Archive for the ‘Box Office News’ Category
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As you would have guessed from the trailers, with Gravity director Alfonso Cuarón has made a horrifying movie about being stranded in space. But the best—and most surprising—thing about Gravity is that it’s also tasteful and elegant. It’s the minimalist blockbuster you never knew you’d been longing for.
(EW) On a weekend stuffed with big-budget tent poles, Warner Bros.’ modest horror release The Conjuring is scaring off every one of its rival releases. The $20 million James Wan-directed film pulled in $17 million on its first Friday at the box office. That’s slightly ahead of The Purge‘s $16.8 million opening Friday in may, and with better reviews and an excellent “A-” CinemaScore grade (a rarity in the horror genre), The Conjuring should surpass The Purge‘s $34.1 million debut. Right now, The Conjuring seems to be on pace for a $37 million weekend, which double Wan’s best previous opening, which came in 2004 when Saw cut up $18.3 million.
Despicable Me 2 held strong in second place with $7.5 million on its third Friday. The animated smash, which has already outgrossed Monsters University, wasn’t hurt too much by the arrival of yet another animated film, Turbo. Despicable Me 2 may capture another $25 million this weekend, which would push its total to $276 million.
In third place, Turbo, which had already earned $9.7 million on Wednesday and Thursday screenings, raced away with $6.5 million on its first Friday. The $135 million film about a snail (voiced by Ryan Reynolds) competing against racecars in the Indy 500, will take in about $19 million over its first weekend frame, which would give the Fox/DreamWorks release a lackluster $28.7 million in its first five days at the box office.
Grown Ups 2 fell 61 percent from its first Friday into fourth place with $6.4 million. The $80 million Adam Sandler comedy, which last weekend opened to $41.5 million, may take in another $20 million this weekend — good for a $79.5 million total.
Two new releases finished in fifth and sixth place. Red 2 took in $6.3 million on Friday, a full 14 percent drop from Red‘s $7.3 million opening Friday in 2010. The $85 million sequel may earn about $18 million this weekend. And then there was R.I.P.D., the Ryan Reynolds/Jeff Bridges action film that Universal say cost $130 million (though its budget has been reported at $154 million). R.I.P.D. earned just $4.8 million on Friday, which puts it on track for a disastrous $12.5 million debut and marks Universal’s first major misstep since Battleship.
Stand up Comedian Kevin Hart’s “Let Me Explain” is a big success, earning $7.4 Million in two days according to Deadline.com. The film is in 876 theaters and is by Lionsgate’s Summit Entertainment. The blockbuster made $3.7M Friday and the studio projects $17.4M for the 5-day holiday.
Other films that did it big this weekend were Despicable Me 2 and The Way, Way Back for Fox Searchlight.
Forget Superman and the “Man of Steel,” Argentina’s Captain Everyman is on the scene. And he is real
Meet Argentina’s own homegrown superhero. Angel Sastre and Ed Stocker BUENOS AIRES, Argentina â Women swoon and children cheer when Argentina’s own caped crusader takes to the streets. He calls himself Captain Mengano, a name that can be loosely translated as Captain Everyman, and, like many of…
‘Hansel & Gretel’ tops N. America box office (via AFP)
A horror-movie twist on the classic “Hansel and Gretel” fairy tale broke out in the top slot at the North American weekend box office, industry estimates showed Sunday. “Hansel & Gretel: Witch Hunters,” in which the once lost brother and sister have grown up to become grim-faced bounty hunters, debuted…
‘Hobbit’ fights off rivals atop New Year US box office (via AFP)
“The Hobbit: An Unexpected Journey” fought off all comers at the North American box office over the New Year holidays, beating two Oscar-tipped movies to the top spot, figures showed. The long-awaited first part of Peter Jackson’s “Lord of the Rings” prequel trilogy earned $31.9 million in its third…
By Tanya Blake
In this action-packed mystery thriller, Academy Award winner, Denzel Washington stars as Whip Whitaker, a seasoned airline pilot, who miraculously crash lands his plane after a mid-air catastrophe, saving nearly every soul on board. After the crash, Whip is hailed as a hero, but as more is learned, more questions than answers arise as to who or what was really at fault and what really happened on that plane? — (C) Official Site
Director Robert Zemeckis gives good plane crash. He did it well in the early frames of Castaway, and the one here is even better. A short commercial flight, in heavy rain, from Orlando to Atlanta. Sudden mechanical breakdown, the uncontrolled dive, one engine fails, a calculated roll to stall the plunge, second engine fails, the eerie silence of a plane short of power, then the deadly quiet glide to a patch of open field. Crash. However, of the 102 souls on board, only 6 died, and the reason is clear. Skilled, decisive, with ice-water in his veins, the pilot was indisputably heroic. But this too is indisputable. Those same veins contained high levels of alcohol and traces of cocaine: The hero was also legally intoxicated.
