ormers: Viola Davis and the late Chadwick Boseman swept the leading actor contests for their roles Ma Rainey s Black Bottom, while Daniel Kaluuya (Judas and The Black Messiah) and Yuh-Jung Youn (Minari) won the supporting categories. If you are unfamiliar with the latter, check out our in-depth chat with her, which breaks down the essential viewing of her five-decade career. On the TV side, Schitt s Creek and The Crown continue to rack up awards, as do Anya Taylor-Joy (The Queen s Gambit) and Jason Sudeikis (Ted Lasso). Read on for the full list of winners.Outstanding Performance by a Male Actor in a Leading Role in a Motion Picture九游会网址(Photo by Katie Yu/The CW)Life happens at warp speed for Barry Allen (Grant Gustin) — but it also seems true of The Flash itself, as this week marks the CW series 100th episode. The episode s story sees Barry and his daughter, Nora (Jessica Parker Kennedy), revisiting some key moments in the show’s history. And at a celebration in Vancouver to commemorate the historic episode, Rotten Tomatoes asked members of the cast about their fondest memories working on five seasons of The Flash.Parker, who joined the series this season after a few brief cameos as Nora last year, said her favorite aspect of working on the show collides with her worst moments on set: preparing to “zoop.” The term refers to those moments when a speedster runs off screen in a burst of lighting. On set, it requires the actor to freeze in a running stance for a surprising amount of time.“Grant is a dancer and he looks the coolest [doing it.] No one looks worse at those moments than me,” Kennedy admitted, adding that a surprising number of zoop shots occur “at 4 in the morning, outside” with her “falling over take after take. I giggle so hard every time that happens, and I just go, ‘My God, my job is so silly. I’m so happy to be here.’”(Photo by Jeff Weddell/The CW)Candice Patton, who plays Kennedy s TV mom Iris West, points to the lasting friendships she s made with costar Jesse L. Martin and former castmates Keiynan Lonsdale and Rick Cosnett.“These are people for me that will be friends of mine for a lifetime. You gain such amazing relationships on shows like these because you spend so much time with people, she said, and I’m really grateful for those people who’ve made this experience for me, these last five years, safe and comfortable.”Said season 4 newcomer Hartley Sawyer (a.k.a. Team Flash addition Ralph Dibny): “The best days are when we’re all in the Cortex — or wherever we are — and we’re doing scenes [together]. Sometimes I’m driving home and laughing and wiping tears about it because the stuff that happens is so much fun. We have such a great time together.”Carlos Valdes, whose Cisco Ramon has been there from day one shares Sawyer and Patton s sentiments.“In general, it tends to be whenever Tom Cavanagh and I start making music out of nowhere, out of gibberish, out of clapping, out of the Notre Dame fight song, out of anything,” he said. “We will take anything and create an annoying 14-minute jam out of it. The crew hates us for it.”(Photo by Jeff Weddell/The CW)Executive producer Todd Helbing’s favorite moment comes from the first-season episode Out of Time. “It’s when Thawne (Cavanagh) is circling around Cisco and does the vibrating hand thing [for the first time], he said. The episode as a whole stands as a highlight for him, because it’s the first time we introduced time travel. It also featured Iris revealing her feelings for Barry, Barry telling her that he is The Flash, and a tidal wave which threatens to destroy Central City.Star Gustin, meanwhile, will always recall working on Flash Back, the second-season episode in which he travels back in time to ask for help from Cavanagh s Thawne, who was still pretending to be Harrison Wells at the time. Gustin enjoyed playing opposite Cavanagh as the villain again. He also said the pilot and the first-season finale, which both prominently feature the death of Barry’s mother Nora (Michelle Harrison), are “seared into my memory as the most visceral and emotional experiences The heart of what drives Barry Allen is built into the those two episodes.”It should then come as no surprise that filming Nora’s death scene forms a key memory for Harrison’s time on the show. Though she enjoyed getting to play Nora as the mother of an adult son in the Flashpoint storyline, “as an actress, doing that [death] scene over and over” is something she loves about the show.Of course, thanks to Barry’s mucking with time, he appears in that scene at various stages in his life and his career as The Flash. Joked Gustin, “before the series is over, the amount of Barrys at the murder scene will multiply.”The Flash s 100th episode, What s Past Is Prologue, airs Tuesday, Dec. 4 at 8 p.m. on The CW.
