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...package improve your outlook? It would help the economy, and if applied through Fed programs in terms of outright purchases of assets, yes, I think it would help the markets. I do sort of expect another stimulus program in 2010 at some point, but it can't be a big one, because the American public and indeed the rest of the world is increasingly demanding some type of fiscal discipline...
...Broncos also found success with their big men inside, holding a 30-24 advantage in interior scoring. The Crimson had been outscored in the paint only two times previously this season...
...which were the big losers? Expensive duds are harder to calibrate; for example, a film may disappoint Stateside and be a hit abroad. Still, it's a Hollywood rule that movies with $100 million-plus budgets should at least earn as much at the domestic box office as they cost to produce. If they didn't in 2009, they made our top-of-the-flops list. The underperforming nine: Terminator Salvation, Disney's A Christmas Carol, G.I. Joe, Angels & Demons, Watchmen, The Taking of Pelham 1 2 3, Public Enemies, Land of the Lost and Where the Wild Things...
...grossers. The lessons: prestige directors get to spend more money, and, in dollar terms, their "personal vision" can look astigmatic to the mass audience. (And great to critics, who put the Mann and Jonze films on their 10-best lists, and would rightly fret if big-budget assignments went only to hacks.) Consider, too, that none of the first seven of the top 10 grossers had traditional stars; but the loser list featured the likes of Jim Carrey, Tom Hanks, Denzel Washington, John Travolta, Johnny Depp and Will Ferrell. The lesson, which Hollywood should have learned by now: $20 million...
...Big Movies Have to Be Pringles? That's the gambler's fun of the movie business. Roll the dice once and you get a Paranormal Activity ($15,000 budget, $150 million worldwide gross). And if you've really got the nerve, follow the example of Roland Emmerich, the master of cheesy disaster movies (Independence Day, The Day After Tomorrow). He offered studios a take-it-or-leave-it deal on his world-ending 2012. Some turned it down; Sony bought it, on Emmerich's terms. In less than two months the picture has earned nearly $750 million worldwide, and Emmerich...