Core Insights - The animated film "Wang Wang Mountain Little Monster" has achieved a daily box office of 28.82 million, outperforming the 9.44 million of "Dongji Island" and previously grossing 400 million from "Little Black War 2," indicating a significant trend where animated films are surpassing big-budget productions by renowned directors [1][2][9] - This trend began with "Nezha 2," which easily defeated "Fengshen 2" in box office performance, highlighting a shift in audience preference towards animated films over traditional blockbuster formats [1][9] Industry Trends - The animation sector has evolved significantly over the past decade, with annual box office revenue increasing from 1.657 billion in 2018 to over 10 billion in 2025, showcasing a remarkable growth trajectory [9][18] - Animated films are increasingly exploring diverse themes and narratives, such as "Tea Ah Er Zhong," which focuses on campus life, and "Lion Boy," which integrates traditional culture with modern storytelling [9][12] Audience Preferences - Modern audiences are becoming more discerning, favoring films that resonate emotionally rather than those that rely solely on high production values or star power [20][21] - The success of films like "Nezha" and "Wang Wang Mountain Little Monster" illustrates a shift towards stories that reflect ordinary people's struggles and experiences, contrasting with the declining appeal of grandiose narratives typical of high-budget productions [18][20] Director and Production Dynamics - There is a growing critique of established directors who continue to rely on outdated tropes and aesthetics, such as the obsession with male physicality, which may not align with contemporary audience values [4][6][15] - The industry is witnessing a backlash against the traditional "star-director" model, as audiences increasingly reject films that fail to deliver compelling narratives, regardless of the director's reputation or the film's budget [15][17] Cultural Reflection - The resurgence of animated films often incorporates elements of Chinese traditional culture, indicating a broader cultural renaissance within the industry [12][21] - The narrative focus on relatable, everyday experiences in animated films contrasts sharply with the often convoluted and less relatable plots of recent high-budget live-action films [20][21]

今天本来计划写唐探1900的影评的，但是发生了个意外没法写，原因是家边上新开的影城下午场次票卖 完了，全满，连边角料都没了。昨天去看射雕英雄传的时候整个影厅就坐了3个人（加上我），这给了 我错误的预期，让我误以为春节人不多票好买，就没有提前买。 结果老婆和我说影票售罄的时候我整个人都懵了，我拿过她的手机反复确认了这一事实。我特地看了时 间相差不到20分钟的今天下午的射雕英雄传，全场卖出去6张票，好位置随便挑。 这上座率的差距也太大了吧，如果我是院线经理就会调整排片资源，没有人会和钱过不去。之所以出现 这种变化应该是连续3天上映，观众的口碑开始扩散，现在电影靠卡司和营销最多带一下前3天票房，之 后就纯看口碑了。 你把观众伺候好了，财源滚滚来，你把观众糊弄了，就等于砸自己饭碗，严重的甚至会断送自己未来的 生涯。 其实现在回想一下，这次所谓的史上最强春节档...并非之前想的群魔乱舞，六部电影里真正爆款的只有 哪吒2，综合评分断崖式领先，票房预测在60亿+，刷新中国票房史高。唐探我没看，但从豆瓣评分和 票房反馈来看大概是一部正常发挥的商业片，可以吃三太子春节档吃剩下的肉汤，预测在30亿左右。封 神2低于前作预期，没支 ...

正月初二在我们这里的风俗是上坟祭祖，我的奶奶（1999）、外公（2004）、外婆（2014）、父亲 （2021）、爷爷（2023）都已经故去，所以一大早起来还挺忙的，要跑好几个地方。 一些新读者看了上面括号里的时间大概会觉得讶异，对的，很少有父亲会走在爷爷之前。父亲去世时只 有60多岁，身体并不差，只是血脂有些高，医生给开了药但他一直没有按时吃，后来在网上发生了一些 情感纠葛，有些自暴自弃，结果不幸脑梗病发，在医院抢救了一个多星期最终还是走了。 离世前他一个人独居，他先后有两段婚姻，但都离了，生了一男一女两个孩子，也就是今天结伴去上坟 的我和妹妹。之前经常有网友留言，说同父异母也算亲妹妹吗，把我问笑了，这些网友不会是外宾吧， 同父异母按照中国传统礼法那必然是亲兄妹。 小时候拜坟岁我和妹妹都是跟在长辈身后，现如今长辈要么不在了，要么人在外地过不来，就剩我们 两。妹妹买了祭祀的道具，我照着记忆里的流程，点蜡烛、点香、烧纸钱......纸灰随着风飘散，我愣愣 发神，脑子里想的是亲人曾经在世时的往昔。 网上批评主要集中在剧本破碎，不连贯也不自洽，我觉得这个喷的没毛病，封神2的故事确实讲的不 好，但封神1也有这个问题， ...