This Week s Ketchup brings you seven headlines from the world of film development news, covering such titles as the next Spider-Man movie and Wolfman. This WEEK S TOP STORYUNIVERSAL WANTS RYAN GOSLING TO BE THEIR WOLFMAN(Photo by Elizabeth Goodenough/Everett Collection)Universal Pictures scrapped ambitious plans for a cinematic Dark Universe in 2017 following the luke warm reaction to Tom Cruise s The Mummy (Rotten at 16%). Instead, this year s The Invisible Man (Certified Fresh at 91%) became the first movie of another round of monster movie reboots. Some of the other projects are Paul Feig s Dark Army and a remake of The Invisible Woman, but this week, we found out that the next one will probably be Wolfman. Although he s not officially signed yet, Universal Pictures is pushing ahead with Wolfman with an eye toward Ryan Gosling to star. In much the same way The Invisible Man was reimagined as a stalker thriller, the Wolfman reboot is being compared to Jake Gyllenhaal s Nightcrawler, which seems like an odd film to single out as a comparison to a movie about a guy who turns into a half-man/half-wolf. Wolfman is currently being written by the Orange is the New Black team o
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ViacomCBS busted out its Paramount+ goodies like a content piñata during the company s investor day this week: more Avatar, a Halo series update, Star Trek expansion, Rugrats revival and more top news in streaming and TV.TOP STORYFresh Avatar Series Part of a Slew of New Plans For Paramount and Paramount+, Including Rebooted Frasier and Criminal Minds, Halo Series, and Series Adaptations of The Italian Job and Fatal Attraction(Photo by Nickelodeon)ViacomCBS delivered great news to Avatar: The Last Airbender fans this week: Nickelodeon’s Avatar Studios was created to launch new animated TV series and movies in the franchise, to air on Nick, in theaters, and on Paramount+, the company announced during its investor day on Wednesday.The new studio will be run by Avatar: The Last Airbender creators Michael DiMartino and Bryan Konietzko, who left Netflix’s live-action Avatar movie last summer. Their first project for Avatar Studios is an animated Last Airbender theatrical movie that will begin production before the end of this year.In other Paramount+ news as ViacomCBS prepares to debut its rebranded streaming service on March 4:• Kelsey Grammer has signed on for a reboot of his 1993-2004 Emmy-winning NBC comedy Frasier, in which he’ll play Dr. Frasier Crane, the psychiatrist who first debuted on Cheers. The series, which has so far has not added any of Grammer’s original co-stars, is scheduled to debut in 2022 on Paramount+.• CBS hit Criminal Minds wrapped up its 15-season run in 2020, but Paramount+ is ready to bring it back. No specific cast members have yet been announced, but showrunner Erica Messer will resume that role for the streaming reboot.• Pablo Schreiber is starring as Master Chief, with Bokeem Woodbine and Natascha McElhone co-starring, in the Halo TV series that is moving from Showtime, another Viacom company, to Paramount+.Related: Everything We Know About the Halo TV Series • Jeremy Renner will star in Mayor of Kingstown, from Yellowstone creator Taylor Sheridan. The drama, originally set at Paramount Network but moved to Paramount+, revolves around the McLusky family, the most powerful in a small Michigan town. Antoine Fuqua is an executive producer, as is Renner and Sheridan.
Horror movie fans will be familiar with the concept of the Final Girl. The term was originally conceived in 1992 by Carol J. Clover as a way to describe the traits of the sole female victim who remains alive to tell the story of a film’s violent crime – or many violent crimes. Clover’s central idea was that, in the films where the trope is evident, the viewer initially sees the Final Girl through the killer’s perspective, but that partway through the movie, they begin to identify directly with her instead.Final Girls illustrated the moral split between the chaste and the virtuous. You know the deal – the hard-drinking, promiscuous girl dies first, and the demure, virginal girl survives to take down the murderer. She s the final one standing. Pop culture is replete with characters that fit the bill – Jess Bradford in the original Black Christmas, Sally Hardesty in The Texas Chainsaw Massacre, Nancy Thompson in The Nightmare on Elm Street – and their existence has become as integral to the slasher genre as the killers themselves.(Photo by Lionsgate/Courtesy Everett Collection)But that was then and this is now. The original Final Girl is slowly but surely being crowded out by a newer, more progressive iteration that acknowledges the restrictive ideas that initially gave birth to her. Over the last couple of decades, and particularly in the last 10 years, the last girl standing has looked a lot different from the final girls of the past. Progressively, in films like Scream, The Cabin In The Woods and It Follows, final girls have complicated the existing frame of the trope by pushing against its restrictions. Whether it’s by having sex, refusing to be constricted by archaic ideas of femininity, or simply by teaming up to fight together, these women now survive despite leading lives the genre used to consider wholly immoral and in need of corrective punishment – they’re a new kind of Final Girl. The Final Girls who were introduced in the 1970s and 1980s have become more nuanced over time, and that progress paved the way for the Finals Girls of Ready or Not and 2019’s Black Christmas who directly confront issues of misogyny and sex negativity.In some ways, the New Final Girl is almost the original Final Girl’s polar opposite. Rather than surviving because of her innocence, naïveté or virginity, the New Final Girl is the woman who makes it to the end of the film alive specifically because of her rejection of the old norms about what makes a woman morally deserving. The New Final Girl embraces drink, drugs, and sex and defends her engagement in each of them. She insists on being seen as a full human being and actively, often violently defends her right to do so. Most of all, the New Final Girl is still an active participant in her own survival – she knows the original Final Girl shouldn’t have had to sand off her edges to stay alive. The New Final Girl is not a virginal survivor but an intentional fighter who asserts her right to exist despite perceived moral flaws.