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Box Office: ‘Pirates of the Caribbean’ Tells $75 Million Tale, ‘Baywatch’ Walks the Plank
Memorial Day weekend marks the opening for two summer blockbusters this year — “Pirates of the Caribbean: Dead Men Tell No Tales” and “Baywatch” — but only one of the nautical-themed narratives is sailing away with a 4-day win. That’s because Disney’s “Pirates” is currently on course for a debut just under $75 million, while Paramount’s “Baywatch” is expected to drown at just $21 million by weekend’s end.
After taking in $5.5 million in Thursday night previews, the fifth installment of Johnny Depp’s swashbuckling franchise added another $16 million to its domestic gross from 4,276 theaters on Friday, giving it a total of just about $21 million so far. However, the Dwayne Johnson-Zac Efron reboot isn’t expected to make much more than that — even with Saturday and Sunday factored in. “Baywatch” netted $4.5 million from Wednesday and Thursday night previews alone, but only added another $5.5 million from 3,647 locations on Friday. That »
- JD Knapp
Cannes: '120 Beats Per Minute' Tops Fipresci Critics' Prizes
The International Federation of Film Critics (Fipresci) awarded its prizes Saturday at the Cannes Film Festival.
Robin Campillo’s 120 Beats Per Minute took home the top honors among the official selection competition films. The drama documenting the Act Up AIDS activists in the 1980s has been getting strong reviews.
The prize for a first or second film in the Directors’ Fortnight or Critics’ Week »
- Rhonda Richford
Ben Stiller and Christine Taylor to separate after 17 years of marriage
Stiller and Taylor released a joint statement on Friday announcing their breakup. They were married in May 2000 and have two children, who they said will remain their priority.
Continue reading »
- Associated Press
Tyler Perry’s ‘Boo 2! A Madea Halloween’ Sets Release Date
Written and directed by Perry, the comedy will star himself, Cassi Davis and Patrice Lovely. The film follows Madea and the gang as they venture to a haunted campground and they must literally run for their lives when monsters, goblins and the bogeyman are unleashed.
The other “Madea” films. »
- Beatrice Verhoeven
‘The Fate Of The Furious’ Expected To Cross $1B Tomorrow At Int’l Box Office
The eighth installment of the wildly successful Universal Pictures’ franchise The Fate of the Furious, which was directed by F. Gary Gray, is on track to cross the $1B mark at the international box office tomorrow. This would not be the first time that one of the films in the franchise crossed the $1B mark. Furious 7 also crossed that milestone in 2015. As of yesterday, the film was sitting at $998.5M, so it is primed and ready to drive past the benchmark tomorrow. It… »
Could Lynne Ramsay top 'Loveless' on Screen's Cannes jury grid?
You Were Never Really Here made a strong bow on the final edition of the Cannes grid.
The Joaquin Phoenix-starrer received four maximum four-star ratings and garnered an impressive overall score of 3.1.
However, with one score yet to be counted, the film has been unable to dethrone the early pacesetter Loveless, which has managed to retain its crown right through to the end of this year’s jury grid.
If You Were Never Really Here receives a final maximum four-star rating from the remaining critic, it would match Loveless on its score of 3.2, anything less and Andrey Zvyagintsev’s film will be confirmed as this year’s winner.
Of the final day’s other new debutants, Francois Ozon’s »
- firstname.lastname@example.org (Tom Grater)
Roman Polanski’s Preposterous ‘Based On A True Story’ Written by Olivier Assayas, Starring Eva Green [Cannes Review]
True story: a great film director has somehow managed to turn a project full of promise into a suffocated, bloated and achingly frustrating thriller. Roman Polanski directs “Based on a True Story” like a man using tweezers to violently pluck the stinger out of a bee that had the potential to produce a glut of sweet, sweet honey, and what’s essentially asked of us as an audience is to watch this poor creature die a slow death right before our eyes.
- Nikola Grozdanovic
‘You Were Never Really Here’ Review: Joaquin Phoenix Triumphs in Lynne Ramsay’s Kidnapping Thriller
A vigilante for hire hunts for a kidnapped girl in Ramsay's long-awaited follow-up to 'We Need to Talk About Kevin'. »
- Gregory Ellwood
Paul Schrader Writes an Anatomical Review of Terrence Malick’s ‘Song to Song,’ and It Doesn’t Involve Thumbs
Whether talking about his own work or that of other filmmakers, Paul Schrader has never been one to mince words. Last night, the critic-turned-filmmaker reminded everyone who follows him on Facebook of his critical bent by sharing a very brief, very negative review of Terrence Malick’s latest: “If you could photograph the unwanted urine which dribbles from an old man’s penis you would have a film titled Song to Song.”
The film — which stars Ryan Gosling, Rooney Mara, Michael Fassbender and Natalie Portman — takes place in and around the Austin music scene. Reviews were mixed, which is typical of recent Malick fare; IndieWire’s Eric Kohn wrote that “there’s plenty of intrigue to the dissonance of a hard-rock lifestyle and Malick’s gentle touch, but much of the movie’s potential »
- Michael Nordine
Diary of a Cannes Juror: Here’s What It’s Like to Be on a Jury at the Best Film Festival in the World
I was having some trouble figuring out how to assess my role on a jury at the greatest film festival in the world, so I asked someone with experience in the matter: George Miller.
At a dinner celebrating the 70th anniversary of the Cannes Film Festival, I ran into the “Mad Max” director, who served as president of the venerated Official Competition a year earlier, and picked his brain for advice.
