The film screening had already gone on for over two hours. Billy Emerson had lost count of how many yawns he had let out. If it weren't for the occasional explosions, he might have already fallen asleep. Meanwhile, his two companions showed no interest at all: one was bored playing mobile games with his head down, and the other was completely focused on finishing off the popcorn and cola, clearly not paying any attention to the movie.
As an air combat film enthusiast, Billy Emerson was one of the very few around who could persist in watching the movie seriously. Though this film wasn't as boring as Kingdom of Heaven, which had caused viewers to leave early, its watchability was just average.
For Billy Emerson, after enduring this long two-plus-hour ordeal, all he felt was disappointment.
As the screening gradually neared its end, looking back at the scenes he had watched, Billy couldn't help but curl his lips. There were very few parts of the entire film that were likable, yet countless elements he disliked.
For example, some of the plot and dialogue although the screenwriter tried hard not to use the language and behavior of the post-80s generation to portray characters supposedly from their great-grandfather's era, the protagonists, supporting characters, and even antagonists all came off as either painfully outdated or ridiculously absurd. It didn't feel like a film about courage and daring air battles, but rather a chaotic mix of Western, sci-fi, and animation elements.
In Hollywood, a chaotic mix is often synonymous with a bad film.
Take the lead male role, pilot Rawlings, played by James Franco. His actions made Flyboys feel more like a Western.
This troublemaker carried a record of assault and fled across the ocean to France, bringing the cowboy's free and unruly style into the "Lafayette Aviation Unit," which was supposed to honor strict military discipline.
He could ride no, actually pilot a fighter plane to secretly meet a French girl, then smuggle her and her three nieces and nephews out of the German-occupied zone. Yet the commander casually let him slide; he could act like a lone cowboy, landing his plane calmly in a battlefield that should have been riddled with German machine guns and heavy artillery, and rescue a stranded comrade without a scratch. It felt as if he wasn't facing the well-equipped German army but instead Native Americans armed with axes and bows.
As for the final scene where he shoots a German pilot mid-air with a pistol, it looked more like cowboy horse tricks. Only his "horse" was a biplane flying at a hundred miles per hour, and the classic laws of physics seemed irrelevant to this rogue and science-ignorant cowboy.
The actors' performances were also noticeably dull and lackluster.
Though Flyboys should have been an ensemble piece, aside from James Franco, other pilots had very limited screen time, making character development insufficient and the ensemble feel inevitably weak.
However, even James Franco, despite the director's high hopes and his own earnest effort, remained superficial in his performance. Joseph Fiennes, by contrast, wore a grim, war-weary expression full of heaviness and gloom. But standing next to Franco's rogue cowboy, he looked like throwing a lit match into a nitrogen tank — no reaction at all.
Of course, Billy Emerson admitted James Franco did look very handsome in the film. Even if he became more charismatic than Leonardo DiCaprio, he alone could not save this boring movie.
Throughout the screening, David Ellison shifted restlessly in his seat. From time to time, he glanced backward. This was his first film as a producer, an investment of over a hundred million dollars naturally, he was nervous. But what comforted him was that no one had walked out en masse like they did during the premiere of Kingdom of Heaven.
Wasn't that a good sign?
Perhaps this was the beginning of success.
As David Ellison thought this, the credits slowly rolled. He slightly turned his head and looked back, eyes full of expectation.
What he expected was applause, loud and thunderous, rolling like waves.
David had heard that Duke Rosenberg's premieres always drew spontaneous applause that lasted nearly ten minutes.
He wanted that applause too. At least it would mean the premiere audience recognized the film.
Yet as the credits finished, the cinema buzzed with murmurs, but no applause came.
David's brow furrowed, but he didn't panic. He had heard that for many great films, applause often came after a delayed moment, as the audience lingered in thought.
He believed applause would inevitably break out.
Seconds ticked by, the murmuring grew louder, and more and more viewers stood up to leave, yet no one applauded.
"This is…" his heart skipped a beat.
Then suddenly, sparse applause sounded from various seats. It seemed the applause was a reminder of the viewing etiquette after a premiere. The audience finally clapped, but it was far from enthusiastic, as if going through the motions.
The loudest applause came from the few initial seats and the VIP seats in the front row.
David Ellison's expression darkened. The front row was filled with premiere guests who would never be rude in public. Those first few claps clearly came from planted audience members paid shills!
Even with the shills leading, the applause was so weak. Could it be that the film…
With this thought, David Ellison shook his head. One idea naturally sprang to his mind: this was just a premiere, it didn't necessarily reflect the real situation, right?
"David, it's a very impressive movie."
"David, you did well."
"This film will definitely be a big hit."
Amid the applause, many people approached with bright smiles, congratulating David Ellison. He perked up and smiled back, thanking them.
Perhaps because these people's praise seemed sincere, David Ellison gradually regained his confidence. So many people complimented the Flim that meant Flyboys must have some merits.
"How do you think it is?"
Standing up from his seat, Irene Lauder asked Duke, "Will it pose a threat?"
"What do you think?" Duke countered.
Irene thought for a moment and said, "The special effects are quite good, but they can't cover up the plot's flaws. With so many effects-driven movies nowadays, the audience might not buy it."
She fixed her gaze on Duke after speaking.
Duke understood his friend's meaning and could only say, "In my personal opinion, the film is slightly below average."
"Slightly below average?" Irene tilted her head and walked forward beside Duke. "For someone like David Ellison, a newcomer to Hollywood as an investor and producer, your 'slightly below average' is basically a compliment."
In the film industry, even counting this cheater like him, directors and producers who succeed with their first work are extremely rare. Even James Cameron had Piranha II, a less impressive entry.
In Duke's eyes,Flyboys seemed full of elements popular with audiences: nostalgic cowboys, battlefield heroism, a badass protagonist, and idealized WWI air combat with sci-fi flair. But putting these elements together didn't win over the audience.
The reason was simple: in nearly twenty years of Hollywood history, mash-up movies have never truly succeeded.
Maybe others didn't realize this, but Duke did. Among A-list Hollywood productions, the only truly successful mash-up was The Avengers and that success came after years and many films building up.
Seeing the film's chaotic style, Duke knew it might have some box office appeal, but matching the super-hit expectations of David Ellison and Disney would be extremely difficult practically requiring a miracle.
Although many people were approaching David Ellison and others, Duke had no interest. He had already seen the film and knew the real state of his competitor. There was no need to go over and mock them.
Even if he did mock them a bit, it wouldn't affect the Ellison family much; arrogance often comes with a thick skin.
Besides, words are the weakest form of retaliation.
What he wanted was to use all means to strike Flyboys in the market, to make those seemingly indifferent father and son feel real pain.
Even if the Ellison family was wealthy and the film was funded through many channels, David Ellison must have invested a lot in this project. If the box office flopped, the losses would surely anger that pair.
Compared to faint and meaningless ridicule, this was a far stronger counterattack.
Leaving the theater, Irene Lauder and Duke got into their cars one after another. The car started amid a sea of flashing lights. Duke glanced at the rearview mirror; some paparazzi had followed, clearly hoping to see if Irene would get out.
Duke quietly instructed the driver, "Go to the Upper East Side."
He had no plan to return to the hotel. He wanted to drop Irene home first, then visit his mother. Although she was currently in Europe, since she came to New York, he had to visit home.
The Rolls-Royce gradually picked up speed. Duke took out his phone and dialed a number, saying calmly, "You can initiate it now."
...
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