(Photo by © Universal /Courtesy Everett Collection)In the 2019 sequel slasher Happy Death Day 2U, Tree Gelbman (Jessica Rothe) finds herself once again stuck in the murderous time loop of the first film. Over and over, she relives the same day, and it ends when she is brutally murdered by a serial killer known as Babyface. In the first film, the culprit is Tree’s sorority sister and roommate Lori (Ruby Modine). The two women are both having an affair with the same married professor, and Lori’s jealousy puts Tree in her crosshairs. In the sequel, Babyface is none other than the philandering professor himself, trying to eliminate any evidence of his transgressions.What makes Tree’s Final Girl status so interesting is that she begins the story as one of the “immoral women” who would usually die in a thriller. Tree is, by all accounts, a typical sorority mean girl. When we meet her, she is recovering from a night of partying and on her way to meet the professor she’s carrying on with. And in fact, she does die, over and over again, punished for her ruthlessness, immorality, and general misbehavior. But through the mechanics of the film itself, she evolves into a New Final Girl through sheer determination. (Photo by © Universal /Courtesy Everett Collection)In both films, Tree breaks her loop and returns to her life not by becoming more virtuous, but by becoming a more compassionate and considerate person. She improves and grows as a character – including ending her affair – not because those things make her unworthy of redemption, but because they are not the best choices for her as a person. She undergoes significant character growth without ever placing a moral frame on her sexuality or femininity. And through each of the infinite deaths it takes her to get there, she plots and schemes to find her killer and thwart them, determined to prevent her eventual death and save herself. Tree is a novel subversion of the trope because it’s her death itself that furthers her character growth. Several times, she intentionally kills herself in service of a larger goal; sometimes to gather more information about her situation and sometimes to undo the murders of other characters. As a result, her deaths then become an intentional sacrifice that signals her increasing virtue, instead of confirming its absence. It’s a large departure from the way the original Final Girls functioned in films like these.Cate YoungSimilarly, the evolution of Halloween’s Laurie Strode (Jamie Lee Curtis) into a New Final Girl in the film’s 2018 sequel of the same name is particularly notable because the character’s first iteration was in many ways the definitive final girl – most other examples are direct descendants of her legacy. In the first film, Strode is left as the sole survivor of the serial killer Michael Myers murder spree – the only young woman in the film who chose to abstain from the usual vices. Her survival largely conformed to expectations for women in horror at the time, and helped to cement the trope in the genre.But in the film’s most recent sequel – which retcons several that had come before –Laurie is now an older woman, driven to extremes by her fixation on stopping Myers return. In the 40 years since the events of the first film, Laurie has grown into an obsessive, battle-worn veteran of the war in her own mind. She may not be having sex or doing drugs, but she s far from the pure, likable babysitter we met decades earlier. She is convinced that Myers will return and has devoted her life to preparing for that eventuality. In the process she has lost custody of her daughter and become estranged from her daughter’s family. She is perceived as a lonely old woman too traumatized by her past to move on. Cate YoungOf course, Myers does eventually return. But this time Laurie is ready for him, having rigged her entire house to trap and kill him. Whereas in 1978 she was permitted to survive by virtue of her moral purity, in 2018 she fights like hell for that survival, taking active steps to make sure that Myers can no longer victimize her. She takes the lead in tracking Myers down and trapping him on her home turf. After spending years contemplating and preparing for the return of his torment, Laurie has transformed herself into the Ultimate Final Girl through sheer force of will. She has no intention of being defeated yet again.Critically, Laurie must also protect her daughter Karen (Judy Greer) and granddaughter Allyson (Virginia Gardener) this time around, folding them into a generational legacy of victimization and defense. When the threat they have dismissed for so long reveals itself to be real, they join forces with Laurie to fight and eliminate it – Myers is now a specter that haunts them all, the source of their estrangement and the origin of their familial trauma. Defeating Myers together connects the women as Final Girls of a new generation, forcing them all to overlook their own and each other s flaws in order to face the embodiment of their fractured relationships. Laurie leads the charge, but her family takes up her mantle. This isn’t to say that the old trope never survives. In fact, Allyson’s best friend Vicky is killed during a babysitting job soon after letting her wayward boyfriend into the house. It wouldn’t be a stretch to interpret her death as the same kind of stark moral judgement that historically happened in slasher films. This is especially true given the contrast with Allyson’s own encounter with Myers. After her boyfriend’s best friend inappropriately propositions her, he is immediately murdered while she survives. His overeager instinct to breach her consent should absolutely have been corrected, but death is a disproportionate response. The message couldn t be clearer: all sexual impulses exist along the same punishable continuum, regardless of how welcome they might be to the participants involved.