Jared Leto stars as Michael Morbius in Sony’s “Morbius.”
It’s never a good sign when a critic says your movie could have been “better summed up in a two-minute trailer,” but, alas, that is the case for Sony’s latest Marvel film “Morbius.”
As Adam Graham of the Detroit News notes in his review of the film, the studio’s desire to expand its Spider-Man lore is understandable. However, without the steady hand of Disney, Sony seems to struggle to lift its villains from the comic page to the big screen.
Graham is not alone in his assessment of the Jared Leto-led film. The film, which premieres Friday, has garnered poor reviews across the board and recently held at 16% on Rotten Tomatoes from 134 reviews.
“Morbius is a perfunctory, sloppy, paint-by-numbers attempt to remind audiences that Sony has the rights to these Spider-Man villains and by golly they’re going to use them,” Kyle Anderson wrote in his review of the film for Nerdist.
While the two Venom films were theatrical success stories for Sony neither were considered “Fresh” on Rotten Tomatoes, meaning they do not have a score of 60% or higher on the site.
In the film, Leto portrays biochemist Michael Morbius, who is trying to cure himself of a rare blood disease. However, when an experiment goes wrong, he accidentally infects himself with a form of vampirism. While he is seemingly cured of his disease, gaining strength and speed, he also craves blood.
He is reluctant to to give into his new urges, but his friend Milo, who also had the same blood disease and took the same “cure,” relishes in his new power and has few qualms about what it takes to sustain his new form.
“‘Morbius’ is just not good,” wrote Anderson. “There’s no two ways about it. It just feels lazy and unfinished.”
To be sure, some critics saw virtues in the movie. “Morbius has a sense of place — and an interest in interesting places — that distinguishes it from the gleaming, anonymous Atlanta pop of so many other superhero films,” Richard Lawson wrote for Vanity Fair. Manohla Dargis of The New York Times hailed the “restraint, sensitivity and gestural expressivity” of Leto’s performance.
Beyond that, though, there aren’t many voices speaking up for “Morbius.” Here’s what critics had to say about the movie ahead of its Friday debut:
Kristy Puchko, Mashable
“‘Morbius’ is totally skippable,” writes Kristy Puchko in her review of the film for Mashable, which describes the film as “tiresome” and so quick paced that it’s dizzying.
“Perhaps, the speedy pacing is to make up for the lack of verve of the cast, many of whom speak in a tired tone as if they’d been dragged out of bed right before shooting — or maybe the hope is that if the plot moves fast enough, you won’t have time to notice how achingly predictable every beat is, and how two-dimensional every character is,” she wrote.
Similarly, she said the costumes were “forgettable” and the creature designs “unimpressive,” calling the computer generated prosthetics “neither fresh nor frightening.”
“Morbius,” which seemed to bill itself as a horror film with thriller undertones, has little in the way of either, according to Puchko. She also warned that audiences should temper their expectations for any major connections to other Marvel entities.
“Don’t be fooled by the trailers that make mention of Venom, lash Spider-Man street art in the background, and tease Michael Keaton’s return as The Vulture,” she wrote. “Eddie Brock and his symbiote bestie are mentioned only as ‘that thing that happened in San Francisco,’ and as an inexplicable joke, where Morbius identifies himself as ‘Venom.’ That’s it.”
Jared Leto stars as Michael Morbius in Sony’s “Morbius.”
Emily Zemler, Observer
“In 2004, ‘Morbius’ might have been a pretty good movie,” Emily Zemler wrote in her review of the film for Observer. “Today, the comic book spin-off … feels dated and purposeless.”
“If this were a Disney Marvel Studios property, rather than under the Sony umbrella, you’d be watching ‘Morbius’ this weekend on Disney+ as part of a six-part limited series showcasing the origins of the tormented, blood-sucking villain, rather than feeling forced to pay for a big-screen experience that doesn’t necessitate a big screen,” she added.
Zemler pointed to the lackluster special effects, one of many to say it looks like a poorly done version of the vampire prosthetics seen on the “Buffy the Vampire Slayer” show in the early aughts.
