In The Heights (2021 Film)

[Trumen882]

We are also making the assumption they are watching it at home. We don't know how many people are watching it on HBO Max.

Let's also face some facts as well that In the Heights wasn't even that big on Broadway in comparison to other musicals. There was just the hope that latin audiences would attend with the CRA effect but the reason it didn't is because latinos/latinas/latinx audiences already have so many other content featuring them. Just turn on telemundo and Univision. It also helps me understand why Universal let the rights lapse when they had them.

The numbers are a bit low but I don't think anyone should be shocked but it. It will do well in Asia which is where Greatest Showman/Bohemian Rhapsody and all the other musicals tend to do best.

"'Our experience, which is backed up on ‘In the Heights,’ is that if the movie hits a high level in theaters, it hits a high level on the service,” Goldstein told the outlet. “If it hits a low level in theaters, it hits a low level on HBO Max. They’re really very comparable.'
That suggests that “In the Heights” failed to draw a big audience on HBO Max in addition to striking out with ticket buyers. And that’s a problem."

HBO Max Isn’t to Blame After ‘In the Heights’ Fizzles at the Box Office

Since "In the Heights" fell short of box office expectations, it would be easy to point to its hybrid debut on HBO Max as the culprit.

variety.com

This just isn't proving to be popular. No stars, no "hit" songs, weak plot, and coming in at almost 2 and a half hours. Just does not scream must see to me and probably general audiences.
Most likely box office scores for this year's musicals will be In The heights << Dear Evan Hansen <<< West Side Story

 

[SailwiththeTide]

"'Our experience, which is backed up on ‘In the Heights,’ is that if the movie hits a high level in theaters, it hits a high level on the service,” Goldstein told the outlet. “If it hits a low level in theaters, it hits a low level on HBO Max. They’re really very comparable.'
That suggests that “In the Heights” failed to draw a big audience on HBO Max in addition to striking out with ticket buyers. And that’s a problem."

HBO Max Isn’t to Blame After ‘In the Heights’ Fizzles at the Box Office

Since "In the Heights" fell short of box office expectations, it would be easy to point to its hybrid debut on HBO Max as the culprit.

variety.com

This just isn't proving to be popular. No stars, no "hit" songs, weak plot, and coming in at almost 2 and a half hours. Just does not scream must see to me and probably general audiences.
Most likely box office scores for this year's musicals will be In The heights << Dear Evan Hansen <<< West Side Story

I will say that I would not have gone to the theater to see this. I kinda like the HBO max model right now because there are movies I would never to out to see but the convenience of watching from home I don't mind. I think that is also true of all the "hybrid" releases recently like Godzilla and Mortal Combat. I know this won't last and was a stop gap measure.

 

[amar831]

"'Our experience, which is backed up on ‘In the Heights,’ is that if the movie hits a high level in theaters, it hits a high level on the service,” Goldstein told the outlet. “If it hits a low level in theaters, it hits a low level on HBO Max. They’re really very comparable.'
That suggests that “In the Heights” failed to draw a big audience on HBO Max in addition to striking out with ticket buyers. And that’s a problem."

HBO Max Isn’t to Blame After ‘In the Heights’ Fizzles at the Box Office

Since "In the Heights" fell short of box office expectations, it would be easy to point to its hybrid debut on HBO Max as the culprit.

variety.com

This just isn't proving to be popular. No stars, no "hit" songs, weak plot, and coming in at almost 2 and a half hours. Just does not scream must see to me and probably general audiences.
Most likely box office scores for this year's musicals will be In The heights << Dear Evan Hansen <<< West Side Story

I’m not too sure if this happened everywhere, but at least in Miami I know of my sisters entire high school drama program and I believe the University of Miami drama program getting early screens of the movie. If that’s happening across the country you’re essentially letting your primary audience watch the movie for free and then giving them the chance to watch it at home on HBO max instead of going back to theaters. I’ve already rewatched it a few times on hbo max myself where I normally would’ve gone back to a theater.