(Photo by © Neon /Courtesy Everett Collection)One of the starkest examples of this shift in recent years is 2018’s Assassination Nation, which explored the trope in thrilling style. Set in conservative Salem, the movie focuses on a group of teen girls who find themselves at the center of a small-town lynch mob when they are blamed for the release of the community s private information. The girls are not guilty of the mass doxing, but their reputations as “loose women” make them ideal targets for the ire and anger of the town’s men and boys. The girls — Lily (Odessa Young), Sarah (Suki Waterhouse), Bex (Hari Nef), and Em (Abra) – are known at their high school for their skimpy outfits, their questionable choices in boys, and their perceived promiscuity. They are open about and proud of their burgeoning sexuality and enjoy exploring their relationships to the men in their lives. Lily is dating an abusive high school boy and carrying on an illicit affair with a married neighbor. Bex is trans and keeping her relationship with the popular football player a secret at his request. Sarah and Em are living with their mother Nance, who is implied to be operating a brothel out of her home. When the community devolves into ultraviolence, the citizens hunt the girls across the town, determined to punish them for being forced to confront their own once-private sexual shames. As the balance of power shifts, the horror genre tropes follow in quick succession. From a coordinated home invasion to a horde of masked killers to the use of guns and baseballs bats — the most American of weapons — the girls suddenly find themselves in the middle of their very own slasher film.(Photo by © Neon /Courtesy Everett Collection)At another time, all four of these women would be fated to die before the credits rolled. Their proximity to vice marks them as fallen women, and only the morally pure survive the transformative power of abject terror. But as New Final Girls, all four of them not only survive but continue on to restore order to the town. The girls rescue each other from the outsized violence the men are trying to inflict on them (including an attempted rape and hanging) and take up arms to defend themselves both literally and in abstract. The film ends as they deliver a call to action to the town’s girls, surrounded by bodies and covered in glitter, both claiming the righteousness of their femininity and rejecting the ubiquity of patriarchal terror. Through female solidarity they all survive and mete out the violence necessary to do so. Assassination Nation is unique in that the girls are explicitly targeted because of their sexuality – usually, this aspect of the genre is left as subtext. But here, the trope is almost deconstructed by bringing both the reasons for their attack and subsequent defense to the surface. They become New Final Girls because, given the plot constraints, their only options are to transform themselves or die. (Photo by © Universal Pictures / courtesy Everett Collection)The New Final Girl is a natural evolution of the original trope. Stories are becoming more egalitarian, and with that comes a necessary examination of the moral dimension of the traditional way women are depicted on film. But in the end, all these Final Girls aren’t as different from each other as we might think. The virtuous distinction that we make between them is largely based on an old patriarchal frame that divides women into Madonnas and Whores, then kills the whores. Part of making the genre more progressive – or dare I say feminist – is rejecting that binary entirely.Teenaged Laurie Strode and college-aged Tree Gelbman might have led different lives and made different choices, but when it came down to it, they both survived because they resolved to fight and refused to die. The haunting specter of violent masculinity came for all the women mentioned here, and they all triumphed, even under the restrictive gaze of a society that expects feminine perfection. But no matter how stark the contrast may be, these changes are progressive strides that honor the history of the slasher genre in inventive ways while bringing them into the contemporary moment. The Final Girl survived, but the New Final Girl thrives, and she’s ready to fight again another day.Follow Catherine Young on Twitter @battymamzelle
This Week s Ketchup brings you more headlines from the world of film development news, covering such titles as Star Trek, Swan Lake, and TRON: Ares. This WEEK S TOP STORYJARED LETO TO STAR IN TRON: ARES(Photo by Derek Storm/Everett Collection)It s now been ten years since the release of the long-in-development sequel TRON: Legacy (Rotten at 51%), which was perceived by some as a box office disappointment, despite actually earning over 0 million worldwide. That sequel came about 28 years after the first TRON, but it looks like the gap between 2 and 3 will be a lot shorter. That s because Disney is moving ahead with a third TRON movie, which will be directed by Garth Davis (Lion, Mary Magdalene). Original TRON star Jeff Bridges returned for TRON: Legacy, along with newcomer Garrett Hedlund, but it appears that the star of this third TRON movie will be Jared Leto (though it s also possible others will return as well). Although plenty of what Disney makes these days is for