Par sportsnewslive247 le 25 Décembre 2017 à 07:25
As the headline notes, with at least $634 million worldwide, plus whatever it made overseas (arguably around $25m for an over/under $660m global running cume), Star Wars has already topped the global gross of WB's Justice League. I say this not to pick on Justice League, which will end the long weekend with $223m domestic and $640-$645m worldwide. But it's worth pointing out, for those comparing the big Friday drop of The Last Jedi to the disappointing JL numbers, the huge disparity between the two in terms of global grosses with the former just getting started and the latter winding down. Anyway, moving on, let's get to the Friday holdover news.
20th Century Fox's Spain-set Ferdinand, which I saw yesterday with the kids (all parties enjoyed it well enough), earned another $2.76 million (-24%) on its second Friday. That sets the stage for a $7m (-48%) Fri-Sun/$9m Fri-Mon frame and $28m 11-day total. That's still not very good, but Fox is hoping that the kid-friendly and relatively charming (and utterly harmless) Blue Sky toon sticks around at least into mid-January. Walt Disney's Mexico-based Coco earned $1.85m (-18%) on its fifth Friday to bring its cume to $158m. We can expect a $5.2m (-47%) Fri-Sun/$6.7m Fri-Mon weekend and a $163m domestic total. That's a sharper drop than Moana, but Last Jedi > Rogue One and the Christmas-on-a-Monday thing makes everything weird.
Focus Features expanded Darkest Hour into 806 theaters yesterday and earned $1.42 million (+571%) for the effort. That will give the Winston Churchill biopic a likely $4.375m (+416%) Fri-Sun and $6.15m Fri-Mon weekend and a new $9m domestic cume. Fox Searchlight expanded Shape of Water into 726 theaters on Friday and earned a solid $1.16m (+136%). That positions the Guillermo del Toro gem for a $3.25m (+106%) Fri-Sun/$5m Fri-Mon weekend and a new $9.6m domestic total. Lionsgate's Wonder earned around $803k (-45%) after losing 803 theaters, setting up a $2.3m (-56%) Fri-Sun/$2.99m Fri-Mon weekend and still obscene $116m domestic total. Sony's faith-based toon The Star will make around $1.73m over the long weekend for a new $38.8m domestic total.
A24's The Disaster Artist lived up to its name,, well sort of. It's sinking like a stone, but it was cheap enough and opened big enough to still qualify as a small-scale hit. The James Franco/Dave Franco/Alison Brie comedy, about the making of The Room, earned $326,000 (-57%) on its fourth Friday for a likely $960k (-65%) Fri-Sun/$1.32 million Fri-Mon weekend and new $16.13m 25-day domestic total. It'll have to make due with Lady Bird ending the holiday with $28.5m, good enough to (as of today) be A24's biggest grossing domestic release. Oh, and Call Me By Your Name expanded to 114 theaters and will earn around $955k (+99%) over the Fri-Sun frame and $1.3m over the long weekend for a new $3.6m domestic total.
Par sportsnewslive247 le 25 Décembre 2017 à 07:24
“The form of Water” is the story of a majestic prince and a humble maid. He’s amphibious and scaly, she’s terrestrial and incapable of speech. He’s cruelly chained in a central authority lab wherein she mops and scours. He’s suffering, and he or she aches for him. She gives him an egg. He accepts.Guillermo del Toro’s successful fairy story is a sight to behold, wealthy with emotion. It has one flipper in classic Spielberg and the other in Saturday creature functions, a clawed toe in Fifties musicals and every other in Euro art films, and its… properly, let’s not flow on to every other appendages, despite the fact that the movie really does. Breaking “The form of Water” right down to the sum of its parts does it no justice. It’s better to use large terms – astonishing, touching, humorous, authentic, nostalgic. It elegantly bridges tragedy and comedy, its saddest moment turning into its maximum joyous. it's far on the equal time many things that got here before it, and some thing altogether new.
