Movie News

‘Happy Death Day’ Reaps $100M+ At Worldwide Box Office

‘Happy Death Day’ Reaps $100M+ At Worldwide Box Office
The hits keep coming for Universal and Blumhouse with Happy Death Day celebrating a $100M global milestone. Including yesterday’s grosses, the latest collaboration between Uni and Jason Blum’s micro-budget specialist Blumhouse has taken in $55.5M domestically and $44.6M at the international box office. Directed by Christopher Landon, Happy Death Day is the third original film from Blumhouse in 2017. It joins blockbuster pics Split and Get Out which have grossed $278.3M…
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Box Office: Pixar’s ‘Coco’ Strums $2.3 Million on Tuesday Night

Box Office: Pixar’s ‘Coco’ Strums $2.3 Million on Tuesday Night
Disney-Pixar’s “Coco” has opened with a solid $2.3 million on Tuesday night.

The animated pic is on par with Disney’s “Moana,” which earned $2.6 million from previews during the same frame last year. It went on to gross $82 million over five days.

The family film has been on track to take in $55 million to $60 million at 3,948 venues during the Thanksgiving holiday period from Wednesday to Sunday. Estimates indicate that the costly “Justice League,” which has pulled in a disappointing $111.9 million in its first five days, will come in No. 1 again with about $60 million to $65 million.

Coco” opens in nearly 2,800 3D locations, 106 premium large format screens, and 268 theaters offering the film in Spanish. Unlike “Justice League,” critics have embraced “Coco” (its Rotten Tomatoes score is currently 95%).

Just before “Coco” began its Tuesday night previews, news broke that animation guru John Lasseter would be taking a six-month leave from the company over allegations of inappropriate behavior toward women. [link
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‘Star Wars: The Last Jedi’ on Track for Cosmic $200 Million-Plus Opening Weekend

  • The Wrap
‘Star Wars: The Last Jedi’ on Track for Cosmic $200 Million-Plus Opening Weekend
Star Wars: The Last Jedi” is on track for a cosmic $200 million-plus opening weekend when it hits theaters on Dec. 15, according to first estimates released by tracking services on Wednesday morning. “Star Wars: The Force Awakens,” the first new film released in the sci-fi franchise after Disney acquired Lucasfilm, earned a record opening of $248 million in December 2015. Last year’s prequel “Rogue One: A Star Wars Story” opened to $155.1 million. “The Last Jedi” is likely to score the biggest opening box office weekend of the year, a spot currently held by another Disney release, “Beauty and the...
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Singer, Star, Leading Asian Film Executive, Mona Fong Dead at 83

Singer, Star, Leading Asian Film Executive, Mona Fong Dead at 83
Asia lost one of its top women film and TV executives with the death on Wednesday of Mona Fong (aka Mona Shaw). She died at 83.

After a glittering career as a singer, and then as an actress, she became a key figure in the running of first the Shaw Brothers movie studio, then at the top of Tvb, Hong Kong’s leading free-to-air TV station.

Tvb said that she died peacefully at 5.28pm local time at Hong Kong Sanatorium and Hospital, in Happy Valley, surrounded by her family. No cause of death was given.

Born in Shanghai in 1934 as Lee Monglan, the daughter of a nightclub singer, she moved to Hong Kong in the 1940s with her mother and quickly turned professional as a singer. She was noted for her singing abilities in Chinese and English, and often sang English covers of Chinese hits.

She met her husband, the legendary Sir Run Run Shaw after a performance
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Cannes Film Festival to Start One Day Earlier in 2018

  • The Wrap
Cannes Film Festival to Start One Day Earlier in 2018
The Cannes Film Festival is shifting things for its 71st edition next year, starting one day earlier. Festival organizers announced Wednesday that the 2018 festival will start on May 8 and run through May 19, 2018 (ending on a Saturday instead of a Sunday). The awards ceremony will take place on Saturday, May 19.

“Following 2017’s anniversary edition, the Festival is beginning a new period in its history,” Festival President Pierre Lescure said in a statement. “We intend to renew the principles of our organization as much as possible, while continuing to question the cinema of our age and to be present through its upheavals.”

