom no one gets knocked off the train. It debuted with a rather soft 26.67 million hours viewed in its opening weekend. It’s not a tragedy, because it’s not like it’s Netflix’s famous big deal. However, it shot up high in its first full week, earning 42.55 million hours. It is the most watched film on Netflix in the past week.

Yes, a lot of Netflix movies make more in the first Monday-Sunday than early Friday-Sun debuts, yes, that’s usually par for the course. But the 59.5% jump was solid. It’s not as big as Sea animals (from 33 million to 68 million) or purple heart (48 million to 102 million), but it caught my attention. We’ll see if the film sinks in after those critical first ten days. Most of Netflix’s big problems sink like a rock after the first 1.5 weeks when the next big thing rolls, and those that don’t (like purple heart which produced 229 million hours in the first 28 days) can be considered a genuine old school word of mouth success story.

I mostly enjoy revenge on its own terms, even if I think there’s malicious intent held back by the film’s need to metaphorically validate its audience. No spoilers, but the film omitted some nefarious plots so that it could end on a note ‘women support women and destroy patriarchy.’ This isn’t the first film to shy away from a grim finale due to market demand. Thinking Knight and Day teases the idea of ​​Tom Cruise as a delusional CIA traitor or Central Intelligence walking back ‘Dwayne Johnson has been a villain all along’ reveals. I forgive those films. It’s not a pass/fail issue for revenge.

To its credit, the film largely goes its own way beyond being a direct homage to late 1980s to early 2000s teen comedy. It earned its place (different qualities aside) right next to the likes of Heathers, Jawbreaker, Clueless and Meaningful Girl. I’ve long argued that Netflix is ​​better off making a ‘new classic’ studio programmer that approximates the kind of character-focused, high-concept, non-franchise film that Hollywood seems to be throwing away, and this is an important example. You can spend $200 million for Gray Man and get 254 million hours, or you can make a Sofia Carson/Nicholas Gailtzine military romance and net 90% of viewership for 1.4% of budget. And you may become a generation favorite in the process.

Allison Janney earned her action hero achievement badge last weekend with Lu. Directed by Anna Forester, who directed the first (and best) film Hell film, Lou less than Liam Neeson Taken and more Angelina Jolie Those Who Want Me Dead. Janney plays a retired CIA veterinarian who ends up helping his neighbor (Jurnee Smollett) track down his kidnapped daughter. The film is very cinematic and theatrical for Netflix programmers. The production of Bad Robot has a rainy atmosphere. If I roll my eyes at a few twists of the plot, I’ll admit that it looks and works well as a qualified programmer. Lou was the second biggest film of the weekend with 40.57 million hours in its ‘opening weekend.’

Tyler Perry’s Blues A Jazzman stumbled in his debut earning just 7.82 million hours. It was terrible for a ‘big’ starter. Judd Apatow Bubble bombed with 12 million hours in March/April, but currently ranks 2nd in America among films behind Lu. I’ve never seen a melodrama/murder mystery spanning a decade, but I’m hoping it’s something of an artistic return for Perry. He spent the first five years as a filmmaker, with The Predatory Family and I Can Do Bad Alone alongside the broader Madea-centric comedy (although in my opinion jokes are more challenging than drama). I had long believed he was so stung by the (unfair) rejection of For Colored Girls in 2010 he mostly stopped ‘trying.’

On television, Ryan Murphy is controversial (at least on Twitter, where everything is controversial for 15 minutes) DAHMER: Monsters: Jeffrey Dahmer’s Story gained a staggering 196 million hours. It’s one of the biggest weekly television catches for a streamer, behind just two seasons of four drops Stranger Things and the second week of the season Bridgerton. Yes, it debuted on Wednesday, but it’s still a huge amount. The docudrama, with a title that appears to have been written by an SEO bot, capitalizes on the general interest in true crime melodrama, our obsession with serial killers, and generational tilted nostalgia for a story that went down just as those over/under my age were young. enough to make an impact.

Dahmer originally grew up in my hometown and attended my high school, even if he committed most of the murders in Milwaukee. I vividly remember returning from two weeks at summer camp and hearing about the amazing horrors that had just unfolded. That said, I feel about this the same way I do about most of the miniseries ‘real-life scandals reevaluating’ (Impeached, Found Anna, We Are Destroyed, etc.) that we got over the last few years. Save for periodic achievements like People vs. OJ Simpson or Drop Out, you are usually better off listening to “You’re Wrong About”. I’ll report back if my wife and/or eldest want to watch it. Cobra Kai down 61% in the third frame.

Talking about less money for a similar impact, I caught the DTV offender part 8 over the weekend. Written by Chad Law and directed by Christian Sesma, the film stars Ryan Kwanten (from Patrick Hughes’ red hill) as a marine sent to prison to avenge his murdered family only to be brought up by secret government agents in exchange for murder for Uncle Sam. If this sounds like Asylum It gray man, wait until you hear that he’s finally earned the wrath of his new boss and must avoid an irresponsible hitman (Scott Adkins reveled in the ‘oops, all the berries’ role) and bring down his master. Dermot Mulroney, Dolph Lundgren and Mickey Rourke filled the fringes.

This film is at least as entertaining as (and far less chaotic than) actors Ryan Gosling/Chris Evans. Over/under $3 million part 8 looks amazingly polished, colorful and offers multiple locations along with the aforementioned actors not calling it. Not only is it fun, well-structured, action-packed on a ‘direct-to-video’ curve, but it looks and plays like something I would have loved to see and enjoy in the theater on a Saturday afternoon in my teens. When part 8 finally appearing on Netflix, it’ll make an ironic double bill with the spectacular Russo franchise action. Again, you can spend $200 million to approach a Hollywood blockbuster badly or $5-$20 million (or even $115 million for Adam’s Project) to fill in the original blanks.

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