Movies

Moviegoing is slowly going back into fashion today with Paramount’s Bob Marley: One Love biopic seeing an estimated $12M. For a movie playing on Valentine’s Day midweek, that’s a record besting the $11.6M made by the 2012 Channing Tatum and Rachel McAdams romance, The Vow. Sony/Marvel’s Madame Web trails with $5M-$5.5M today. Projecting out six-days
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Though we seem to be past the traditional window in which biopics seem to flood the theaters, Bob Marley: One Love’s Valentine’s Day release date is just one of the several ways it distinguishes itself from other projects of this sort. Co-writer/director Reinaldo Marcus Green, best known for the Academy Award nominated King Richard, once
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Hollywood’s biggest movie stars mixed, mingled and munched at a famous hotel ahead of the upcoming Academy Awards … and there was a heavy “Barbie” contingent. Margot Robbie and Ryan Gosling were among the “Barbie” stars in attendance Monday at the annual Oscar nominees luncheon at The Beverly Hilton. Billie Eilish and Finneas were also
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Fresh off her first Oscar nomination, America Ferrera continues to receive praise for her Barbie performance and rousing finale speech about womanhood. While Hollywood and moviegoers celebrate Ferrara, her kids are ambivalent about their mother being in the summer blockbuster. On that note, she revealed her children’s funny reactions to the movie. The Barbie actress
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Paramount’s musical biopic Bob Marley: One Love will tower over Sony/Marvel’s Madame Web, $30M-$35M to $20M-$25M over the six-day Valentine’s Day-Presidents Day stretch. While those figures haven’t changed much since they arrived on tracking, doesn’t that seem a bit anticlimactic for a Presidents Day stretch? I mean, Disney/Marvel Studio’s Ant-Man and the Wasp: Quantumania did
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The 1980s produced a ton of amazing movies, and with that, ushered in a crop of directors who still wow audiences today. Directors like Ridley Scott, Steven Spielberg, Oliver Stone, and Tim Burton all found their groove in that radical decade (even if a few technically started before 1980). Other directors came out of the
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Super Bowl weekend, despite its damper on Sunday business, used to be a box office frame that could still yield results, even for films aimed at dudes. Like in 2015, when the sixth weekend of American Sniper drummed up $30.7 million, or in 2020, when the third weekend of Bad Boys for Life did $17.6M.
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It’s a weekend of well-reviewed indie openings with Bleecker Street’s Out Of Darkness, The Monk And The Gun (from the directors of Lunana: A Yak In The Classroom) and limited openings for The Taste Of Things, Perfect Days (Best International Feature nominated), Anthony Chen’s Drift, Bas Devos’ Here and Ennio by Giuseppe Tornatore, which premiered
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Legendary/Warner Bros.’ Dune: Part Two hit three-week tracking today and everyone is going nuts with projections as it’s been a barren marketplace. The most conservative sees the sequel to the Denis Villeneuve feature adaptation of Frank Herbert’s 1965 novel between $65M+, which is 59%-83% higher than the opening of Dune back in 2021 ($41M); you’ll
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Broadway said goodbye last week to two well-regarded but underperforming productions, with both Harmony and Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch posting better-than-usual weekly box office as last-chancers grabbed seats. Harmony, the Barry Manilow-Bruce Sussman musical about the real-life 1920s German singing group the Comedian Harmonists, filled a robust 99% of seats
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Matthew Vaughn’s Argylle, the third Apple Original Films movie to go wide in cinemas, spied an estimated $35.3M global debut through Sunday, including $17.3M from 78 international box office markets. While that makes it the top title worldwide, overseas and domestically this frame, the ultra-expensive ensemble thriller was harshed on by critics and didn’t get
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