The new schedule, the statement read, will allow festival organizers to “rebalance” the two weeks of the event and bring “new energy” to the festival.
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Netflix, Deutsche Telekom Ink Global Partnership

Netflix, Deutsche Telekom Ink Global Partnership
Deutsche Telekom has signed a global partnership with Netflix which will allow the German telco group to distribute exclusive content from Netflix to its subscribers.

Under the deal, Deutsche Telekom customers in Germany, Poland and the Netherlands have already gained access to Netflix content.

“We want to ensure the best content offering and TV experience for our customers and will work with Netflix to further expand our great partnership”, said Thomas Kicker, senior VP of group partnering at Deutsche Telekom.

Maria Ferreras, Netflix’s VP of business development Emea, said the partnership builds on “Netflix”‘s strong relationship with Deutsche Telekom.

“We are thrilled to open a new world of exclusive and critically-acclaimed entertainment for millions of Deutsche Telekom’s TV and Mobile customers in Europe,” said Ferreras.

Netflix content has been available in 4K to subscribers of EntertainTV, Deutsche Telekom’s streaming service, in Germany since October.

In Poland, meanwhile, Netflix
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IMAX & Odeon Team Up To Launch Europe’s First Virtual Reality Experience

IMAX has teamed with cinema chain Odeon to launch Europe's first virtual reality entertainment center. The two companies are launching the IMAX Vr Experience Centre in Manchester, England at Odeon's Trafford Centre movie theater. The center, which consists of ten "pods" that will allow customers to enjoy interactive Vr experiences, joins other Vr centers in Los Angeles, New York City, Toronto and Shanghai. IMAX is also expected to launch five more centers in the U.S and…
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‘Sweet Country,’ ‘Newton’ Share Top Honors at Asia Pacific Screen Awards

‘Sweet Country,’ ‘Newton’ Share Top Honors at Asia Pacific Screen Awards
Australian Outback Western, “Sweet Country” was named best film at the annual Asia Pacific Screen Awards, on Thursday.

The film, which won the Golden Lion at the Venice festival earlier this year, is the second feature by cinematographer turned director Warwick Thornton. His first film “Samson and Delilah” won the Apsa best picture award in 2009, making Thornton the only two-time Apsa winner.

The Apsa awards were in their 11th iteration. They were presented Thursday evening at a ceremony in Brisbane, Australia.

The other big winner on the evening was India’s “Newton.” It earned a best acting prize for Rajkummar Rao, while Mayank Tewari, Amit V. Masurkar claimed the award for best screenplay.

Russia’s Andrey Zvyagintsev was named best director for “Loveless,” which had its premiere in Cannes. Zvyagintsev previously won the best film award with “Leviathan” in 2014.

The international awards were selected by a jury headed by film editor, Jill Bilcock. She praised
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AMC Networks International Picks Up Canal Plus Show ‘Ouro’ for Spain, Portugal

AMC Networks International Iberia has acquired “Ouro,” the adventure-thriller series created by Fabien Nury for French pay-tv channel Canal Plus.

Sold by Newen Distribution, “Ouro” was directed by Kim Chapiron (“Dogpound”) and Philippe Triboit (“Spiral”) and produced by Mascaret Films.

Set in the Guyanese forest, “Ouro” follows the journey of Vincent, a 20-year-old geology student from Paris who goes to French Guyana to do an internship at a gold mining company and drifts into the dangerous world of gold trafficking.

The series will start airing on AMC Spain in January, followed by a roll-out in Portugal a month later.

“We are thrilled to bring this fantastic adventure drama to our Portuguese and Spanish audience” said Pilar de las Casas, VP of Cinema and Documentary Channels at AMC Networks International Iberia.

“Ouro” was acquired last week by Sony Pictures Television Networks for Continental Europe.

Related stories'Walking Dead' Suffers Another Ratings Drop in Episode 5'Big Little Lies'' [link
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Why is Oscar-buzzed romance Call Me by Your Name so coy about gay sex?