Disney+, it sounds like this new TRON is indeed planned for a theatrical release (presuming the pandemic ends soon). We also learned this week, via Jared Leto s Twitter, that the title will be TRON: Ares, which is a reference to the Greek god of war maybe this is the name of Jared Leto s character, or maybe it s a God of War or Assassin s Creed-style game that is the new film s in-game setting. In related news, Jared Leto also confirmed on his Instagram this week that he is attached to star in an upcoming movie as famous pop art superstar Andy Warhol, although it s unclear what movie that might be (an Andy Warhol biopic was announced in 2016, but not much has been heard of it since).Other Top Headlines1. ELISABETH MOSS AND BLUMHOUSE REUNITE FOR MRS. MARCH (Photo by Mark Rogers/©Universal Pictures)Most of 2020 is completely borked when it comes to box office numbers because of the COVID-19 pandemic, but one of the year s (relative) successes happened just before theaters shut down. Universal Pictures and Blumhouse Productions released their reimagining of the classic monster movie The Invisible Man (Certified Fresh at 91%), starring Elisabeth Moss, on February 28, earning 0 million worldwide (a number impacted by the shutdowns in March) before pivoting to a premium VOD release. Elisabeth Moss and her Love and Squalor Pictures production company are partnering again with Blumhouse on a psychological thriller called Mrs. March, in which Moss will also star. Mrs. March will be an adaptation of an upcoming novel by Virginia Feito about an a polished Upper East Side housewife who unravels when she begins to suspect the detestable protagonist of her husband’s latest bestselling novel is based on her. Moss said in a s
九游会网址 King of the Crop: Lego Movie Leads, But Joins List of Diminishing Sequels(Photo by Warner Bros.)Another early record of 2019 that was expected to fall was Glass’ top opening weekend of .3 million. Lowball projections on The Lego Movie 2: The Second Part (84% on the Tomatometer) were at million with an uptick to a potential million. That estimate was reasonable given the diminishing returns of the series: 2014’s The Lego Movie (95%) opened to million and finished with over 7 million; 2017 spin-off, The Lego Batman Movie (90%), also opening in February, began with million and ended with 5 million; and in the same year, the September release of The Lego Ninjago Movie (56%) grossed a total of just million, but had little connection to the other films. This is why the .4 million start for the sequel is such an eye-raiser.The million production has history on its side for at least cracking the 0 million mark. The only animated film to open with more than million and not reach the milestone was the R-rated Sausage Party. But anything less than 0 million total is going to feel like a real disappointment. The first two Lego movies were bigger successes in North America than internationally with totals that came in at 9 and 1 million, respectively. So if the law of diminishing returns is any indication, The Second Part is not going to reach the 0 million worldwide it is going to need to break even. Looking at sequels over the years, some of the biggest drops in opening weekends are as follows:Alice in Wonderland (2010) / Alice Through the Looking Glass (6.1 million to .8 million)Bruce Almighty / Evan Almighty (.9 million to .1 million)The Lego Movie / The Lego Movie 2: The Second Part ( million to .4 million)Clash of the Titans (2010) / Wrath of the Titans (.2 million to .4 million)Sex and the City / Sex and the City 2 ( million to million)Ghost Rider / Ghost Rider: Spirit of Vengeance (.3 million to .1 million)Happy Feet / Happy Feet 2 (.5 million to .2 million)Rotten Returns: The Prodigy Sinks to the Bottom of the Box Office Horror Class(Photo by Orion Pictures)This week, the resurfaced Orion Pictures dropped a trailer for the new Child’s Play reboot being released this summer. Hopefully, they will see better returns for their creepy-doll film than their creepy-kid film this weekend. The Prodigy opened to just million, which is weak even for February horror. Last year’s Winchester made .3 million over Super Bowl weekend. Hell Fest (.1 million opening) and The Possession of Hannah Grace (.4 million) each failed to reach million total. Even for a mere million price tag (before distribution and advertising costs), The Prodigy (45% on the Tomatometer) is not looking like much of a winner for Orion.Top 10 and Beyond: Men and Pursuit Don’t Live Up to Predecessors(Photo by Paramount Pictures)What Men Want (48% on the Tomatometer) is not the same story that Nancy Meyers’ What Women Want was back in 2000 when it opened to million and grossed over 2 million. But million is still a decent start for the million production from Paramount. The film should see a Valentine’s Day bump on Thursday even with competition from Rebel Wilson s Isn t It Romantic and finish with over million. The final new release of the week, the darkly comic revenge tale Cold Pursuit, an American remake of Norwegian film, In Order of Disappearance, made .8 million, which is less than recent Liam Neeson films, The Commuter (.7 million) and Run All Night ( million). The latest film’s 74% Tomatometer score is Neeson’s best starring vehicle with critics since 2012’s The Grey (79%), however — though the actor did appear in acclaimed films Widows (91%), The Ballad of Buster Scruggs (91%), Silence (83%), and A Monster Calls (86%).M. Night Shyamalan’s Glass, which had led the box office for the past three weeks, dropped to fifth place for a total gross of .4 million so far, which is nearly million behind the pace of The Village, but the film is well into the black for Universal and Blumhouse with over 1 million worldwide. The Upside jumped over Glass on the chart this week after just an 17% drop, and with nearly million, it will be taking a serious