To be fair, Miller’s jury experience was considerably different from my own: He was responsible for choosing the Palme d’Or. I faced a considerably less daunting task as a member of the jury for Critics’ Week, a sidebar featuring first and second features from around the world. When an audience disagrees with a Palme d’Or winner, it can result in infamous moments as when Quentin Tarantino was heckled as he took the stage for “Pulp Fiction »
- Eric Kohn
This Week In Trailers: We R Animals, Paint it Black, The Defiant Ones: Cut to the Chase, La Deuxième, City of Ghosts, Hounds of Love
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week […]
- Christopher Stipp
Friday Box Office: ‘Pirates of the Caribbean: Dead Men Tall No Tales’ Takes the Lead
- Chris Cabin
‘The Florida Project’ Review: Heartbreak & Hope Intertwine in Sean Baker’s Latest
A young Floridian mother and daughter struggle to keep a roof over their heads in Baker's follow-up to the celebrated 'Tangerine'. »
- Gregory Ellwood
Hey Hollywood, Ask Lynne Ramsay If She Wants To Make A Superhero Movie [Cannes]
Cannes — She’s coming off some of the most glowing (if not slightly overrated) reviews of her career, but Lynne Ramsay is keeping all her options open after the debut of “You Were Never Really Here” at the 70th Festival de Cannes this weekend.
The film, starring Joaquin Phoenix at the peak of his acting powers, is a genre thriller through a cinematic auteur’s eyes, but halfway through watching it you realize it features some of the most “commercial” sequences of Ramsay’s career.
- Gregory Ellwood
‘Bloodline’ Series Finale: How Things Ended, and Each Character’s Fate
- Allison Keene
Cannes Critics Prize ‘Bpm,’ ‘Closeness,’ ’Nothing Factory’
Awarded by the International Federation of Film Critics (Fipresci) one day before a international jury headed by Pedro Almodovar announces Cannes Festival’s 2017 Palme d’Or on May 28, the prizes do not always coincide with the official jury’s. “Toni Erdmann” won the Fipresci best competition player award last year, for instance, but nothing from Cannes’ official jury.
Over the last two years, however, Fipresci competition winners have won (“Son of Saul”) or been nominated (“Toni Erdmann”) for a foreign-language Academy Award and often proved standout art films of the year in sales and further award glory at or beyond Cannes.
The International Critics Prize for best film in competition marks further recognition for “Bpm (Beats Per Minute),” Campillo’s first »
- John Hopewell
Cannes press conference: Roman Polanski doesn't believe streaming giants will kill off cinema
The Polish filmmaker discussed his new film Based On A True Story, modern technology and “hangers-on”
Roman Polanski addressed questions on cinema’s future, technology’s role in modern life and the hunger for truth at the Cannes press conference for Based On A True Story, which premieres out of competition at the festival tonight.
On whether audience desire to go see films in cinemas or even Cannes itself might eventually fall victim to the rise of streaming services such as Netflix, the 83-year-old Polish filmmaker said: “I don’t believe there is a basic threat to cinema because I think people go to the movies not because there is better sound or better projection or better seats than they have in their homes, they go to the cinema because they can participate in an experience with the audience around them.”
“This has been the way throughout humanity, whether it’s a Greek theatre or a Roman »
‘Based on a True Story’ Review: Roman Polanski’s Latest Doesn’t Meet High Expectations — Cannes
Four years after “Venus in Fur,” Roman Polanski returns with an adaptation of Delphine de Vigan’s “Based on a True Story,” a stylish but ultimately stiff collection of old tropes about writers and their audience, fiction vs. reality, and the Other that becomes you.
Offering little in the way of fresh material and mixing together influences such as “Misery,” “Single White Female,” and Polanski’s own “The Ghost Writer,” this sophisticated French/Polish two-hander is at least a good showcase for the two lead actresses — while the pairing of Polanski and “Personal Shopper” director Olivier Assayas, here solely on scriptwriting duty, does not quite deliver on its promise.
The story of a successful Parisian writer Delphine (Polanski’s wife Emmanuelle Seigner) on the verge of starting her new book, the film opens on a point-of-view shot of the author facing a sea of admirers at a signing event. Beneath a well-constructed facade of control, »
- Tommaso Tocci
Mindy Kaling Has Some Thoughts on Hugh Jackman’s Career — The Week in Showrunner Tweets
One fascinating aspect of today’s media landscape is that many creators and executive producers enjoy using Twitter to engage with their audiences, share behind-the-scenes information about their shows, chat about politics, and otherwise communicate about what matters to them. So, each week, we’ll compile some of our favorite exchanges representing the wide variety of discourse seen on social media.
Last Week’S Tweets: ‘SNL’ Parties So Hard They Break Tables
Well, This is a Delightful Image
90%of my Sat mornings for past 5 months r spent in full performance of every Moana song with my Tiny Humans. I do a fine Maui. @Lin_Manuel
— shonda rhimes (@shondarhimes) May 20, 2017
If you haven’t read it, by the way, Rhimes’ “Year of Yes” is a charming memoir/self-help book. »
- Liz Shannon Miller
European cinemas group Unic backs Cannes Netflix ruling
Exhibitors’ body releases statement in support of festival’s Competition decision.
The International Union of Cinemas (Unic) has released a statement in support of Cannes Film Festival’s ruling on the Netflix controversy.
Before the festival began, Cannes top brass announced that, from 2018, films will be ineligible for its Competition unless they are guaranteed to receive a theatrical release in France.
This followed the inclusion of two Netflix titles - Okja and The Meyerowitz Stories - in this year’s Cannes Competition.
Since the line-up was released in April, bodies including the National Federation of French Cinema (Fncf) had been pressuring the festival to take action.
Unic, which represents cinema associations and operators across 36 European territories, has backed the festival’s decision.
Following a meeting of Unic’s board of directors in Cannes, the body released a statement which read, “We would like to express our support for the action of French cinema exhibition colleagues in pressing »
- email@example.com (Tom Grater)
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