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Present Exclusive Very Expensive Films


Suppose you are a representative from an athletic organization wishing to find out which sports Grade 11 (or secondary 4) students are participating in across Canada. It would be too costly and lengthy to survey every Canadian in Grade 11, or even a couple of students from every Grade 11 class in Canada. Instead, 100 schools are randomly selected from all over Canada. These 100 schools are the sampled clusters. Then all Grade 11 students in all 100 clusters are surveyed.




Present Exclusive Very Expensive Films



Considering that a general rule for establishing the total cost of a movie is to double the production budget in order to roughly calculate marketing, Avatar: The Way of Water could very well sit at the tippy-top of the list when it comes to the costliest movies of all time. At present, neither 20th Century Studios nor Lightstorm Entertainment have revealed the budget behind Avatar: The Way of Water, but earlier reports have claimed that it is closer to $250 million. Which now seems unlikely.


It's astonishing how much money goes into Hollywood franchise movies. Between the actors' multi-million-dollar salaries and the salaries of thousands of crew members to post-production and marketing, the budgets for some films certainly make you realize just how little we, as an audience, are in comparison to the giants of the film industry. It's certainly predictable which franchises and movies will make it onto a list of most expensive movies ever made, but the specific figures of each movie are sure to make you blink twice.


Of course, a movie with a high budget doesn't necessarily mean that it is certain to make a satisfactory profit in return, or, for that matter, be a well-crafted and entertaining story. Disney, for example, invests millions in all of its projects, but that doesn't stop the major studio from experiencing its box office bombs every now and then. Another great example of this phenomenon is Transformers: The Last Knight, which, despite its budget of over $216 million, still managed to lose more than $100 million, opening at a franchise-low of $69.1 million when all was said and done. Without further ado, here is a look at the most expensive movies ever made, unadjusted for inflation.


Though each title has a 4K stamp in its description, HBO Max keeps a running list on its help page of every title that's available in 4K, HDR10 and Dolby Vision. House of the Dragon is the first new HBO show available in these formats, and you can now watch Game of Thrones in 4K. Season 1 of The Last of Us will also air in 4K. In addition, you'll find Dune, Kimi, The Suicide Squad and The Matrix trilogy among the films on the list. There are roughly 30 movies that stream in 4K, and you must have the ad-free HBO Max plan and a supported device in order to view them.


As these streaming wars have intensified in recent years, audiences are seeing these major streaming platforms pump larger and larger amounts of money into original content in an effort to stand out in an oversaturated landscape. While streaming platforms, like Netflix, are notoriously tight-lipped over the budgets of their originals, there are multiple reports of colossal budgets for new exclusive content for these streaming platforms. While it can be difficult to accurately obtain information regarding the true budgets of many of these films, here are ten of the most expensive movies (some of which have yet to be released) to debut exclusively on streaming platforms, according to their reported budgets.


With The Tomorrow War changing studio hands, it's difficult to estimate how much the film cost in total, but THR and Forbes believe the final cost was somewhere in the region of $160 million and $200 million, easily making it Amazon Prime's most expensive exclusive original thus far.


With a reported budget of around $150 million (via IndieWire), 6 Underground is still one of Netflix's most expensive movies ever made, and set the precedent for major action movie tentpoles, debuting exclusively on streaming platforms (something audiences have seen more and more of in recent years).


Following off the heels of previous Pixar movies, and some of best Disney+ originals, Soul and Luca, Turning Red is the latest Pixar movie to debut exclusively on Disney+. According to The New York Times, the budget for Turning Red was somewhere in the region of $175m, easily making it one of Disney+'s most expensive exclusives to date.


