Now the plot's lack of originality would've been fine if they had a strong cast and some solid writing to build upon. The movie's basically another allegory on greed and how it can tear humanity apart. Even if it were, there's nothing to suggest that they would follow the customs of that area as it is today. Though this would, of course, assume that Kumandra is in what is known today as South East Asia. So Raya would call Tong "Uncle Tong", Boun would call Raya "Sister Raya", and Raya would address deity-ish Sisu as "Master Sisu" or "Lady Sisu". In Asian cultures usually you would address people using familial relationship: you would call a person who is around your age or slightly older than you with "brother/sister", person who is in the range of your parent's age with "uncle/auntie", person who is older than that with "grandpa/granny", and revered/high status/deity figure with something like "master/lord/lady". For that matter, Raya nabbed 2.75x the 392 million minutes accrued by the second-place movie, Netflix’s Dog Gone Trouble.In South East Asian cultures in particular and Asian cultures in general, it's considered very rude to address people who are older or in higher status than you with only their names, such as when Raya calls Tong or Boun calls Raya or Raya calls Sisu (a deity-like figure) with their names only. 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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