Category Archives: Neil Turitz
Chinese investment in Hollywood could cause more harm than benefits in the film industry.
With strong central performances The Founder should have been an awards season contender but with a January dump and little fanfare the project looks to be forgotten. Neil Turitz examines what went wrong.
Deadpool was one of the best pictures of the year, but will the Academy deter from their usual practice of voting for award-bait drama films and nominate this wisecracking superhero flick? And if it does, will it mean anything to the larger landscape of blockbusters and the Oscars?
Neil Turitz looks to examine whether or not the investment of Chinese money good for the film industry. In the second part of this new series, he explores the benefits to Chinese money and influence staking a claim in Hollywood and its business.
Spoilers are hard to avoid in our internet culture, but that does not mean you shouldn’t try to keep some plot points secret. In this day and age, consideration for others shouldn’t be an endangered concept and yet that seems like the case more often than not.
All the things you can skip, ignore, or otherwise pass up in the coming months of 2017. A look at some of the potholes and unfortunate entries on the road ahead, a sort of heads up for the 2017 equivalents of your Ben-Hurs, your Collateral Beautys, your Jack Reacher: Never Go Backs, your Alice Through the Looking Glasses.
The film industry in China is growing and growing which is leading to an increasing demand of high quality film entertainment in the world’s most populous country. Over the next weeks, we’ll delve into this recent development and what it means for the future of Hollywood.
Hit, Black, Blood, Brit, etc.. These year-end lists are important to the writers on them, the agents representing them, and the industry executives reading them but what do they really mean to those who end up on them?
With the final entry in our Network Series, Neil Turitz is here to talk about the Walt Disney Company owned network and how they fall into the everchanging landscape of television.
Despite the film’s superstar leads, Sony Pictures is taking a gamble pitting its original space romance Passengers co-starring Chris Pratt and Jennifer Lawrence against movies like Rogue One: A Star Wars Story and Assassin’s Creed. Is it foolish or can it pay off?
If studios return to the days when they’re making more movies that cost less money, they mitigate their own risk and offer themselves much better opportunity for success. This involves spending less money casting big names.
Even small victories for cable networks come amidst turmoil, frustration, and shedding of viewership. Today let’s take a deep dive into FX and FXX, Time Warner’s TBS, TNT, Cartoon Network/Adult Swim and TruTV, and AMC Networks’ AMC, IFC, BBC-America, WeTV and SundanceTV.
That emotional connection is what tends to separate a mediocre film from a good one, or a good one from a great one, and that’s never more evident than during this season right here. It’s why I keep thinking about a movie like Moonlight, and dismiss one like Lion.
Netflix decided to allow users to download some of its programming for offline viewing. This is good for those on the go, stuck without wifi, or just plain bored, but how will it affect how we consume media and interact with others?
Only one of NBCUniversal’s 15 cable properties gained viewership from 2014-2015. The networks saw a boost in ratings from NBCUniversal’s monopolistic coverage of the Rio Olympics, but now that the games are gone the question remains: will people stay to watch?
It’s tough to target just how Viacom can turn things around, but even if there was a concrete method to do so, it’s not going to be easy, simply because of the nature of the cable business. It has to hope that Shari Redstone and her new board of directors can make changes that will help matters, and that both MTV and Nickelodeon can once again draw the viewership numbers it used to.
Does late night television matter anymore? There is now the fact that nothing on late night is “must-see.” If something is must-see, it can be caught online the next day. There’s nothing that sets it apart from anything else we can find and in that regard, it is almost always lost in the morass of all the other stuff being pushed at us.
With the amount of money that studios make from superhero franchises, remakes, sequels, and films based off of toys and video games the crossover capabilities of these existing properties create an interesting and ludicrously profitable possiblity if said studios chose to work together.
As we discussed last week, it’s tough for anyone to compete with Netflix at the moment, but it becomes even tougher when the operation interested in doing so, Hulu, can’t really decide what it wants to be or how it wants to become it. However, Hulu’s upcoming fare sounds like it’s all smarter, more upscale forms of entertainment, which could be a good thing.
Hollywood has always responded to the large-scale events that have rocked the United States since Hollywood first came to be. But after last week’s election results, and the side of the divide Hollywood finds itself on, how will this industry respond in its creations?
It feels remarkably like no one at Fox is actually piloting the rather large ship of X-Men, and when that happens, it often ends up running aground. For that reason, perhaps the best move here is to make no move at all, let the characters rest for a spell, then revisit things around the time there’s another presidential election.
So far, Netflix remains the dominating streaming service for original content in the television sphere, but Amazon isn’t far behind them. With Amazon’s endless well of resources and how many projects they’re developing, they could soon be a much bigger player.
Oscar season is upon us and Neil Turitz is here to offer some suggestions on how he believe that the award show can improve itself this year, including who the host should be, a musical medley, and creating a brand new ceremony to air before the big night.
After another director walks away from a Warner Brothers Pictures film because of “creative differences” we are left to ask ourselves: What on earth is going on over at Warner Bros?
With hundreds and hundreds of hours of original content produced each year, Netlix has grown into a giant of the television industry and it isn’t even on television. Is the bubble going to burst on Netflix or will their unprecedented growth continue?
Will weak box office performances cause distributors to be more cautious when taking chances funding indie movies or is the world of independent film still financially viable?
Turn out the lights and call the cops. Uwe Boll is retiring. The man who literally fought his critics and was behind several of what have been called the worst films ever made is stepping away from the camera, not out of shame, but because he says the market is no longer viable.
Starz is now the second most subscribed pay cable network but still has yet to find it’s buzzy award winning show. With interesting new projects, current sleeper hits, and a partnership with Lionsgate can the network make the jump into the pantheon of prestige television?
A look at Nintendo’s new Switch console and what its creation means for the future of gaming, technology at large, and society.