I thought the movie was a beautiful adaptation of the show. This is so clearly a labor of love and there’s an infectious energy to it. As someone very familiar with the source material there were definitely things that rubbed me the wrong way, but most that are unfamiliar with the show, like my sister who’s only seen 1 local theater production of it, are sure to really enjoy it.

 

[Legacy]

Maybe it was my tempered expectations from hearing things like this after seeing incredible critic ratings (although I viewed it really just with excitement more than anything), but I didn't have too big of an issue with the first half of the film, which you seem to be describing, given Claudia's number is roughly at the halfway mark. I actually really enjoyed it for the most part. Anthony Ramos was absolutely perfect as Usnavi (I can't think of someone who could've played it better) and I enjoyed the rest of the cast too.

It wasn’t the elements that bothered me—it was how they were constructed. I had no issues with the casting (really enjoyed Anthony), thought the choreography was fantastic. I wasn’t a huge fan of the music itself (could never get through the soundtrack), but they greatly benefitted from the context provided by the show.

My issue is more with specific, incongruous decisions. The first hour is played as straight as a musical can be. Then, in the intro to 96,000, we get graffiti graphic flourishes that “magic up” the world, but those graphics aren’t even consistent through the number. The only moment like that is Nina and Benny singing about the 9 train. None of the dance numbers are “magic” until they are, and it’s a weird is it/is it not realm (are Benny and Nina really dancing in the building walls? Why do we get a spit take like it’s real?). And while I understand (and agree) with the individual decisions to do stuff like that, they come out of nowhere. It clicks with Claudia’s number because we understand it’s entirely in her mind and WHY it’s in her mind.

It’s like taking a bunch of ingredients you like but the meal, for whatever reason, just isn’t as good as it *should* be.

 

[PerceptiveCoot]

No stars, no "hit" songs, weak plot, and coming in at almost 2 and a half hours

96,000 should be a hit number.

I will say that expecting Latino people to go see In The Heights is like expecting Samoan people to go turn out for Moana. I'm not sure you're hitting the same audiences. I think if studios want their...guh...Latino 'Black Panther'...it'll probably be an action movie with famous or famouser people in it.

I'm also not sure young Latino people are eschewing English content for Telemundo, but I'm only half-Peruvian so I can't speak to those from the other places and paises.

 

[amar831]

It wasn’t the elements that bothered me—it was how they were constructed. I had no issues with the casting (really enjoyed Anthony), thought the choreography was fantastic. I wasn’t a huge fan of the music itself (could never get through the soundtrack), but they greatly benefitted from the context provided by the show.

My issue is more with specific, incongruous decisions. The first hour is played as straight as a musical can be. Then, in the intro to 96,000, we get graffiti graphic flourishes that “magic up” the world, but those graphics aren’t even consistent through the number. The only moment like that is Nina and Benny singing about the 9 train. None of the dance numbers are “magic” until they are, and it’s a weird is it/is it not realm (are Benny and Nina really dancing in the building walls? Why do we get a spit take like it’s real?). And while I understand (and agree) with the individual decisions to do stuff like that, they come out of nowhere. It clicks with Claudia’s number because we understand it’s entirely in her mind and WHY it’s in her mind.

It’s like taking a bunch of ingredients you like but the meal, for whatever reason, just isn’t as good as it *should* be.

You’ve summed up my thoughts pretty well and actually put words to what I felt about pacencia y fe. There’s clearly a suspension of reality through the whole movie but during her song it’s done purposefully and explicitly.

I will add though, watching it in theaters added such a grandiosity that you won’t get unless you have a massive home tv setup.

