The Gray Man. Ryan Gosling as Six. Netflix didn’t hold off until the first weekend’s results on The Grey Man went live before announcing an additional sequel and spinoff. After the first global ratings have been released, they’re disappointing. Much like the discussion surrounding The Gray Man by Jordan Peele “Nope” and its “in generally fantastic” $44.4 million debut weekend (usually excellent when it comes to an R-rated star-lite live-action horror film) The idea of The Gray Man only getting 88 million hours of Netflix during the initial three days (around 43 million total viewers for this 129-minute action thriller) “feels” somewhat disappointing. Gray Man‘s status as Netflix’s most significant attempt to develop their franchise of blockbusters. This is dependent, but it’s still lower than what The Red Notice(149 million hours)and Don’t Look Up(111 million hours) earned in their first weekend.
But that doesn’t mean legs aren’t feasible. Don’t look up to an All-star, Oscar-friendly Jennifer Lawrence and Leonardo DiCaprio disaster film that racked up 150 million hours in the first week. The Red Noticewent from 149 million during the first weekend to 129 million during the first week of Mon-Sun. But, The Gray Manis is based on the popular action-spy-lit series, has Ryan Gosling (as the excellent spy) and Chris Evans (as the lousy spy), and is directed by Russos ( Avengers: Endgame). It’s telling that it made about the same amount of time as Sandra Bullock’s action-lite and dark post-prison rehab drama “The Unforgivable.” It may be about the same “leggy” in the same way as The Red Notice (364 million hours over just the initial 28 days following the first weekend). If that’s the case, it’ll be under or just over “The Unforgivable”‘s initial month (214.7 million hours).
“The Adam Project’
It premiered with less time than Ryan Reynolds’ original, $115 million The Adam Project. This family-friendly movie began in 92.4 million hours of running time and stretched to 233 million hours over its first week. Similar numbers in the film The Gray Man(PG-13 but isn’t a film for children) will see it clocking 223 million in the first month. This is roughly between “The Unforgivable” and the $65 million-budget Extraction(231.3 million hours). The ideal scenario, although unlikely, is that the show has legs similar to Don’t Lookup. The Adam McKay-directed romp enjoyed the benefit of Christmas days (like Bird Boxin 2018). It made 360 million hours from its debut of 111 million hours (and more than 152 million hours during the whole week from Monday to Sunday). This would give the Gray Man285 million hours, equivalent to third place, just behind Sandra Bullock’s 20 million-budget Bird Box.
When you consider the opening weekend’s raw numbers, the film’s opening weekend is quite good, but not surprisingly sky-high and is even a bit lower than the comparatively lower and lesser-recognized films. The Russo Bros.’ $200 million spy action film is an apparent attempt to Netflix to resemble the vast budget of Hollywood action movies. There are moments in the film (Julia Butters is almost the main character in the movie) and more. The film’s budget appears to be higher than similar films like Red Notice. It’s still not as impressive as Time to Die, Mission: Impossible – Fallout, and (the $75 million) John Wick: Chapter 3. This is the issue in Netflix originals. They are trying to take over the traditional competition, even though most of their original content is selling quality in exchange for “push the button and stream it from your home” convenience.
The RED NOTICE (L-R) Dwayne Johnson is the FBI’s top profiler John Hartley; Ryan Reynolds is the greatest artist thieves Nolan Booth, and Gal Gadot is the most wanted art theft thief “The Bishop” in Netflix’s”RED NOTICE. Written and directed by Rawson Marshall Thurber. RED Notice will be released on the 12th of November and 2021. Cr: Frank Masi / Netflix (c) 2021
It’s okay for a single-and-done, and that’s fine, mainly since Netflix’s biggest weapon is its subscription base that is so vast that they can draw a massive audience for their original or brand-new-to-you high-concept vehicles that were once the bread and butter of Hollywood. However, if you’re planning to create franchises that could be made into IP that can be monetized, the films should not be just “glad I didn’t catch this in the theaters” or “It’s okay as it’s free on my television.” When audiences “pressed for action” to the concept that entailed Dwayne Johnson, Gal Gadot, and Ryan Reynolds in a light, action-comedy adventure and attracting them to specifically the sequel the Red Notice may be more difficult. The same goes for Gray Man 2 or whatever shape it takes, which is why the Bright 2 was not a good idea.
The announcement of the sequel is a trick to claim success. It’s not a new technique. We’re waiting for Star Trek 4 (announced days before Star Trek Beyond), Wonder Woman 3 (announced on Wonder Woman 1984’s theatrical and HBO Max opening weekend), and all hosts of “Studio claims that there’s a sequel coming!” follow-ups to Cruella, Jungle Cruise, Green Lantern and many more. A sequel was previously an (often not planned) assertion that the audience was able to enjoy a movie. In a time where shareholders demand everything be a franchise or an entire film universe (with no evidence that viewers are looking for endless spinoffs of that film or show they watched and enjoyed), this is a premature announcement to promote the notion of the success of consumers. The company has greenlighted a sequel, which is bound to be a huge success!
Charlize Theron Matthias Schoenaerts, Luca Marinelli, Marwan Kenzari, and KiKi Layne in the film ‘The Old Guard’
Netflix announced the release of Bright which is yet to come to fruition, while the Red Notice sequels and 3. are in the “It’s likely to happen!” stage. We are receiving follow-ups for Extraction, Murder Mystery, and The Old Guard. Army of the Dead was the same treatment as a close-concurrent Army of Thieves prequel. We’ll find out if we’ll get that anticipated Planet of the Dead. Except for the cheaper and romantic comedies that are geared toward youth There’s usually a gap between the Netflix genre film announcing a sequel and that sequel being made. This is another instance that the giant streaming company is who is taking its cue from the standard Hollywood playbook. In contrast, The Sea Beast made 135 million hours over 17 days, resulting in an opening weekend. It may be worthy of a sequel, as audiences are raving about it to the point of “Hey, It’s what’s new this week on Netflix the week of.”
If Netflix was happy to have Gray Mangetting’s Gray Man getting opening weekend ratings that are on par with Adam Sandler’s (exceptionally great) basketball drama Hustle(85 million hours) or 365 Days: This Day(77 million hours for the 109-minute Polish sexually explicit sequel The 365 Day) The producers could have put off until the numbers had dropped before announcement of the sequel. Instead they let the word out earlier this morning. The news took over the media and overshadowed the real “merely adequate concerning expectations” initial ratings. Perhaps they’re aware that the ratings on Monday are sufficient, and they’ll let it go this week. Maybe they’re hoping that the word about an upcoming franchise will entice those interested to go and check it out. However, could you not make any assumptions about it? The announcement of a sequel and spinoff of Gray Manis is Gray Manis, not an affirmation but rather a false impression of its success.