She also noted the lack of stakes. Coming off the literal universe bending events of “Spider-Man: No Way Home,” the Leto flick “is a pin prick,” Zemler wrote.
“Unless your ticket is free, don’t bother,” she wrote. “This movie is as lifeless as the bodies Morbius drains and throws on the floor.”
Charlotte O’Sullivan, The Evening Standard
“It’s ironic really,” Charlotte O’Sullivan writes in her review of “Morbius” for The Evening Standard. “There were rumors that Tobey Maguire and Andrew Garfield might show up in ‘Spider-Man: No Way Home,’ yet cast and crew denied it.”
“No, no, no, they said. Fans shouldn’t expect extra treats. Then – ta da! – there were treats galore,” O’Sullivan continued. “With this Sony production, the third feature in the SSU (Sony’s Spider-Man Universe), director Daniel Espinosa implied there might be treats. And – ta da! – we get zilch. At press screenings, movies connected to Marvel comic book characters generally receive a round of applause. At ‘Morbius,’ there was actual boo-ing.”
For O’Sullivan, the script got “stupider by the second,” with little in the way of logic to match the leaps the film made in science or motivation. There no characters or even imminent danger to care about and the romance between Morbius and his girlfriend Martine fails to sizzle.
“Though Morbius is interminable, it also feels like big chunks are missing,” O’Sullivan wrote. “My jaw dropped as I realized one particularly lackluster kerfuffle was the last battle. A mid-credits scene, involving Michael Keaton as Adrian Toomes/Vulture (last seen in the Sony/MCU collaboration, Spider-Man: Homecoming), is the final insult. It. Makes. No. Sense.”
Clarisse Loughrey, Independent
“Somewhere in the middle of ‘Morbius,’ a film about a Spider-Man villain that does not feature Spider-Man, I was ready to tap out,” wrote Clarisse Loughrey in her review of the film for Independent. “To get up and leave. To move to an alpine cottage in Switzerland and simply never engage with Sony’s Spider-Man-less Spider-Man Universe ever again. It’s too much effort, with too little reward.”
Like many critics, Loughrey noted that “Morbius” functions more as a prelude to a post-credit scene than a fully functional film. She called the film “flavorless” and “sloppily written,” explaining that “Morbius” doesn’t have a true ending, it just sort of ends.
“All in all, ‘Morbius’ is a film that’s more frustrating than it is gleefully inept,” she wrote. “And if superhero movies really are going to dominate modern cinema for the next decade or so, we should at least be allowed a little healthy competition between studios. I hope, in the future, Sony can put up a better fight than this.”
Disney is raising prices, but this time, don’t blame inflation
Another major American company is raising prices again, but this time, don’t blame inflation.
Disney is increasing the price on its streaming products and signaled that a price hike could be in the works at its theme parks as well. On Wednesday, the company said the price of Disney+ without ads is jumping $3 per month to $10.99 starting Dec. 8. Hulu with ads will increase by $1 per month to $7.99, and Hulu without ads will jump $2 per month to $14.99.
Then on Thursday, Disney Chief Executive Officer Bob Chapek indicated to CNBC’s Julia Boorstin that a price increase will likely happen at theme parks as long as people keep coming in droves.
“We read demand. We have no plans right now in terms of what we’re going to do, but we operate with a surgical knife here,” Chapek said. “It’s all up to the consumer. If consumer demand keeps up, we’ll act accordingly. If we see a softening, which we don’t think we’re going to see, then we can act accordingly as well.”
Instead of blaming the rising cost of materials, labor and gas, Disney is rationalizing the increases based on the consistency of the popularity of its products. Disney said Wednesday that Disney+ added 15 million new subscribers last quarter, blowing out expectations. It also said it expects further growth for core Disney+ (excluding India’s Disney+ Hotstar) next quarter beyond the 6 million it added in its fiscal third quarter.