 

[Nick]

"'Our experience, which is backed up on ‘In the Heights,’ is that if the movie hits a high level in theaters, it hits a high level on the service,” Goldstein told the outlet. “If it hits a low level in theaters, it hits a low level on HBO Max. They’re really very comparable.'
That suggests that “In the Heights” failed to draw a big audience on HBO Max in addition to striking out with ticket buyers. And that’s a problem."

HBO Max Isn’t to Blame After ‘In the Heights’ Fizzles at the Box Office

Since "In the Heights" fell short of box office expectations, it would be easy to point to its hybrid debut on HBO Max as the culprit.

variety.com

This just isn't proving to be popular. No stars, no "hit" songs, weak plot, and coming in at almost 2 and a half hours. Just does not scream must see to me and probably general audiences.
Most likely box office scores for this year's musicals will be In The heights << Dear Evan Hansen <<< West Side Story

It also didn’t (organically) trend on Twitter at all over the weekend or create any buzz on Tik Tok.

To be honest though, I guess I don’t care how popular it ends up being. I enjoyed it immensely and that’s all I care about. Does it use plot elements we’ve seen before? Sure. Is it sort of like a musical version of Crazy Rich Asians? Maybe. But I still found myself tearing up at two different parts of the movie and I don’t normally get emotional when watching movies.

And it’s crazy early to be talking about awards season, but I still think this movie will be pushed big time and there’s a potential to make more money then if it’s nominated for certain awards. For example, I think Olga Merediz is an early contender for Best Supporting Actress.

I do agree West Side Story will make the most money at the box office based on the name alone, but then add in Spielberg and those two combined are enough to overcome Ansel Elgort’s controversy and perform highly just in time for awards season.

 

[PenguinCowboy]

My issue is more with specific, incongruous decisions. The first hour is played as straight as a musical can be. Then, in the intro to 96,000, we get graffiti graphic flourishes that “magic up” the world, but those graphics aren’t even consistent through the number.

Now I am speaking from an underinformed position as I am going to see it Friday with a friend in theaters, so I have yet to actually see the film, but with the first minute they released on YouTube Usnavi spins a manhole cover like scratching a record, and it cuts back to his kids laughing. To me this seems to be them signifying the more magical realism elements from the start.

Then again, if this is truly the only whimsical thing that happens until 96,000 then I definitely yield (I'll have a more informed position by Friday I'm sure)

 

[kristenabelle]

I think seeing it in a theater made a huge impact on my enjoyment - it really was amazing hearing others react and respond (especially multigenerational families). I think criticisms are definitely fair, but as a former musical theatre professional (not sharing for cred, but for geek status/target audience) this is hands down one of my favorite film adaptations.

 

[Legacy]

Now I am speaking from an underinformed position as I am going to see it Friday with a friend in theaters, so I have yet to actually see the film, but with the first minute they released on YouTube Usnavi spins a manhole cover like scratching a record, and it cuts back to his kids laughing. To me this seems to be them signifying the more magical realism elements from the start.

Then again, if this is truly the only whimsical thing that happens until 96,000 then I definitely yield (I'll have a more informed position by Friday I'm sure)

Yeah… that’s pretty much it. I’d say there’s less than ten overtly “magical” moments in the whole thing, and a couple of them are obviously in a character’s own head. Those work. A couple that should be explicitly in specific characters’ heads have reactions from unrelated characters that made me question what world we’re legitimately inhabiting.

Like, I get it. Musicals by their very nature are fantasy because of singing and dancing. But they still need to be consistent within their world, or establish frames for when the “world” “changes.” On stage, we get lighting cues or set changes. A spotlight basically equals a soliloquy. Movies need those signals too.

Chicago is a great example of inhabiting a realistic movie musical world where the “magic” is well framed. We recognize that nearly all of the songs are basically in Roxie’s fame-starved head (except when they’re not, which is also established). Little Shop of Horrors is an absurd sci-fi, which is entirely literal. Within the context of the show and movie, every song is a conversation (even Somewhere That’s Green). In the Heights doesn’t bother to clearly delineate where these lines are drawn. Granted, the whole thing is either in Usnavi’s or a kid’s head. But, if it is, I’d argue it’s not magical enough. It never feels like it knows its own rules.