run at 0 million. Spider-Man: Into the Spider-Verse crossed 0 million worldwide while the fifth-highest grossing film of 2018, Aquaman, is just a bit more than million away from becoming the 20th highest-grossing film of all-time worldwide.This Time Last Year: Terrorists, Rabbits, and S M Led the Way at the Box Office(Photo by Universal Pictures)Five days before Valentine’s Day, audiences got the final chapter of Fifty Shades Freed which led the way with .5 million. While mom and dad were seeing that, their kids were in the next theater over watching Peter Rabbit. The bunny tale finished second with million, but ultimately outgrossed Christian and Anastasia 5.2 million to 0.4 million. Clint Eastwood’s first film of 2018, The 15:17 To Paris, made .5 million for third place, helping to knock the three-peating Jumanji: Welcome to Jungle back to fourth where it crossed 5 million. The top 10 films grossed 3.8 million and averaged just 51% on the Tomatometer. This week’s top 10 grossed an estimated .4 million and averaged 59.3% with critics here.On the Vine: Romance, Horror, and Cyberpunk Invade Valentine’s Day(Photo by 20th Century Fox)It is going to be a crowded Valentine’s Day week at the box office. Getting a jump on Wednesday is Rebel Wilson in Isn’t It Romantic, a Groundhog Day–like take on romantic comedies, as well as horror sequel Happy Death Day 2U. Then on Thursday comes Robert Rodriguez’s Alita: Battle Angel, which was pushed from its December release date and hopes to generate enough interest worldwide to cover its budget, reported to be as high as 0 million. The film grossed million this weekend outside of the United States.The Full Top 10: February 8-10The LEGO Movie 2: The Second Part (2019) 84% – .4 million (.4 million total)What Men Want (2019) 41% – million ( million total)Cold Pursuit (2019) 68% – .8 million (.8 million total)The Upside (2017) 43% – .2 million (.8 million total)Glass (2019) 36% – .4 million (.4 million total)The Prodigy (2019) 43% – million ( million total)Green Book (2018) 77% – .5 million (.5 million total)Aquaman (2018) 65% – .3 million (8.5 million total)Spider-Man: Into the Spider-Verse (2018) 97% – .0 million (9.8 million total)Miss Bala (2019) 21% – .7 million (.8 million total)
King of the Crop: Glass Has Third-Best Holiday Weekend, But May Have A Ceiling(Photo by @ Universal Pictures)With an estimated take of million over the four-day MLK holiday, Glass just missed besting the .6 million that Ride Along made on the same weekend back in 2014. (American Sniper is still the highest grosser over this weekend with 7.2 million in 2015.) How does the Glass opening compare to the director s other hits? Shyamalan’s Signs opened to .1 million in 2002; The Village opened with .7 million two years later. The audience response to that film – a final gross just 2.25 times its opening – appeared to be the beginning of the decline for the filmmaker once dubbed “the next Spielberg.” Total grosses continued to fall with Lady in the Water (.2 million) and The Happening (.5 million). Big-budget bombs like The Last Airbender and After Earth came next, and it looked like it might be over the man friends call Night. Enter Blumhouse Productions.Working with smaller budgets seemed to give Shyamalan new life. After The Visit was a moderate hit, he had one of the biggest financial successes of his career with Split, which made almost 0 million globally and cost just million to make. Given anticipation for Glass, it felt certain it would beat Split s Friday-to-Sunday opening back in 2017, and it did, but only by 5,025 with Sunday totals boosted by the holiday. By all accounts Glass should become just the sixth true January opener ever to reach 0 million (the other 14 films to earn over 0 million from a January launch either began limited runs in December or were a special edition of Star Wars.) The film may still be able to pull a three-week run atop the box office, but those weekend-winning numbers could be in the low teens by then – and poor reviews won t help (the movie is at 36% on the Tomatometer). If Miss Bala somehow manages to beat it on February 1, it may be a sign that fans are starting to turn on the filmmaker again. If The Kid Who Would Be King can somehow get over million, it could be taken down this coming weekend.Fresh Surprise: Dragon Ball Has a Super Six Days(Photo by @ FUNimation/ courtesy Everett Collection)FUNimation is one of the premier distributors of anime on the home entertainment market, but it has had some notable theatrical releases over the past four years, like Shin Godzilla (85%) and Your Name (97%), which have caught the attention of critics as well. This week they can celebrate their biggest box office success to date: Dragon Ball Super: Broly opened on Wednesday with .04 million in just 1,440 theaters (including 180 IMAX venues). No only is that more than Unbreakable made on its opening Wednesday before Thanksgiving (.8 million), but only three films since 2000 have begun their run in 1,400-1,500 theaters and grossed over million. And they did it in a weekend. They were Tyler Perry’s Diary of a Mad Black Woman (.9 million), Breach (.5 million), and Nurse Betty (.14 million). Broly added .7 million over the three-day weekend and an estimated .4 million over the holiday for a total of .9 million. FUNimation’s highest-grossing film before this weekend was Dragon Ball Z: Resurrection F which made just over million total in 2015.The Rest of the Top 10 and Beyond: More Milestones Crossed for Aquaman and Bohemian Rhapsody(Photo by @ Warner Bros. Pictures)Last week’s no. 1 film, The Upside, is turning into a real story for STX Films. With just a 26% drop this weekend, plus nothing on the hook besides its advertising and whatever was spent to pry it away from Harvey Weinstein, the film is headed towards being their second biggest success after Bad Moms.Aquaman passed