To experience it is to adore it.Elisa Esposito is the maid, performed by using Sally Hawkins with girlish adulthood and harmless erotic interest. She’s been mute on account that she became a child, and communicates with signal language. The film’s establishing scene depicts her condominium – placed above a terrifi classical movie residence – as a gothic aquarium, submerged in water. It’s her dream. She awakens and is going approximately her daily recurring, selecting and sprucing a couple of footwear from her big series, and filling the bath, where she looks after intimate matters of a noticeably personal nature while eggs boil on the stove for her lunch. Ding! goes her egg timer. It’s the 1960s.
She works the midnight janitorial shift at Occam Aerospace research center in Baltimore, next to her near friend Zelda, a wisecracking pragmatist played by way of a huge-eyed Octavia Spencer. One minute, they’re dusting an otherworldly high-tech engine, and the next, they’re polishing urinals. “unfastened LIPS would possibly SINK SHIPS” blares a poster inside the locker room, illustrating the sensitivity of the goings-on on this authorities facility.
The aforementioned prince is one of those secret goings-on. He’s identified within the film’s credits as Amphibious man, performed with the aid of Doug Jones, who’s portrayed heavily costumed ghosts and demons and superheroes in several del Toro films, including Abe Sapien in “Hellboy” and the terrifying light man in “Pan’s Labyrinth,” a fantastical masterpiece like this one. similar to Jones’ previous extrahuman characters, the Amphibious guy is a wonder of prosthetics and nonverbal overall performance, no doubt touched up with a few digital magic. He’s the present day replace of the Creature from the Black Lagoon, a.okay.a. the Gill-guy, probably the least popular of the accepted Studios monsters, ranking behind Dracula, the Wolfman, the mum and Frankenstein’s Monster. In a just world, he’d be similarly respected, and this film is del Toro’s plea for all to like him – a plea so convincing, i can’t call him a “creature” anymore.
Gills flare on Amphibious man’s neck, but he can also breathe air for an unspecified, but restricted amount of time. He swims speedy and gracefully, and is capable of status erect. He become hauled out of a South American river by way of Richard Strickland, a malevolent presence of a individual rendered comically complicated by the ever-loving Michael Shannon. (He’s so malevolent, you’ll want to nickname him Strict Dick.) Strickland tortures Amphibious man along with his “Alabama hello-do,” an electrified cattle prod. One disagreement relieves Strickland of palms, which Elisa retrieves whilst Zelda mops up the blood. They’re reattached to his cruel hand, in which they slowly rot for the rest of the film.
Par sportsnewslive247 le 25 Décembre 2017 à 07:16
I, Tonya, which premiered last week to rave reviews in America, goes behind this punchline caricature to the real backstory of Harding in a script that burns with dark humour and shows how our perceptions of heroes and villains may be skewed. The movie focuses on the relationship between Harding, played with trailer park aplomb by Margot Robbie, and her mother LaVona Golden (played by Allison Janney), who gives her svengali-like advice through a haze of cigarette smoke. The film shows that Harding's life was one of abuse and violence, both before and after the hit job which guaranteed her lasting infamy.
Golden was said by some to be living out her own ambitions through her daughter, but Tonya was always a gifted athlete. She began skating at age three, and started landing complicated jumps by 10. Harding was never the most beautiful or graceful skater, but she was generally the most powerful. She saw skating as not only her passion but as an escape from her troubled home life. Fellow skaters and their parents reported seeing Golden hit and yell at Tonya during practice. The film shows Golden, throwing knives - only most of them metaphorical - at her improbably gifted daughter. "You skated like a graceless bull d---," LaVona tells a young Tonya after a competition. "I was embarrassed for you." (Golden has always denied allegations that she abused her daughter.) Tonya's father Al Harding once recalled the family living in a trailer, and notes that though he was close with his daughter, his wife was alcoholic and abusive. "My relationship with my mom is really bad," then-15-year-old Tonya says in a clip from the American documentary Price of Gold. "She hits me and she beats me and she drinks. She's an alcoholic."