Raising prices on the back of strong demand isn’t new for Disney. The price of theme park tickets has climbed for decades. During its most recent quarter, the company posted a 70% revenue increase in its parks, experiences and products division, rising to close to $7.4 billion. Per capita spending at domestic parks rose 10% and is up more than 40% compared with fiscal 2019.
Handout | Getty Images Entertainment | Getty Images
Disney strategically caps attendance at its parks, an effort that was borne out of the attempts to avoid crowding during the Covid pandemic. The move is a way to improve the customer experience. Additionally, the company has added Genie+ and Lightning Lane products, which curate guest experience and allow parkgoers to bypass lines for major attractions.
Beyond the parks, Disney annually asks cable TV providers to pay aggressive price hikes for ESPN because it knows there’s strong demand for its stable of live sports rights.
Disney+ first launched in November 2019 at $6.99 per month. About three years later, the price of the ad-free product will have risen 57%. The service now has more than 152 million customers.
Chapek has experienced his share of bumps in the road since taking over for Bob Iger as Disney CEO. But one thing hasn’t changed: consumers still seem to enjoy what Disney has to offer.
Correction: During its most recent quarter, the company posted a 70% revenue increase in its parks, experiences and products division, rising to close to $7.4 billion. An earlier version misstated the percentage and mischaracterized the dollar figure.
WATCH: CNBC’s full interview with Disney CEO Bob Chapek
Disney streaming subscriber growth blows past estimates, as company beats on top and bottom line
A performer dressed as Mickey Mouse entertains guests during the reopening of the Disneyland theme park in Anaheim, California, U.S., on Friday, April 30, 2021.
Bloomberg | Bloomberg | Getty Images
If Disney+’s subscriber growth is any indication, the rumors that the global streaming market is nearing saturation have been proven untrue.
On Wednesday, the Walt Disney Company reported that total Disney+ subscriptions rose to 152.1 million during the fiscal third quarter, higher than the 147 million analysts had forecast, according to StreetAccount.
At the end of the fiscal third quarter, Hulu had 46.2 million subscribers and ESPN+ had 22.8 million. Combined, Hulu, ESPN+ and Disney+ have over 221 million streaming subscribers. Netflix, long the leader in the streaming space, had 220 million subscribers, according to the most recent tally.
Disney shares rose more than 6% after the closing bell.
The streaming space has been in a state of upheaval in recent weeks, as Netflix disclosed another drop in subscribers and Warner Bros. Discovery announced a shift in content strategy. While Netflix expects subscriber growth to rebound, uncertainty has left analysts and investors wondering what the future holds for the wider industry.
Also Wednesday, the company unveiled a new pricing structure that incorporates an advertising-supported Disney+ as part of an effort to make its streaming business profitable.
During the fiscal third quarter Disney+, Hulu and ESPN+ combined to lose $1.1 billion, reflecting the higher cost of content on the services. Disney’s average revenue per user for Disney+ also decreased by 5% in the quarter in the U.S. and Canada due to more customers taking cheaper multiproduct offerings.
Starting Dec. 8 in the U.S., Disney+ with commercials will be $7.99 per month — currently the price of Disney+ without ads. The price of ad-free Disney+ will rise 38% to $10.99 — a $3 per month increase.
In addition, Disney lowered its 2024 forecast for Disney+ to 215 million to 245 million subscribers, down 15 million on both the low end and high end of the company’s previous guidance.
Disney had previously set its Disney+ guidance in December 2020 at 230 million to 260 million by the end of fiscal 2024. The company reaffirmed its expectation that Disney+ will become profitable by the end of its fiscal 2024 year.
Overall, Disney posted better-than-expected earnings on both the top and bottom line, bolstered by increased spending at its domestic theme parks.
Here are the results:
- Earnings per share: $1.09 per share vs. 96 cents expected, according to a Refinitiv survey of analysts
- Revenue: $21.5 billions vs. $20.96 billion expected, according to Refinitiv
- Disney+ total subscriptions: 152.1 million vs 147.76 million expected, according to StreetAccount
Big quarter for parks
Disney’s parks, experiences and products division saw revenue increase 72% to $7.4 billion during the quarter, up from $4.3 billion during the same period last year. The company said it saw increases in attendance, occupied room nights and cruise ship sailings.