 

[Nick]

It wasn’t the elements that bothered me—it was how they were constructed. I had no issues with the casting (really enjoyed Anthony), thought the choreography was fantastic. I wasn’t a huge fan of the music itself (could never get through the soundtrack), but they greatly benefitted from the context provided by the show.

My issue is more with specific, incongruous decisions. The first hour is played as straight as a musical can be. Then, in the intro to 96,000, we get graffiti graphic flourishes that “magic up” the world, but those graphics aren’t even consistent through the number. The only moment like that is Nina and Benny singing about the 9 train. None of the dance numbers are “magic” until they are, and it’s a weird is it/is it not realm (are Benny and Nina really dancing in the building walls? Why do we get a spit take like it’s real?). And while I understand (and agree) with the individual decisions to do stuff like that, they come out of nowhere. It clicks with Claudia’s number because we understand it’s entirely in her mind and WHY it’s in her mind.

It’s like taking a bunch of ingredients you like but the meal, for whatever reason, just isn’t as good as it *should* be.

I agree that the soundtrack itself doesn’t have the magic of the OBC. It does sound really good when watching the movie, but it’s not quite something that you can just toss on and jam to as much.

I didn’t like some of the lyric changes and I was actually left puzzled at why they changed Vanessa’s lyrics in Champagne from “…I went downtown to get it…” to “next door”. Unless I’m just confused, there’s nothing story-wise that would provoke that change, is there? Sonically, it just doesn’t sound as good.

Speaking out of the other end of my mouth now, they took Carnival Del Barrio, a song that I’ve honestly never really liked all that much in the stage version, and really brought the “party in the ‘hood” feel that the scene is supposed to evoke alive.

I’m not too sure if this happened everywhere, but at least in Miami I know of my sisters entire high school drama program and I believe the University of Miami drama program getting early screens of the movie. If that’s happening across the country you’re essentially letting your primary audience watch the movie for free and then giving them the chance to watch it at home on HBO max instead of going back to theaters. I’ve already rewatched it a few times on hbo max myself where I normally would’ve gone back to a theater.

I thought the movie was a beautiful adaptation of the show. This is so clearly a labor of love and there’s an infectious energy to it. As someone very familiar with the source material there were definitely things that rubbed me the wrong way, but most that are unfamiliar with the show, like my sister who’s only seen 1 local theater production of it, are sure to really enjoy it.

This is why I truly believe HBO Max had a much larger effect on ITH than other movies. I can attest to many viewing parties and ended up going to one last night (a viewing party for where most of us had already seen it too so that we just acted like fools the whole movie).

Obviously there was many more factors though. Aside from the theater going audience, people just generally seem to not really care much that this movie is out, which I think can be traced to the lack of star power in the leading roles. You don't get an 'A' CinemaScore and a 95% Audience Score on RT for no reason. The problem is not enough people saw the movie, plain and simple.

I actually think this maybe should've been Streaming only, but if that was going to be the case, they should've just taken this to Netflix (because of course they would've funded it) and there's a lot more eyeballs over at Netflix than on Max. In The Heights is basically LMM's Tick, Tick, Boom while Hamilton is his Rent to compare him to Jonathan Larson. Theater people love In The Heights, but it was never mainstream enough and all of the advertising just showed the splashy musical numbers, but it didn't really show what the movie was about. Abuela Claudia should've been a big part of the final marketing push.

 

[kristenabelle]

Abuela Claudia should've been a big part of the final marketing push.

Olga Merediz is amazing. I'm so glad they kept her from the OBC.