The much-lauded 80s-set drama is a triumph on many levels but its conservative attitude towards showing men having sex remains problematic

There was a time, not all that long ago, when Luca Guadagnino’s new film Call Me By Your Name would have been something of a fringe item. A florid gay love story, set in the rarefied playground of wealthy white academics who use “summer” as a verb, awash in Euro-art flourishes inspired by the likes of Bertolucci and Antonioni, and based on an André Aciman novel treasured chiefly within the Lgbt community, it’s the kind of film towards which enraptured critics usually struggle to steer substantial audiences.

Related: Call Me By Your Name review – gorgeous gay love story seduces and overwhelms

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‘Tulip Fever’ Producer Alison Owen Lifts The Lid On Working With Weinstein

‘Tulip Fever’ Producer Alison Owen Lifts The Lid On Working With Weinstein
Elizabeth and Suffragette producer Alison Owen has lifted the lid on working with Harvey Weinstein – highlighting the problems with challenging the disgraced movie mogul over rumours of his behaviour. Former Working Title exec Owen, who worked with Weinstein on five films during his days running Miramax and The Weinstein Company, was speaking on #Me Too: The Debate, a one-off UK panel show for Viacom's Channel 5. "I knew all the rumours and everybody in the [Weinstein…
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#Starvecrow review – first ever selfie movie needs an upgrade

Shot mostly on camera phones, this British drama about a group of insufferable twentysomethings has little going for it besides zeitgeist bragging rights

After found footage and phone footage films, here, with the inevitability of a man in belted jeans launching a new iPhone model to a crowd of saucer-eyed disciples, is the first ever selfie movie – a naive and self-indulgent piece with very little going for it other than zeitgeist bragging rights.

Shot mostly on camera phones by the actors, #Starvecrow is a tiny-budget British drama about a group of insufferably privileged twentysomething mates. Ben Willens is Ben, a controlling narcissist who creepily films everything on his phone. When his on-off girlfriend (Ashlie Walker) walks out for good, he steals her friends’ mobiles – giving the film its footage of attention-seeking drunken antics and nastier behaviour never intended for Snapchat. Ben, like one of the lads from Made in Chelsea
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Idfa Forum: ‘Documentary Makers Want To Go Behind The News’

Idfa Forum: ‘Documentary Makers Want To Go Behind The News’
Amsterdam — The world’s geopolitical landscape may be changing on a daily and depressing basis, but a visit to this year’s Forum suggests it’s not all doom and gloom in the world of documentary. “Sunken Eldorado”, from France, offers a tale of modern-day piracy in the hunt for the Spanish Armada’s missing gold; Italian co-production “Maestro Morricone” tells the story of Quentin Tarantino’s favorite composer; and, from Norway, comes “Krogufant”, a film that takes a look at the emotional lives and intelligence of the animals we’re more used to eating than meeting.

In all, 58 projects came from 23 countries, each exploring different themes and formats. “It’s so wonderful to travel with all these filmmakers and see the world through their eyes,” says Adriek van Nieuwenhuijzen, the festival’s head of industry. “The variety is huge this year, and it’s not only political topics dealing with society. Last year, what
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‘The Other Side of Everything’ Leads Winners From a Politically Charged Idfa Lineup

‘The Other Side of Everything’ Leads Winners From a Politically Charged Idfa Lineup
In a world presently riven with political conflict and polarized discord, you wouldn’t expect the world’s leading documentary festival to skimp on the tough issues, and so it proved at Idfa this year. The Amsterdam showcase’s 2017 lineup was a strong one, peppered with challenging perspectives and confrontations of past and living history, but “fun” was low on the agenda — rueful irony amid tragedy was, for the most part, as close as audiences could hope to get.

