Netflix tells The Asylum which of its microgenres require more content-monster movies, family vacation comedies, submarine stuff-and the studio fast-tracks a title that can pop up under a popular search term or three: The Coed and the Zombie Stoner is now available for streaming. Netflix’s solution is to puff up its catalog with the help of B-movie studios like The Asylum, which can write, cast, film, and CGI a quick-and-dirty Blockbuster knock-off on command.
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But once the viewer watches all the movies and TV shows that Netflix has licensed to satisfy her particular niche, the site suddenly feels static and stale. The promise of Netflix is that it can divide viewers into thousands of micro-quadrants-from fans of critically acclaimed independent road trip movies to viewers of East Asian underdog films-and entertain them all as they scroll endlessly through its finely filtered catalog. Hollywood chases “four-quadrant films,” movies that appeal to the whole nuclear family unit-men and women, older and younger than 25. It almost doesn’t make sense to use streaming numbers as a proxy for a Netflix hit, given that Netflix and Hollywood are pursuing such different audience strategies. But on Netflix, Sandler is a big fish in a little pond.
And the film was considered a massive, embarrassing flop, finishing second and then fifth at the box office those first two weekends. Each of them paid the price of a monthly Netflix subscription to see it.
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Last summer’s Pixels, for instance, brought in around 4 million viewers in its first two weekends in theaters, and that’s only counting American moviegoers who saw the movie on a Friday, Saturday, or Sunday. That’s a good showing for an indie effort, but it sets a low bar for a Sandler film. And last year, Netflix volunteered that its original film, Beasts of No Nation, topped the streaming charts in markets all around the world after it was played 3 million times in its first two weeks of release. Netflix has said that television episodes make up two-thirds of all streams on the service, so we know that movies are relatively unpopular. My back-of-the-envelope calculations, though, point to an unimpressive showing. Netflix is famously shy about revealing viewership numbers, and it won’t disclose just how many people endured this film.
For one thing, we don’t know exactly what the company is claiming. Again, this is the most-watched film debut in Netflix history.īut how impressive is that feat, really? There are reasons to be skeptical of Netflix’s claims. A dozen Native American actors, along with the film’s diversity consultant, walked off the set last year. Women of Sandler’s tribe are named stuff like “Smoking Fox” (because she is hot), “Beaver Breath” (because she is not), and “Never Wears Bra” (because booooobs). The women exist to have sex with male characters, give birth to additional male characters, contribute background cleavage to saloon scenes, or set up racist, misogynistic jokes. There are two black characters in the film one is a lazy thief and the other plays the piano. Also, he loves tacos and leads around a pet burro who has explosive diarrhea and, at one point, fellates Taylor Lautner.
He can bust through a bank vault with some ancient tribal recipe, throw knives really fast, and turn into a tumbleweed because he’s “friends with the wind.” Rob Schneider plays a Mexican man who wears what’s essentially a racist Halloween costume (sombrero, striped poncho, stick-on mustache). In the film, the first of Sandler’s four-picture Netflix deal, the Grown Ups 2star plays a white man raised by Native Americans, which means he speaks in guttural broken English and is magic or whatever. The film is in rare company in one other way: It has a 0 percent fresh rating on Rotten Tomatoes, joining all-time non-favorites like Ballistic: Ecks vs.
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