Anti-Robert Pattinson bias?
[See previous article: “David Cronenberg / Robert Pattinson Cosmopolis Box Office: 90 percent Per-Theater-Average Tumble.”] The “anti-Robert Pattinson bias” accusation is so ridiculously absurd that I'm not going to take the trouble to explain why that isn't so. Instead, I'll merely suggest that The Accusers click on our various Robert Pattinson links (check out the tags and our “related posts” suggestions at the bottom of this article) to read what we've written about him. As for those accusing us of having a pro-Kristen Stewart bias, let me remind you that we're not five-year-olds playing Twi-favorites.
And make sure to check out this Kristen Stewart / Welcome to the Rileys box-office piece. (It's too bad I can't find the post featuring a comment by an irate Kristen Stewart fan accusing Alt Film Guide of having a “hard-on” for Robert Pattinson because the editor chose a Pattinson / Edward Cullen image to illustrate Eclipse's box office success.) [See also: Robert Pattinson Cosmopolis Oscar chances / awards-season buzz: how likely?]
Now, some of those same people (and a few others) raised issues we at Alt Film Guide feel should be addressed in more detail. Here they are:
Cosmopolis was never intended to make money and Alt Film Guide shouldn't be discussing its box office grosses
Wrong on both counts. Barring some sort of bizarre tax-deduction deal, Cosmopolis was certainly meant to at least earn back its cost. Else, David Cronenberg would in all likelihood have found it very difficult to raise $20 million to make this film. The casting of Robert Pattinson (as a replacement for Colin Farrell) was no coincidence, either. Stars help to sell a film to prospective investors.
And of course it's our right to discuss whatever aspect of filmmaking we wish. That includes box office grosses.
Every movie was down this past weekend, so Cosmopolis had to be down, too!
Wrong. Although it was indeed a dismal weekend at the domestic box office – the worst this year so far – that's not because of some “Fourth-Weekend-in-August Curse” found in the Mayan Calendar or because of a carefully planned filmgoers' insurrection.
This past weekend, there were no major new releases (The Apparition, Premium Rush, and Hit and Run were anything but), relatively few people cared about Sylvester Stallone / Liam Hemsworth's blow'em up fest The Expendables 2, while Tony Gilroy / Jeremy Renner's costly The Bourne Legacy has been performing below expectations. That happens.
On the other hand, Dinesh D'Souza and John Sullivan's right-wing documentary 2016 Obama's America performed quite well, and so did several movies in limited release, including two newcomers: Ron Fricke's Samsara ($76,222 at two screens) and Mike Birbiglia's Sleepwalk with Me ($65,000 at one theater).
An even more appropriate comparison to Cosmopolis would be Jake Schreier / Frank Langella's Robot & Frank, which also expanded this weekend. Probably as a result of solid reviews (86 percent approval rating and a 7.1/10 average among Rotten Tomatoes' top critics), the Robot & Frank expansion was much more successful than that of Cosmopolis (46 percent approval rating): a 2,200 percent increase in number of theaters and a 719 percent increase in box office grosses.
Your site shouldn't use only Rotten Tomatoes' top critics' percentages / averages
Well, if you would rather use Rotten Tomatoes' overall percentages / averages for your own site or moviegoing decisions, that's your call.
It's our editorial policy to use only the Top Critics' figures because whether or not we personally like / agree with them, Rotten Tomatoes' “top critics” are usually those from more influential North American (and UK) print / online publications.
Chances are only MooMoo's mother and favorite aunt will head to MooMoo's MoovieMoovie Blog before they decide which moovie they want to watch. Most other English-speakers who a) can read b) check out film critics' reviews will likely visit, say, The Guardian or the New York Times or the Los Angeles Times or Salon or Slate.
Those reviewers may have little to no influence on something like The Expendables 2 or Transformers: Dark of the Moon or Harry Potter and the Deathly Hallows: Part 2 or The Twilight Saga: Breaking Dawn Part 2. Yet, they – but not MooMoo – are crucial for the initial (and perhaps long-term) success of “small” movies, including Cosmopolis.
I hope this matter has been clarified.
Robert Pattinson Cosmopolis movie: Alfama Films