146 THE MINNESOTA REVIEW CHUCK KLEINHANS JULIA LESAGE MARXISM AND FILM CRITICISM: THE CURRENT SITUATION Film criticism is notoriously uneven. Marxist film criticism is no exception . In part the erratic development of critical film study by both Marxists and non-Marxists can be explained by a number of unique problems. First, there are many types and forms of and uses for film-from technical and education shorts to feature fictional entertainments, from documentaries to avant-garde experiments-as a result, "film" describes a medium, not a unitary object of study; it is closer to "book" and to "literature." Second, in contrast to writing or painting, filmmaking is almost always an expensive, collaborative effort -more like theatrical performance than dramatic text. Thereby film criticism demands an economic and sociological analysis of production and reception as well as a close study of the work, director, genre and period. The object of study itself is elusive: "film "texts" are altered physically by bad projection, fading color dyes, erratic repairs, and many other difficulties . Individually variant texts are a given. This problem is compounded when a 35 millimeter film is available for study only in the small image size of a 16 millimeter print. In addition, ordinary projection means a limited way of looking at film: until recently very few have been able to work with the expensive editing table facilities crucial for close study. Film is still so new that there are arguments on such fundamental questions as what film is. For example, the basic aim of Christian Metz's widely discussed and debated book, Language and Cinema, is to define cinema and film. In addition, the establishment of a canon for film scholars and critics is itself problematic in a field where the division of mass and high culture is questionable, if not invalid (which is Chaplin?). And the very diversity of film as a medium leaves it open to an inherently interdisciplinary approach since its specialists come from sociology, art history, literature, mass communications , cultural history, technical filmmaking, etc. However, all these "problems" present an immense advantage for Marxists . Relative to the other arts, film provides an open field with no significant tradition to battle, but rather an immense range of texts and approaches and an uncertain canon. Film has an inherently collective mode of production and a relatively close relation to the economic base and to other parts of the social superstructure. It is open to interdisciplinary approaches , and the Marxist critic can communicate with a fairly wide range KLEINHANS/LESAGE 147 of readers without recourse to the academic stylistics of the established disciplines . Marxist film criticism has one great strength: the body of early Soviet films. Both experimental and Marxist, these films give the critic a constant reference point. But such uneven Marxist film criticism as there is has tended to focus on the realist tradition in film as the norm without noticing the ideological biases inherent in realism. (It is only in the late 60's that film's version of Bertolt Brecht and Georg Luckacs' debate over realism began in earnest.) The attraction to realism is partially due to the fact that politically progressive filmmakers, such as those from the French Popular Front, Joris Ivens, the British documentarists, and the Italian neorealists, took as a given that a certain kind of "realist" cinematic narrative and visual continuity was most apt for making films about (and sometimes for) the proletariat. Most seriously, Marxists have overlooked the tradition of agit-prop filmsthose films made to directly contribute to a political struggle. To some extent this neglect can be attributed to the highly topical nature of such films, but the lessons for present radical criticism and film making are frequently missed. At present, Marxist film criticism stands at a partiuclarly important point in relation to Marxist aesthetics and cultural theory. Traditionally, Marxism has tended to either ignore mass art such as film, or to condemn it out of hand for not matching European conceptions of high culture. However, this neglect has also allowed recent Marxist film criticism to rapidly assimilate post-Leninist trends: for example, Walter Benjamin's concept of the industrial production of culture, Bertolt Brecht's critique of...


The Pond is so popular by aficionados in the photography world, not just because it is among the first color photographs; it is also among the first color photos that were widely distributed. It is also very prominent for its uniqueness. Only three versions of this photo exist; no wonder why the value of each photo greatly increased. One of the three versions got sold for a whopping $2.9 million back in 2006. At that time, it was the most expensive photo, although other photos have been bought since then with much higher prices. It is still not known how costly the other versions will be, but it is most likely they will be sold at much higher prices (both photos are currently being held in a museum).


Gursky has another of his photos on this list. In fact, two photos from this famous photographer are in the sixth spot. Both photos show a supermarket of various goods being sold, but the photographer heavily modified both works. Both works, which are very expensive, measured almost seven by 11 feet.


Trumping the record set by photographer Cindy Sherman in 2011, Andreas Gursky cements his stellar status atop this very exclusive group of photographers with his amazing photograph of the Rhine River: the fourth photo he has taken on this list, purchased for 4.3 million dollars in 2011.


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