the 0 million mark domestically this weekend but, more importantly, is now the 27th all-time earner worldwide and is poised to be the highest-grossing film based on a DC property ever when it passes The Dark Knight Rises. Over on the Marvel side, Spider-Man Into the Spider-Verse has also crossed the 0 million line worldwide. It has also leapfrogged Mary Poppins Returns in domestic dollars, which also just crossed the global 0 million threshold. Bumblebee is besting both of them on that front with over 3 million, which is still 7 million less than Transformers: The Last Knight (though it still has a shot to beat that film’s domestic total).Finally, this week Bohemian Rhapsody will be passing two huge and unexpected milestones: The movie reached 0 million here at home this weekend and later this week it will hit 0 million worldwide. That makes it the seventh highest-grossing film of 2018 behind four comic book films and two sequels. An extraordinary accomplishment ahead of likely Oscar nominations this Tuesday.This Time Last Year: Battle of the Brawn(Photo by David James /© Warner Bros. Pictures )It was all about the machismo last year as military actioner 12 Strong narrowly defeated cops-and-robbers film Den of Thieves .8 million to .2 million among the weekend s newcomers. Neither number was strong enough to beat Jumanji: Welcome to the Jungle which held onto the no. 1 spot for a third straight week as it crossed the 0 million mark. On the same weekend, Star Wars: The Last Jedi was passing 0 million, Coco got over 0 million, and Pitch Perfect 3 reached 0 million. The young-adult drama, Forever My Girl, barely made the top 10 with .2 million. The top 10 films last year grossed 4.1 million and averaged 61.7% on the Tomatometer. This year’s top 10 grossed an estimated 9.7 million from Friday-to-Sunday and averaged 66.7%.On the Vine: The Kid Who Would Be King Not Likely to Take the Throne(Photo by Kerry Brown / © 2018 Twentieth Century Fox Film Corporation.)Attack the Block director Joe Cornish returns to theaters for the first time in eight years with The Kid Who Would Be King, a new riff on the Arthurian legend that is currently at a healthy 87% on the Tomatometer. Locke director Steven Knight returns after six years with the mysterious noir, Serenity, with Interstellar co-stars Matthew McConaughey and Anne Hathaway. Neither are expected to challenge Glass during its second weekend.The Full Top 10: January 18-21Glass (2019) 36% – million ( million total)The Upside (2017) 43% – .35 (.66 million total)Aquaman (2018) 65% – .57 million (6.58 million total)Dragon Ball Super: Broly (2018) 82% – .49 million (.49 million total)Spider-Man: Into the Spider-Verse (2018) 97% – .75 million (0.75 million total)A Dog's Way Home (2019) 59% – .64 million (.8 million total)Escape Room (2019) 51% – .75 million (.18 million total)Mary Poppins Returns (2018) 80% – .74 (0.22 million total)Bumblebee (2018) 90% – .83 million (7.11 million total)On the Basis of Sex (2018) 72% – .65 million (.56 million total)
九游会网址 Shazam! has wowed critics with its heart and laughs, and surprised comic-book fans with its faithfulness to the character — who once went by a name now owned by Marvel — his history, and the more recent revisions made in the 21st Century. But as it is a modern era superhero film, there are a number of easter eggs and hooks that might leave those less versed in Billy Batson history a little confused. So here’s a handy guide to a few of the head-scratchers from Shazam! – including that caterpillar in the post-credits stinger!Warning: Major spoilers ahead.Who Is Mr. Mind?(Photo by DC Comics, Shazam! 3)When young Sivana (Ethan Pugiotto) first arrives at the Rock of Eternity, the Wizard’s (Djimon Hounsou) dwelling, he sees a jar containing a caterpillar. Nothing more is said of it throughout the film until we see the jar has been destroyed sometime later. In the mid-credit stinger, the caterpillar appears in Sivana’s (Mark Strong) prison cell wearing a speaker and suggesting they can do great things together.In the comics, the creature is known as Mr. Mind and as the teaser heavily implies, he will be Billy’s (Asher Angel) opponent in Shazam! 2. First appearing in 1943’s Captain Marvel Adventures #26, the character was created by principal Captain Marvel creator C.C. Beck and writer Otto Binder. When the Golden Age Captain Marvel first tussled with Mr. Mind, he was a caterpillar-like worm with mental faculties beyond those of mortal men. He was also telepathic and could spin nearly indestructible silk webbing. And as seen in the film, he used a “talk box” slung around his neck to amplify his voice into the human range of perception.He was also the leader of the Monster Society of Evil, a group of, well, evil monsters dedicated to destruction and villainy in a very earnest Golden Age kind of way. A perfect set of opponents for Billy and his growing Shazam Family — more on them in a bit.Over the years, his origins evolved. He eventually claimed to be an alien worm, which later writers made canon by revealing Venus as his planet of origin. He also became closely tied to Sivana, who gave the telepathic creature its name.With formidable abilities and an inferiority complex well in excess of his physical form, he should prove a worthy opponent for Shazam (Zachary Levi). Doubly so if he and Sivana organize the Monster Society.Where’s Black Adam?