But we already knew that, since the opening scene, just as good, coolly reveals “Whip” Whitaker’s morning ritual. Wake up groggily light a cigarette, drain the dregs from last night’s beerfest, snort a revivifying line, shower and don the uniform and aviator glasses and report for duty. Since the addled fly boy in question is Denzel Washington, looking rather pot-bellied and doughy for the occasion, this first sequence plus the subsequent crash have us riveted and hoping for more of the same, for an uninterrupted journey towards a great movie. Alas, this isn’t a direct Flight.
Instead, there’s an extended stopover when the script, tearing off on various tangents begins to resemble a room-full of errant luggage. Some of the tangents are interesting – like the gathering of officialdom in the aftermath of the tragedy. Reps from the National Transportation Safety Board, from the pilots’ union and from the airline company convene to pursue both their separate and common interests. All seem keen to mitigate the legal liability, thereby placing some of the blame on God and the rest on that real mechanical failure. As for Whip’s really damning toxicology report, the union’s lawyer (Don Cheadle) sets out to “kill” it on a technicality. Unfortunately, when he succeeds, the picture goes into its own tailspin.
That’s because the focus shifts from an intriguing aeronautical drama to a bland psychodrama, as boozy Whip refuses to admit he’s an alcoholic – albeit a remarkably functioning alcoholic, which raises another problem. Torn between lionizing and villainous its star attraction, the screenplay keeps emphasizing Washington’s in-flight heroics, and thereby blunders into a case of truly impaired judgment: the tacit yet blaring assumption that, buoyed by an emergency’s adrenalin, a great pilot sober is still a great pilot drunk. Now that’s a sobering thought indeed, which, the next time I’m sandwiched into an aisle seat staring past the drinks cart at the locked cockpit, I dearly hope to have forgotten.
Anyway, from there, the baggage marked Days of Wine and Poses gets unpacked, leaving Washington to strike whatever pose is demanded by the story’s increasingly convoluted twists. He’s a good fella, he’s a bad fella, pulled off the wagon by his old friend Harling the flamboyant enabler (John Goodman chewing the scenery), then urged back on by his new friend Nicole the reformed junkie (Kelly Reilly swallowing a Georgian accent). So, oscillating to and fro, Whip stumbles towards the climax of the big NTSB hearing, where the suspense is meant to build around this puzzler: Will our flawed hero be falsely exonerated or truly redeemed?
In the hands of a less sentimental director than Zemeckis, that might be a compelling quandary; but here, for us no less than Whip, it feels like being stuck between a rock and a soft place. That makes his choice easy and our verdict easier. This movie is captivating until it gets uplifting – Flight soars when it crashes and crashes when it soars.
Watch the Official Trailer
Nov 2, 2012 Wide
LA Times Review One of the lessons to be gleaned from sequels like “Taken 2″ is that bad guys never learn. You’d think, for example, that anyone privy to the bloody rampage carried out by concerned father and ex-CIA agent Bryan Mills (Liam Neeson) to save his daughter from Albanian slavers in the first “Taken” would think twice before messing with the guy. Alas, the villains in “Taken 2,” being relatives of the slain thugs from the previous film, are out for revenge, forcing Bryan to engage in another round of family-saving and neck-snapping.
Critics agree that “Taken 2″ is essentially a retread of the first film; whether that’s a good thing or not may depend on your taste for Neeson’s “very particular set of skills.”
