![]() Between 20, global advertising revenue will rise from US$763.7 billion to US$952.6 billion, representing a 4.5% CAGR. In 2025, advertising will surpass consumer spending as the largest category internet ad spending, which grew 8.1% in 2022, is a powerful catalyst for growth. But consumer spending on E&M will grow at just a 2.4% CAGR between 20, when it will total US$903.2 billion.Īs e-commerce and time spent on digital platforms grow, companies around the world will be spending significantly more in an effort to reach consumers at the point of purchase and at the point of decision. Consumer spending historically has been the largest of the three broad categories the Outlook tracks. ![]() ![]() Taxed by inflation, weary from the lingering effects of the pandemic, and facing the uncertainties of war and geopolitical instability, consumers are pulling back. The creation of podcasts, which was among the industry’s major success stories during the pandemic, fell by an estimated 80% between 20.īut the main challenge-in 2022 and in the future-is consumer spending. For some key sectors, the surge in revenue and attention that they experienced early in the pandemic ran out of steam. The game and energetic Patton makes it for the most part watchable, but she can’t make you take any of it seriously.The causes of the slowdown are many. The canned-sounding electronic score doesn’t help much either.įundamentally, this is both a female empowerment yarn and a victimization tale wrapped up in one less than convincing package. But while Patton almost single-handedly makes you want to take the film a little more seriously than is in any way warranted, it’s impossible to do so on any level, so fundamentally based is it in stock characters, hackneyed suspense cliches and predictable notes reliably struck. ![]() But then things get worse thanks to a hard-ass chief of local police ( Missi Pyle in a delectably malevolent turn) who’s got a lot more going on in her life and career than her official uniform suggests.Įven when presenting a veritable hell on Earth, where Brea eventually does arrive, Taylor and Spinotti make it look snazzy. It’s cat-and-mouse through the woods at night for a while, as a panicked Brea scurries through the underbrush to get to safety. And not far behind are the bad boys, whose leader (Luke Goss) predictably initiates a slaughter that eventually takes down a fair percentage of the cast. First comes a sketchy gal (Dawn Olivieri) with whom Brea had a weird encounter at the gas stop and whose phone full of photos of abused and unhappy-looking women Brea unaccountably finds in her possession. ![]() But while we’re waiting, writer-director Deon Taylor ( Supremacy, Meet the Blacks ) indulges in some scenic swimming pool hanky-panky that serves to put Brea in just the right mood, which is broken when the impulsive Darren annoys John to no end by showing up unannounced with his lady friend Malia (Roselyn Sanchez) just as John prepares to pop the question.īut Darren is more than welcome compared to the visitors who turn up next. After John and Brea, who are black, have an altercation with some scuzzy white bikers at a gas station, you know it’s only a matter of time until the bad ol‘ boys turn up to give the city folk a very bad time, indeed. ![]()
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