 

[Yabbadabba Doh]

Lin-Manuel Miranda Addresses Lack of Afro-Latino Representation in ‘In the Heights’: ‘We Fell Short’

 

[kristenabelle]

Lin-Manuel Miranda Addresses Lack of Afro-Latino Representation in ‘In the Heights’: ‘We Fell Short’

I'm really glad he addressed this - I've seen a good amount of thoughtful, nuanced perspectives here on how we can celebrate a story like In The Heights while being mindful that it wasn't as inclusive of Afro-Latin communities as it could have been.

 

[Nick]

I'm really glad he addressed this - I've seen a good amount of thoughtful, nuanced perspectives here on how we can celebrate a story like In The Heights while being mindful that it wasn't as inclusive of Afro-Latin communities as it could have been.

It's not even just the lack of Afro-Latin actors that has people made, but people like Melissa Berrera, who played Vanessa - and to her credit was pretty good imo, especially for this being her first American film. But the criticism of her was that she's "White-passing". I didn't notice it watching the movie, but after hearing the criticism and going back, I certainly see what they are talking about. She could've been cast as a white girl and pulled it off is basically what they are saying.

This is also not Jon M. Chu's first time dealing with this type of criticism, as Crazy Rich Asians had *eerily similar* criticism of it's casting and portrayal. I think if anyone stands to lose anything out of this movie it's him. With these same criticisms and an underperformance, will he stay the director on Wicked? I would think they would look at how well received the movie has been and let him direct, but idk.

I do hope that none of the stars of this musical get hurt by the underperformance. I specifically hope this is a potential break for Gregory Diaz IV as he was great through and through as Sonny so hopefully this will get him noticed a bit more (and he's still so young).

 

[kristenabelle]

This is also not Jon M. Chu's first time dealing with this type of criticism, as Crazy Rich Asians had *eerily similar* criticism of it's casting and portrayal. I think if anyone stands to lose anything out of this movie it's him. With these same criticisms and an underperformance, will he stay the director on Wicked? I would think they would look at how well received the movie has been and let him direct, but idk.

I do hope that none of the stars of this musical get hurt by the underperformance. I specifically hope this is a potential break for Gregory Diaz IV as he was great through and through as Sonny so hopefully this will get him noticed a bit more (and he's still so young).

Yeah his interview was...not great. And I agree - I really hope the performers go on to do well-deserved, awesome things.

 

[Disneyhead]

Here's the thing, who was expecting In The Heights to be a summer blockbuster? I didn't, and I love the play. Before it opened I heard a lot of buzz about awards. But I don't remember people thinking this was going to do huge numbers.

 

[Nick]

Here's the thing, who was expecting In The Heights to be a summer blockbuster? I didn't, and I love the play. Before it opened I heard a lot of buzz about awards. But I don't remember people thinking this was going to do huge numbers.

No one expected it to do huge numbers. But it was still expected to do roughly $24M opening weekends and only picked up less than half of that. Original estimates had it at $25-30M. Even the more conservative numbers still had it opening at $15-18M. It also was marketed in odd ways and like I said, should have focused on Abuela Claudia more as, imo, she's the heart of the story in many ways.

Maybe it was overestimated, but HBO Max definitely wasn't the sole cause of the underperformance because even if Max performed around the same as it did in theaters as that one article said, then first of all, people wouldn't have paid to watch it as much in theaters, some wouldn't have gone at all and the rest certainly would've made the opening a higher opening weekend from a numbers stand-point, but I sort of question if it would've hit $24M without being Day & Date.

I do expect this movie to have some awards play though (which could net it some more box office if it hits any big awards noms). Whether it has a chance of awards winning, idk, but I do think production design will get nominated, and as of right now, with most awards movies not released yet, it would not surprise me if Olga Meridez gets nominated for Best Supporting Actress.

 

[Nick]

Yeah… that’s pretty much it. I’d say there’s less than ten overtly “magical” moments in the whole thing, and a couple of them are obviously in a character’s own head. Those work. A couple that should be explicitly in specific characters’ heads have reactions from unrelated characters that made me question what world we’re legitimately inhabiting.