The moments when winter sports capture the imagination of the general public are few and far between. Torvill and Dean with their stark and mesmerising version of Bolero in Sarajevo in 1984, comes to mind, or perhaps the Jamaican bobsleigh team providing Hollywood with a ready made script in Calgary in 1988.
Undoubtedly the most electric moment in all winter sports history came in 1994 however when in the run up to the Olympics in Lillehammer America's figure skating queen, Nancy Kerrigan, was attacked by a man who turned out to have been hired by the husband of her arch rival Tonya Harding. The attack came less than a year after the tennis player Monica Seles had been stabbed on court during a match in Germany and prompted widespread debate about female athletes' vulnerability to crazed spectators. And, irresistibly to the press, the scandal involved a so-called golden girl of the sport, the smiling, perfect girl next door Nancy Kerrigan and a woman who looked like she may have tried out for Glamorous Ladies Of Wrestling.
Par sportsnewslive247 le 25 Décembre 2017 à 07:14
There are red flags aplenty in Pitch Perfect 3 well before the film rolls into its third act. It pulls an obvious Sunset Boulevard on us in its opening scene. It apathetically either writes out of the narrative or relegates to the periphery a percentage of its ensemble cast. The narrative itself is flimsy, and instead of compensating for said flimsiness (or having the decency to drum up a solid script in the first place), screenwriters Kay Cannon and Mike White make a bunch of meta-jokes about it. Everything about Pitch Perfect 3’s foundation is openly half-baked. If it winked at its own indifference anymore than it already does, you might mistake its indifference for outright contempt.
In short: The Barden Bellas have graduated and moved on from singing in a college a cappella group, and they’re all pretty bummed. Chloe (Brittany Snow) is trying to get into veterinary school. Aubrey (Anna Camp) is still running her booby-trapped retreat. Flo (Chrissie Fit) is running her own mobile organic juice truck franchise. Fat Amy (Rebel Wilson) continues to contribute nothing to anything. And Beca (Anna Kendrick), the only Bella whose future we’re actually conditioned to care about, is working an unsatisfactory job producing tracks for no-talent hack rappers who don’t respect her talent (mostly because her talent far outmatches theirs). Given the chance to get together with the younger generation of Bellas, led by Emily (Hailee Steinfeld), they concoct a contrived excuse to hop on board a USO tour through Europe, leading to an even more contrived competition among the tour’s music acts to land a spot as the opener for DJ Khale
Here’s a thought for Pitch Perfect 3’s authors and collaborators: If half the reason you feel bothered to make a movie is to capitalize on its predecessors’ boffo box office takes, you’d best come up with a really good half-reason for your fans to buy a ticket aside from hearing the hits for a third time running. When you wind up devoting large portions of your screenplay to acknowledging the lack of a better reason for the Bellas to traipse through “Europe” singing their normal coterie of mash-ups and stumbling into awkward misadventures (involving, among other things, rampaging bees), then you have a problem.
At least Cannon and White sorta kinda admit it, though their pseudo-honesty only shows us just how dishonest the movie actually is. The gags about Pitch Perfect 3’s fabricated plotting don’t take the sting out of its implausibility; they add to it. Granted, the Pitch Perfect movies have always been about underdogs overcoming seemingly insurmountable odds and winning the day (plus the favor of their audiences). Each of them, to an extent, relies on plot conveniences. But Pitch Perfect 3 asks us not only to lower our threshold for suspending disbelief, but to lower our expectations, too. The Bellas have lowered their expectations for life post-college, after all. It’s only fair that we do the same, right?
Pitch Perfect 3 isn’t all bad; it’s just mostly so. The music hits home, whether sung by the Bellas or by their instrumental rivals: country group Saddle Up, rap duo Young Sparrow and DJ Dragon Nutz, and the rock band Evermoist, led by Calamity (Ruby Rose), rounded out by Serenity (Andy Allo), Charity (Venzella Joy), and Veracity (Hannah Fairlight). (Aside: Beca’s sexual confusion jokes from Pitch Perfect 2 feel wasted in light of Ruby Rose’s presence here.) Of course, if a Pitch Perfect movie only does one thing well, that one thing should be the music.d.
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