Wednesday's haul included $2.3 million in Tuesday night previews. Coco is playing in 3,987 theaters in North America.
Justice League took in $10.5 million from 4,051 theaters for a domestic total of $122.4 million.
At this pace, Coco, about the popular Mexican holiday Day of the Dead, should have no trouble winning the turkey trot with a five-day debut north of $70 million.
Between them, Disney...
“Obviously you don’t have real dinosaurs — sometimes you have people playing dinosaurs — but we love animatronics and we’re trying to do as much with them as possible,” he said of the sequel. “I think animatronics bring soul and reality to it. We’re trying to find the balance between animatronics and CGI in order to cheat the audience so they
Continue reading Noah Baumbach Defends Netflix, But Explains Why Smaller Movies Must Be Seen In Cinemas at The Playlist.
The Old West was a lawless place, where nothing was certain except for dust and hardship. On Netflix’s limited series “Godless,” outlaw Frank Griffin was certain about one thing though: how he wasn’t going to die.
“This ain’t my death,” he says over and over again like a mantra. Whether he has a noose around his neck or a shotgun pointed at his heart, he holds onto that unshakeable belief. “This ain’t my death. I’ve seen my death; this ain’t it.”
Jeff Daniels, who portrays Frank Griffin, spoke to IndieWire about that infamous line. “If it were a song, it’d be a good hook,” he said. “You preface that with, ‘Is this it? No, it’s not it. This ain’t my death. I just checked. Didn’t get the feeling that this was it.’ And that’s kind of all he goes on.
Read More:‘Justice League’ is a ‘Masterpiece’ and the ‘Epic We Deserve,’ According to Armond White
The lackluster opening for “Justice League” doesn’t just make it the weakest debut for a superhero film in 2017 (which is shocking considering it brings three popular superheroes together and introduces three popular new ones), but it also sets up Warner Bros. for a major financial loss. According to Forbes, the studio could lose up to $100 million on “Justice League.” The company reports that Warner Bros. will lose $50 million at the very least,
Continue reading Zack Snyder’s Son Says ‘Justice League’ Is “Not What It Could Have Been,” Stuntman Wants Director’s Cut at The Playlist.
Related stories'Godless': Jeff Daniels Weighs in on His Infamous Line, 'This Ain't My Death''Justice League' Box Office Bomb: Warner Bros. Could Lose Up to $100 Million on Superhero TentpoleUma Thurman Slams Harvey Weinstein: 'I'm Glad It's Going Slowly -- You Don't Deserve a Bullet'
The post Cool Stuff: Hot Toys Reveals Kylo Ren’s Life-Size Burnt Darth Vader Helmet appeared first on /Film.
Read More:Uma Thurman Holds Back Anger as She Addresses Sexual Harassment in the Film Industry — Watch
“I am grateful today, to be alive, for all those I love, and for all those who have the courage to stand up for others,” Thurman wrote. “I said I was angry recently, and I have a few reasons, #metoo, in case you couldn’t tell by the look on my face. I feel it’s important to take your time, be fair, be exact, so… Happy Thanksgiving Everyone! (Except you Harvey, and all your wicked conspirators – I’m glad it’s going slowly – you don’t deserve a bullet) – stay
The post The Morning Watch: ‘Deadpool 2’ Trailer Easter Eggs, ‘Thor: Ragnarok’ Weta Workshop Featurette & More appeared first on /Film.
The big heat – like the big sleep – is a menacing idea, a miasma that swarms over this taut and violent 1953 crime thriller from director Fritz Lang, a classic from his American period. It stars Glenn Ford and Gloria Grahame, and this big-screen rerelease is linked to a Grahame retrospective at the BFI Southbank, London. The big heat is, of course, the force of vengeance, the blowtorch flame of justice, coming from heaven and Earth alike. For some of the people here, that big heat is what is going to come after the big sleep.
Ford plays Sgt Dave Bannion, who is investigating the suicide of a cop, who was apparently overwhelmed with shame at having taken bribes from crime nabob Mike Lagana (Alexander Scourby) and having been part of
Starring Argentina’s Leonardo Sbaraglia, “Felix” forms part of Movistar+’s ambitious original production plans, which sees an annual investment of €70 million ($83 million) in TV fiction productions.
This bet is allowing Movistar+, Spain’s leading paybox, to launch its first four original series -“The Zone,” “The Plague,” “Velvet Collection” and “Vergüenza”- by 2017, and release some 10 further new titles by the end of next year.
“Felix” is an instance of close creative collaboration between audience-friendly auteur Gay (“Truman,” “Krampack,” “In the City”) and thesp Sbaraglia (“Wild Tales”).
An eight-episode romantic thriller with doses of humor and mystery, “Felix” filmed on location in Andorra, Madrid and Barcelona for 19 weeks, enough time for a director and an actor “to construct a role and
Here is one of the final screen appearances of Emmanuelle Riva, icon of movies from Michael Haneke’s Amour to Gillo Pontecorvo’s Kapò and Alain Resnais’s Hiroshima Mon Amour, who died in January at the age of 89. It is a delectably gentle, elegant, self-effacing performance. Riva plays a lovably scatty old lady called Marthe in this Tati-esque comedy from French writer-directors Dominique Abel and Fiona Gordon. The movie they have jointly devised, and in which they star, is a clever, funny and distinctly unworldly comedy with an insouciant line in visual humour.
Fiona (Fiona Gordon) is a young goof from Canada who comes to Paris to visit her similarly away-with-the-fairies aunt Marthe (Riva). A mishap on the banks of, and then in, the Seine leads to an encounter with a romantic tramp
Maybe no director is quite as “pro-porno” as the prolific cult Japanese film-maker Sion Sono, but here he is again, with a movie that sports with sex and repression, sensuality and hypocrisy, reality and fantasy, porn and more porn. Sometimes this fiercely cartoony film has satire and surrealism, some ideas about how porn is a theatre of unhappiness or how sex can cauterise painful emotions. But quite a lot of the time it’s a question of having your porn cake and eating it. Kyoko (Ami Tomite) is a beautiful, fashionable young conceptual artist and novelist, evidently living a life of glorious sexual abandon, flouncing naked around her apartment. She humiliates her personal assistant. And then – cut! It’s all just a porny movie she’s in. And she gets humiliated the way
Director Marie Noelle’s biopic about Marie Curie, the Polish-born chemist who was the first woman to win the Nobel prize, is something of a tacky treat. Roughly 35% science talk and 65% soap opera, it has adulterous shenanigans and a strong-willed heroine (Polish actor Karolina Gruszka) defying sexism, xenophobia and antisemitism (even though she isn’t Jewish) to make it in a male profession.
The first part unfolds in a non-toxic soft-focus haze, all sun dapples and smiles, as Marie and her beloved hubby Pierre (Charles Berling) bask in acclaim after their crucial research on radiation is recognised by the Nobel committee.
Social issue thriller “The Unseen” tells the story of a couple, a pregnant Quechua girl and her creole partner, trekking in a desperate state across the Bolivian Highlands, now a post-apocalyptic wasteland devoid of natural resources and ruled by a bloody militia, in an attempt to reach the Pacific Ocean, where they hope a safe haven awaits them.
The film marks the helming feature debut of Nicolás Puenzo, son of veteran Argentine filmmaker Luis Puenzo, after many years working as a cinematographer or producer on projects such as “Cromo” and “The German Doctor”, both collaborations with his sister, the director Lucía Puenzo. In “Cromo,” a 12-episode TV drama currently streaming in Netflix, Nicolás Puenzo also co-directed.
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