That was the tone maintained by the festival’s well-received selection of prizewinners, presented on Wednesday night, many of which tackled conflict and political turmoil with an empathetic but battle-wearied worldview. The top award in the festival’s feature-length competition, Serbian director Mila Turajlic’s “The Other Side of Everything,” had already premiered in low-key fashion at Toronto in September, but this thoughtful reflection on the still-unresolved legacy of civil war in Serbia found a more vocally receptive
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‘The Death Of Stalin’ Wins Three British Independent Film Awards

‘The Death Of Stalin’ Wins Three British Independent Film Awards
Armando Iannucci's political satire The Death of Stalin has taken an early lead at The British Independent Film Awards – picking up three awards as part of the event's newly introduced craft section. The Death of Stalin, which stars Andrea Riseborough, Rupert Friend, Paddy Considine, Steve Buscemi and Jeffrey Tambor and centers on the last days of the Soviet dictator, won Best Casting for Sarah Crowe, Best Production Design for Cristina Casali and Best Make Up & Hair…
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Is all forgiven? The strange, troubling resurgence of Mel Gibson

The actor-director seemed unemployable after a string of antisemitic and racist outbursts. But steady work since and a new comedy vehicle suggest his time in the wilderness is up

The long, complicated saga known as the Never-Ending Rehabilitation of Mel Gibson unspools another chapter. Gibson is playing his most prominent on-screen role, in Daddy’s Home 2, since his obscenity-filled antisemitic meltdown on the shoulder of the Pacific Coast Highway on a hot July night in Malibu more than a decade ago.

Given the serendipity of long-range movie-release schedules, how was Gibson to know that his latest bid for a soft landing back in the box-office charts, and back in the warm bosom of filmgoers worldwide, would take place during a tsunami of revelations of sexual chicanery and all-round vileness among top Hollywood figures and Washington politicians?

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Ventana Sur: A Breakdown of This Year’s Blood Window Work in Progress Section

Ventana Sur’s Blood Window has become one of Latin America’s most important launchpads for fantasy genre films. For the four days of the market, producers, distributors, sales agents and directors will come together for panels, debates, co-production meetings and pitching sessions.

This year’s works in progress selections have been divided into two groups. The first group is the Screenings and Work in Progress section, which was specially curated by José Luis Rebordinos, director of the San Sebastian Film Festival. The remaining works in progress are in the Video Room section.

Starting with the local fare, “Luciferina,” is the only Argentine work in progress at this year’s Blood Window. From director Gonzalo Calzada, the film is the story of Natalia, a teenage girl with a supernatural gift. After a family trauma, the origins of her ability must be faced, and a ritual executed to protect the girl from something which has been with her
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Idfa’s Shifting Perspectives Program – ‘It’s About Ownership Of Images’

Idfa’s Shifting Perspectives Program – ‘It’s About Ownership Of Images’
Amsterdam – “Every day, we are bombarded by images of the Arab world: bombings, shooting, hunger and hatred…” It is this “one-sided representation” that Idfa programmers Laura Van Halsema and Isabel Arrate Fernandez, together with Syrian producer and filmmaker Orwa Nyrabia, sought to challenge when assembling Shifting Perspectives: The Arab World, a three-day symposium of sorts, in which 16 films of varying length and vintage were shown to a festival audience, usually with a lively discussion to follow.

The section is the second in a series that began in 2016. “Last year,” says Van Halsema, “we had a program, also called Shifting Perspectives, from which we basically wanted to look at what was left over from the history of colonialism – the slave trade, slavery between Africa as a continent and Europe and the U.S..

The programmers picked films from each of these regions, and then, as they were watching them, we realized right away that there was a blind
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Idfa Film Review: ‘Of Fathers and Sons’

The family that prays together stays together, with entirely chilling consequences, in “Of Fathers and Sons,” an intrepid, cold sweat-inducing study of Jihadi radicalization in the home from celebrated Syrian docmaker Talal Derki. Delivering on the auspicious promise of his 2013 debut, the Sundance Grand Jury Prize winner “The Return to Homs,” Derki’s follow-up finds him again visiting his ravaged homeland to examine the making of an anti-government force: this time not spiky rebel insurgents, but unformed young boys under the absolute influence of their Al-Nusra fighter father. The result is as despairing as any portrait of close-knit family and dedicated parenthood can be, adeptly blending sensationalism with domestic intimacy, and sincerely eye-opening in its portrayal of inherited Islamist fervor.

Sure to travel the festival circuit as widely as Derki’s debut did, starting discussions along the way about complicity and trust in documentary filmmaking, “Of Fathers and Sons” has a combination of artistic muscle and frank
See full article at Variety - Film News »
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