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
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
“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.
This week, on a special Thanksgiving episode, we have “Lady Bird” writer-director Greta Gerwig and star Saoirse Ronan. It’s an apt day for the conversation, which you’ll gather if you’ve seen the film. “Lady Bird” marks Gerwig’s solo directorial debut and is sitting pretty as one of the most critically acclaimed films of the year, if not the most. After all, 100% on Rotten Tomatoes with 150 reviews counted is hard to argue with.
Listen to this week’s episode of “Playback” below. New episodes air every Thursday.
Click here for more episodes of “Playback.”
For Gerwig, hammering out a script isn’t about knowing the core of it and where it’s going from the outset. She’s found it more rewarding to explore casually and let her characters guide her through the process
Kumail Nanjiani: So how did you end up playing “Wonder Woman”? How did that happen?
Gal Gadot: It’s kind of one thing led to the other. I never planned on becoming an actress, and then I had this opportunity where this casting director flew to Israel; she was looking for a new Bond girl. I did the audition, didn’t get the part, but through this experience I was like, “This is so much more interesting than going to law school.”
Nanjiani: You were in law school?
Gadot: Yeah, I know. Thank goodness life interrupts and comes in the way. It was weird because I didn’t know they were auditioning me for “Wonder Woman.” I knew I
And while Guadagnino has been actively chatting up the possibility of sequels for the film – or, at the very least, a film that picks up with the film’s main characters after many years have passed, as Aciman’s novel does – Ivory has no interest in returning to the material. For him, this chapter of his creative life is closed.
Read More:‘Call Me By Your Name
The celebrities who walked the red carpet through the high-end Marina Bay Sands mall mostly left the highest couture in the store windows. Many instead went for sedate touches of lace, minimal glitz, and daytime outfits.
The evening’s glamour moments went to Sgiff vice chair Soo Wei Shaw, who swept the red carpet in a floor-length black gown, and Indian actress, Waheeda Rehman (“The Song of Scorpions”), in a red and pink brocade sari and traditional jewelry.
Introducing the opening film, Vivian Qu’s “Angels Wear White,” Sgiff chairman Mike Wiluan told theater-goers gathered in the lower levels of the 2,000-plus seat theater that the festival was a “torchlight” for aspiring storytellers, himself included. After decades in the film industry as a producer, financier and facilitator
Using no visual pyrotechnics other than a scintillatingly well-chosen series of static, black-and-white images, unearthed recently as part of a trove belonging to ‘Foto Splendid’ (a Romanian photo studio set up in the 1930s by photographer Costica Acsinte), Jude lets the contrast between image and sound create its own tensions and provocations. On the soundtrack,
This is a seductively enjoyable, smart and well-acted film based on the most deadly serious sporting contest of modern times: the Battle of the Sexes tennis match of 1973 in a packed Houston Astrodome. It stars Emma Stone and Steve Carell, respectively women’s No 1 Billie Jean King and fiftysomething ex-champ and self-proclaimed “male chauvinist pig” Bobby Riggs – fighting to prove that men are better at tennis and better, full stop.
The film crucially faces the same challenge as the participants from real life: the challenge of tone. How unseriously should this match be taken? How strenuously should the attitude of casual jokiness be maintained? No one involved in this encounter could be certain of its outcome; neither side could be sure of avoiding humiliation,
The film follows 15-year-old Tim Walker, who is sent from London to the Austrian Alps to attend the renowned Mozart boarding school, where he discovers a centuries-old forgotten passageway into the fantastic world of Mozart’s most famous opera.
The creative team behind the project includes German writer-director Florian Sigl and Flimmer CEO Christopher Zwickler, who produced Dustin Loose’s “The Last Will,” which received the Student Academy Award in silver in 2015. Sigl and Zwickler are aiming to have the international family entertainment event ready for a Christmas 2018 release.
The duo is developing the project as a multi-part movie, according to Zwickler, who describes the story as a new adaptation of “The Magic Flute” framed by a modern-day narrative. Andrew Lowery is attached to write the screenplay.
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