It also touted that its new Genie+ and Lightning Lane products helped boost average per capita ticket revenue during the quarter. These new digital features were introduced to curate guest experience and allow parkgoers to bypass lines for major attractions.
The company said it has been able to bring back in-park experiences such as character meet-and-greets, theatrical performances and nighttime events at Disneyland, which has allowed it to increase capacity at its parks, CEO Bob Chapek said during the company’s earnings call Wednesday. Disney has placed caps on attendance since it reopened after the initial round of pandemic closures in early 2020 and instituted a new online reservation system to control crowds.
“As it relates to demand, we have not yet seen demand abate at all and we still have many days when people cannot get reservations,” Christine McCarthy, Disney’s chief financial officer, said during the company’s earnings call. “So, we’re still seeing demand in excess of the reservations that we are making available for our guests.”
Per capita spending at domestic parks increased 10% during the most recent quarter, compared to the same quarter last year and is more than 40% higher than fiscal 2019, the company said. Occupancy at domestic hotels in the third quarter was 90%.
Chapek pointed to EPCOT’s new Guardians of the Galaxy Cosmic Rewind, the launch of the Disney Wish and the opening of Avenges Campus in Paris Disneyland as enhanced offerings for guests that have driven traffic and revenue to this division.
McCarthy noted that international visitors to domestic parks have continued to be slow to return. Traditionally, those parkgoers account for around 17% to 20% of total guests.
“We expect international visitation when its fully back to actually be additive to margins, because those guests tend to stay longer at the parks and they spend more money when they’re there, as well,” she said.
Disclosure: Comcast is the parent company of NBCUniversal and CNBC. Comcast owns a stake in Hulu.
Serena Williams announces her retirement from tennis
Tennis legend Serena Williams announced her retirement in a Vogue article published Tuesday.
“I have never liked the word ‘retirement,'” Williams wrote. “Maybe the best word to describe what I’m up to is ‘evolution.’ I’m here to tell you that I’m evolving away from tennis, toward other things that are important to me.”
Williams, who turns 41 next month, has 73 career singles titles, 23 career doubles titles and over $94 million in career winnings.
Williams is widely hailed as one of the greatest athletes of all time. In her Vogue piece, she noted that some of her detractors point out that she hasn’t won the most Grand Slam titles in women’s tennis history, however.
“There are people who say I’m not the GOAT because I didn’t pass Margaret Court’s record of 24 grand slam titles, which she achieved before the ‘open era’ that began in 1968,” Williams wrote. “I’d be lying if I said I didn’t want that record.”
She said she will retire after the U.S. Open, which will run from late August into September. A victory there would tie her with Court’s Grand Slam record.
“I don’t know if I will be ready to win New York. But I’m going to try,” Williams wrote about the tournament, which is played in Queens.
She has counted sponsorships from companies including Nike, Audemars Piguet, Away, Beats, Bumble, Gatorade, Gucci, Lincoln, Michelob, Nintendo, Wilson Sporting Goods, and Procter and Gamble.
“I never wanted to have to choose between tennis and a family. I don’t think it’s fair,” Williams wrote. “If I were a guy, I wouldn’t be writing this because I’d be out there playing and winning while my wife was doing the physical labor of expanding our family.”
Williams focused on her family in the announcement, writing that her nearly five-year-old daughter wants to be an older sister. Williams is married to Reddit founder Alexis Ohanian.
“I have to focus on being a mom, my spiritual goals and finally discovering a different, but just exciting Serena. I’m gonna relish these next few weeks,” Williams wrote in an Instagram post Tuesday.
Professionally, she looks to expand Serena Ventures, a small investment firm of six people that was one of the first investors in MasterClass. Her firm raised $111 million in outside financing this year.
Williams wrote that only 2% of venture capital goes to women and that “in order for us to change that, more people who look like me need to be in that position, giving money back to themselves.”
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