![]() Both films vastly overperformed industry expectations, morphing Barbenheimer from a joke into a celebration of the power of cinematic stories.īoth Barbie and Oppenheimer are terrific films in their own rights each has already launched a thousand think-pieces. Barbie debuted at $155 million, the largest opening weekend ever for a female director, while Oppenheimer pulled in $80.5 million - an almost unbelievable sum for a bleak, 3-hour, R-rated biopic. Countless more broke the five hours of film up over multiple days, delivering an historic weekend box office. My partner and I were some of the more than 200,000 moviegoers who did a same-day double feature. Both films ultimately move beyond the myth of the single creator.īut then something beautiful happened: People decided to go see both. Robert Oppenheimer, the father of the atomic bomb. The other was Christopher Nolan’s latest, a three-hour biopic about J. One was Greta Gerwig’s Barbie, a day-glo feminist celebration of the world’s most popular doll. The portmanteau began as a joke: “Barbenheimer,” the megaplex mega-weekend that saw the premier of two highly anticipated films that couldn’t have been more different.
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