Like, I get it. Musicals by their very nature are fantasy because of singing and dancing. But they still need to be consistent within their world, or establish frames for when the “world” “changes.” On stage, we get lighting cues or set changes. A spotlight basically equals a soliloquy. Movies need those signals too.

Chicago is a great example of inhabiting a realistic movie musical world where the “magic” is well framed. We recognize that nearly all of the songs are basically in Roxie’s fame-starved head (except when they’re not, which is also established). Little Shop of Horrors is an absurd sci-fi, which is entirely literal. Within the context of the show and movie, every song is a conversation (even Somewhere That’s Green). In the Heights doesn’t bother to clearly delineate where these lines are drawn. Granted, the whole thing is either in Usnavi’s or a kid’s head. But, if it is, I’d argue it’s not magical enough. It never feels like it knows its own rules.

I've watched this quite a few times now and thought about this. Every time the world changes or becomes more fantastical, it's when the characters are talking about their dreams and the culture. Literally every time.

The only big number that feels slightly clumsy as to the "Why?" is When The Sun Goes Down, although I just see that as them showing us how much these two characters love each other. Other than that I feel like for the most part, they really did the best they could. I mean, you're using Chicago as an example, which won Best Picture. Let's face it, most musical adaptations suck or are really mediocre.

I think it also has to be realized that ITH isn't what I would call a "Fantastical" musical in any way. It's a musical that takes place in a very specific block of Washington Heights. It's very small in scale. The only time it really does make sense to jump out to be more fantastical is when the characters are singing about their dreams since dreams allow you to think big. That's why something like Carnaval Del Barrio, while a big and wonderfully choreographed number, was set in an alleyway instead of going bigger. The main thing that song is about is a party in the hood during a blackout and coming together as a community one last time before everyone pursue's their dreams. Had they gone too much bigger, it would've taken away from the song's meaning.

 

[Nick]

Here's a good opinion piece about how Hollywood covers box office and why films like these are fading. People complain that all we have are franchises and when good movies come around based on lesser known things or that are completely original, the trades write stories like last weeks, where it did fall below expectations, but not extremely far below the projected $15M opening, yet some were calling it a "bomb", which does nothing but make those that scroll by and may have been considering going decide NOT to go because now they think it's a bad movie since "no one" went to see it.

The trades wanna have their cake and eat it too - they want original movies/diverse movies that make a lot of money, but when a Diverse movie based on a lesser known property comes out, they do nothing but pick it apart and then they wonder why people aren't going to see the movie. I get they could've cast the movie more accurately. They made mistakes, sure, Benny maybe should've been cast by an actual Afro-Latinx actor, but aside from him, that was still an all hispanic cast on-screen, something rarely seen in the US, and all people in the media do is pick it apart. Things like that are the reasons more films like this don't get made in the first place.

How Hollywood's box-office 'parlor game' hurts movies like 'In the Heights'

The studios, already lacking diversity, expect high-profile films with nonwhite casts to be "proof of concept." All it creates is unfair pressure.

www.latimes.com

Prediction: this is going to have legs and going to do well second weekend based on word-of-mouth.

I think this is an understatement.

Unfortunately, this isn't happening. It doesn't have the songs you want to hum in your head like Hamilton or Greatest Showman and based on reported Friday numbers of only $1.375M, ITH is expected to barely cross $4M this week for a drop of over 60%.

Word of mouth about the film seems to have spread, but it's been more in the negative vein than positive. The light-skinned cast and many news outlets running stories about how they left out Afro-Latinx representation from lead roles had spread way more than the positive about how good the movie actually is, mostly because so few people saw it last week and those that did have only talked to their theater friends about it in all likelihood, they aren't trying to get other audiences to watch it. All of the bad press and apologies tours the people behind the film have had to make in the past week have, for lack of a better term, "canceled" this movie.