Heck, I even loved Olaf and the horse from Tangled because sometimes the way they spoke and acted had adult humor in ways only adults would understand. When I think of Disney movies, I think of sidekicks that parents can connect with as well. I get that it’s supposed to be like “alright, we get it, har har” but to me, it just felt annoying. I already mentioned the group project joke earlier on but there’s this one running gag where she keeps saying how good of a swimmer she is.

It felt like she was almost trying to make Sisu into another version of the Genie from Aladdin where she cracks jokes constantly, but to me, that fell flat. She has been amazing in some other films, like The Farewell and Crazy Rich Asians, but there was something about her portrayal of Sisu that did not stick with me. For that matter, Raya nabbed 2.75x the 392 million minutes accrued by the second-place movie, Netflix’s Dog Gone Trouble.While I do encourage Disney to do more movies like this where the proper representation is used so that way kids have someone to look up to, I did not like Awkwafina in this role. That was 2.3x the 794 million minutes earned by Netflix’s Sweet Tooth. Speaking of the devil being in the details, the top SVOD offering was again Lucifer, with a whopping 1.838 billion-minutes viewed. Judging by what happened once Raya became “free,” there are lots of folks waiting until Cruella also becomes “free” presumably in late August before checking it out. That’s a 27% jump from its 280 million-minute “opening weekend” and essentially tied with the 355 million-minute “debut weekend” of, yes, Raya and the Last Dragon when it opened as a “premier access” title. That, however, makes it hard to create IP.Ĭruella (which is already available on PVOD) racked up 355 million minutes in its first full week as a Disney+ “premier access” title. It is… dispiriting to consider that the top dog in the streaming wars almost counts on their films leaving little-to-no impact before the next one drops the very next week.

Does it matter that Charlize Theron’s The Old Guard was “number one” for a week or that Liam Neeson’s The Ice Road is already placing second to NBC’s cancelled Manifest? Maybe, maybe not.

Netflix has made the “quick-kill blockbuster” (whereby a much-hyped film opens huge, drops like a rock but is still a hit regardless of whether anyone liked it because the raw numbers are big enough) into their business model. That much-hyped zombie actioner (which had a week-long Cinemark theatrical release) dropped after the first two weeks isn’t a shock. Zack Snyder directs Army of the Dead CLAY ENOS/NETFLIX

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