The Times’ Kenneth Turan calls the film “more a remake than a sequel” but adds that, like its predecessor, “Taken 2″ succeeds largely thanks to Neeson’s acting chops. “Neeson’s empathetic performing skills put him in a different category than the usual suspects for this kind of a part,” Turan writes. “His acting makes him seem human and even vulnerable, someone we can’t help but worry over even though it’s those feckless Albanians we should be nervous about.”
Many other critics, among them the Wall Street Journal’s John Anderson, are less favorable in their reviews. Anderson knocks “the blind adherence to formula evident in most of ‘Taken 2.’ ” He concedes that “it’s an adrenaline-fueled thrill ride. But it could have been much more.” Instead of taking the series in a new direction, “Taken 2″ copies its predecessor “slavishly, right down to the flaws,” which include wooden acting and corny dialogue.
The Boston Globe’s Wesley Morris finds the screenwriting lazy, as “typed up” — not written, mind you — by Luc Besson and Robert Mark Kamen. And while “Taken 2″ has a new director in Olivier Megaton (“The Transporter 3,” “Colombiana”), Morris notes that he’s “a Besson-factory regular.” (Besson co-wrote and produced both “Taken” films.) Morris does, however, admit to rooting for Kim (Maggie Grace), Bryan’s daughter, who has gone from being an imperiled abductee to following in her dad’s footsteps in the span of two films. “Her mounting sense of self-defense,” Morris says, “is the partial source of the film’s comedy.”
The Philadelphia Inquirer’s Steven Rea declares “Taken 2″ an “inevitable — and unfortunate — sequel” that is “rigorously formulaic and far-fetched.” While “Neeson is full of Neesonesque stoicism” and “Grace is as convincing as the wobbly script allows,” it’s unfortunate that Famke Janssen, playing ex-wife and mother Lenore, is “relegated to the role of helpless victim, spending a good part of the film in a state of semiconsciousness.” The original “Taken,” Rea concludes, is “far more satisfying and suspenseful.”
Finally, Neil Genzlinger of the New York Times offers a haiku-like appraisal: “['Taken 2'] seems like a nonstop car and foot chase, with Albanian after Albanian falling victim to Bryan’s remarkable aim and hand-fighting skills. Foreigners bad, Americans good, box office busy.”
Genzlinger does have a point: After all, movies like “Taken 2″ are about as concerned about critics’ reviews as Bryan is about the trail of dead bad guys he leaves in his wake. As long as box office dollars and Bryan’s family are safe and sound, consider the mission accomplished.
Review: The Expendables 2 (2012) (via http://justyes.net)
“The Expendables 2″ — starring action superstars Sylvester Stallone, Jason Statham, Jet Li, Chuck Norris, Jean-Claude Van Damme, Bruce Willis and Arnold Schwarzenegger, among others — took in $10.5 million Friday, putting it on track for about a $27 The Expendables 2 holds the top spot at the box…
‘Amazing Spider-Man’ scales US box office (via AFP)
“The Amazing Spider-Man” climbed to the top of the North American box office this weekend, beating cheeky teddy bear comedy “Ted,” industry figures showed Monday. The 3D flick starring Andrew Garfield and Emma Stone — the latest take on the iconic superhero — netted $62 million during its first Friday…
Lawyers want house arrest for Mayweather: report (via AFP)
Floyd Mayweather’s attorneys have asked the fighter to be allowed to spend the remainder of his domestic battery sentence at home or the undefeated fighter might never climb in the ring again. The Las Vegas Review-Journal reported on Tuesday that Mayweather’s lawyers have filed an emergency motion…
‘Madagascar 3′ tops N. America box office (via AFP)
“Madagascar 3: Europe’s Most Wanted” and “Prometheus” leapfrogged a fairy tale to take the top spots in the North American box office charts over the weekend, industry figures showed Monday. The animated “Madagascar 3,” the third installment in the wildly popular franchise starring Ben Stiller about…
‘Snow White’ takes bite out of N. America box office (via AFP)
“Snow White and the Huntsman” was the fairest of them all at the North American box office over the weekend with a $56.3 million debut, industry estimates showed Sunday. The film starring Charlize Theron and Kristen Stewart of “Twilight” fame, which offers a new twist on the classic fairy tale, knocked…