(Photo by Robert Viglasky / © MGM)For over a decade, the Shazam! project was overshadowed by a potential spin-off, the Black Adam film starring Dwayne Johnson. The concept first came to light when the actor asked his fans if he should play Shazam. They responded with the overwhelming suggestion he was better suited to play the character’s best enemy, Black Adam. He has been attached to a film starring the character ever since.Created by Beck and Bill Parker in 1945’s The Marvel Family #1 — his one Golden Age appearance — much of Black Adam s history was outlined decades later by writer and artist Jerry Ordway. Teth-Adam was the son of Egyptian Pharaoh Ramses II (who in real life famously sired over 100 children). The Wizard Shazam was the Pharaoh’s high priest at the time and, looking for a successor even then, thought Teth-Adam would be the perfect candidate. But Adam was double crossed by the Wizard’s daughter Blaze. Instead of inheriting the Wizard’s powers, he derived his abilities from the Egyptian gods Shu, Heru, Amon, Zehuti, Aton, and Mehen.Nonetheless, he proved an able hero for the nation. But his duties kept him away from his family, who were all eventually killed when a power-mad priest swept through his home state of Kahndaq.Believing Blaze’s corruption to be absolute, the Wizard eventually trapped Adam’s soul in a scarab and entombed his corpse in a sarcophagus where he referred to his former apprentice as “Khem-Adam,” or “Black Adam. When Adam eventually escaped, he extended his animosity toward the Wizard to the entirety of the Marvel – or Shazam – Family.While the details might be different — and contain a number of DC Comics characters like Blaze — the key elements of Black Adam’s Golden Age origin remain the same. The Wizard believed him to be a worthy successor and bestowed upon him the powers of Shazam. Adam was corrupted by the power, forcing the Wizard to banish him. If this sounds familiar, it is because it is the story the Wizard tells the young Sivana in the opening moments of the film. Black Adam even makes a cameo appearance as the Wizard conjures up images of his first pupil. The entire Black Adam misadventure sets up the whole reason why the Wizard spends millennia looking for someone with the “purity” of Billy Batson.So while not a key player in the first film, the character is ultimately important to the story director David Sandberg appears to be telling. But considering the Mr. Mind stinger, it seems as though Black Adam and Billy will not meet until the third film. In the interval, that Black Adam movie will presumably be made. According to Johnson’s recent Instagram post congratulating Shazam! on its success, he said production will begin “in about a year.”What Is The Shazam Family?(Photo by @ Warner Bros. Pictures)OK, we’ve mentioned “the Shazam Family” once or twice, and that term is important and it is the name of the group of heroes Billy creates toward the end of the film. And as the movie went out of its way to discuss, names are important. So much so, you might be wondering why they do not receive proper names of their own.In the Golden Age, Billy was ultimately joined by three other heroes deriving their powers from the Wizard: Captain Marvel Jr, Mary Marvel, and Uncle Marvel. A few others also joined the crusade with variations of the Marvel theme as The Marvel Family. Each was a person Billy knew in his civilian life, with Mary presented as Billy’s sister. But as we’ve discussed at length before, the “Captain Marvel” trademark was abandoned when Fawcett Comics agreed to stop publishing comics based on the character or his family in 1953 after a protracted legal case initiated by DC Comics. Marvel Comics eventually scooped up the trademark, so when DC bought the characters from Fawcett, they began to use the word “Shazam” in place of Marvel. Which means the Marvel Family is now “the Shazam Family.”And as seen in the film, the group is composed of Mary Bromfield (Grace Fulton), Freddy Freeman (Jack Dylan Grazer), Darla Dudley (Faithe Herman), Pedro Peña (Jovan Armand), and Eugene Choi (Ian Chen) — all of Billy’s new foster siblings in a story point which ties together one of the movie’s great themes about finding home. It also originates from a revision to the Shazam Family orchestrated by writer Geoff Johns, who created Darla, Pedro, and Eugene with artist Gary Frank. Their appearances and characterizations in the film are taken almost directly from the Johns/Frank stories – right down to their lack of proper superhero names.Which may leave you wondering about Freddy and Mary. As both originate from the Golden Age, they had proper names, Mary was the Mary Marvel mentioned before while Freddy had the curious title of Captain Marvel Jr. It may look strange to modern eyes, but it made perfect sense at the time. Sadly, as both names prominently feature Marvel, it remains to be seen if Freddy and Mary will ever get new, proper hero monikers. Much like Billy in the first film, that issue of identity could form part of their story in the sequel.Why Didn’t We See Superman’s Face?(Photo by @ Warner Bros. Pictures)Shazam! functions as a perfectly solid film without big ties to the Justice League, but the film concludes with a reminder that some sort of unified DC world still exists. To help Freddy with the kids teasing him at school, Shazam (Zachary Levi) comes round with a friend: the Man of Steel.But the scene is awkwardly shot. Superman’s head is cutoff throughout and the John Williams theme appears in lieu of the character saying any sort of iconic phrase or cutesy remark.At one time, Henry Cavill was supposed to film a cameo scene for the film — though everyone evolved denied the scene’s existence until its debut at the special preview screenings in March — but scheduling reportedly kept the actor out of the blue suit. It is unclear if facial hair was part of the problem this time.It only adds fuel to the speculation about Cavill’s Superman future. Some say it is already over while Cavill’s only comment on the matter was a video in which he brandished a Superman action figure featuring his likeness. It remains to be seen what will become of the cinematic Superman, but it forms a real life cliffhanger almost as intriguing as Mr. Mind’s prison cell appearance.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Shazam! is in theaters everywhere now.