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‘Jumanji’ Raises Game To $856M WW, $503M Overseas; ‘Greatest Showman’ Tops $150M – International Box Office

Refresh for latest…: While the Super Bowl kicks off in Minneapolis later today, there’s another Big Game being played out at the international box office. In its 7th weekend, Jumanji: Welcome To The Jungle has drummed past $500M overseas and $850M worldwide. Sony’s holiday-season holdover from director Jake Kasdan is now at $503.1M offshore and $855.7M globally. On 8,000 screens in 93 markets this weekend, the update on the 1995 classic rocked another $12.6M for a 32.5% drop from last session.

The Dwayne Johnson-starrer’s performance in just the final week of 2017 helped propel Sony Pictures Entertainment to a $96M Q3 profit, but most of the box office will factor in Q4. Whether the jungle juggernaut can get to $900M global is right now up for some debate, but appears within reach. It has another two weeks before Black Panther pounces on worldwide turnstiles, and then has Japan on deck April 6.

Leading the pack overall overseas, Fox’s threequel Maze Runner: The Death Cure is now out ..

Refresh for latest: While the Super Bowl kicks off in Minneapolis later today, there’s another Big Game being played out at the international box office. In its 7th weekend, Jumanji: Welcome To The Jungle has drummed past $500M overseas and $850M worldwide. Sony’s holiday-season holdover from director Jake Kasdan is now at $503.1M offshore and $855.7M globally. On 8,000 screens in 93 markets this weekend, the update on the 1995 classic rocked another $12.6M for a 32.5% drop from last session.

The Dwayne Johnson-starrer’s performance in just the final week of 2017 helped propel Sony Pictures Entertainment to a $96M Q3 profit, but most of the box office will factor in Q4. Whether the jungle juggernaut can get to $900M global is right now up for some debate, but appears within reach. It has another two weeks before Black Panther pounces on worldwide turnstiles, and then has Japan on deck April 6.

Leading the pack overall overseas, Fox’s threequel Maze Runner: The Death Cure is now out in 80 markets and picked up No. 1s in 20 during the third session. The weekend was worth $35.2M with the Wes Ball-helmed pic currently outpacing Scorch Trials by 1% and the original Maze Runner by 25%. Its international total after three frames is $142.9M.

Also from Fox, The Greatest Showman had a great showing this weekend and an impressive jump in the UK where it was up 9% to take the No. 1 spot in its 6th session. That included a special IMAX run. The cume there is a fantastic $31.3M. Overall, the crowd-pleasing showbiz origins story added $16.2M in 42 markets, including $7.4M in its China debut. The offshore cume is now $153M.

Also notable, in China Aamir Khan’s Secret Superstar reclaimed the top spot in its 3rd session with approximately $9.36M on a very quiet weekend. The Bollywood icon’s prowess in the market continues with the film now at $89M there alone. New to China was Happy Death Day, the first Blumhouse title ever to travel there. It got a Middle Kingdom look-in of $2.45M.

In other milestones, Disney/Pixar’s Coco is crossing $700M worldwide today and will reach $500M internationally this week. Japan is also a late-comer on this film which is due there March 16.

Breakdowns on the films above and more are being updated below.

HOLDOVERS/EXPANSIONS
MAZE RUNNER: THE DEATH CURE

20th Century Fox Film

The Wes Ball-helmed threequel saw a 45.5% drop in the third frame to find $35.2M in 80 markets. The offshore cume is now $142.9M. That sets it outpacing the last film, Scorch Trials, by 1% and the original Maze Runner by 25%, putting less distance between it and those movies after three sessions.

It’s seeing sustained play in Latin America and the smaller Asian markets, but in China had a 78% drop from opening amid the release of some new local titles and the continuation of Aamir Khan’s Secret Superstar. Fox stablemate The Greatest Showman also outran it in the Middle Kingdom this weekend. The $37M cume is well ahead of the lifetimes of the previous two movies, however.

There were No. 1s in 20 markets including some holdovers. The total screen count was 42,596 this frame. Mexico opened to $3.1M on 10,000 at No. 1 and Germany also took No. 1 with $2.53M. The top holds were the UK ($5.88M cume), Russia ($7.36M cume) and Indonesia ($4.9M cume).

Death Cure hits four new markets next weekend, including France which has typically been a top offshore hub on the series.

THE GREATEST SHOWMAN

20th Century Fox

The Hugh Jackman crowd-pleaser put another $16.2M under the big top this weekend on 19,173 screens in 42 markets. With a special IMAX run added in the UK, Fox’s showbiz origins movie jumped by 9% and impressively took the No. 1 spot in its 6th weekend. Australia also hopped to No. 1 in the 6th session with a drop of just 26%. The UK cume is $31.3M and in Oz it’s $20.3M.

Showman also took a bow in China with $7.4M including previews and a 7.7 rating on Douban. At historical rates, that’s 13% off of La La Land’s start last year. China has shown a fondness for musicals including La La and Coco recently. In 2012, Jackman-starrer Les Misérables was the No. 5 movie of the year. While Showman was the top Hollywood title of the weekend, the Middle Kingdom has a lot going on with new releases and what is likely to be a slow period ahead of Spring Festival which kicks off on February 16. That’s the same day the show travels to Japan.

JUMANJI: WELCOME TO THE JUNGLE

Sony’s jungle juggernaut has been the surprise of the post-holiday season as it keeps drumming away at milestones. This weekend, it reclaimed No. 1 domestically, and overseas it has crossed $500M for a rockin’ $855.7M worldwide. The offshore frame was worth $12.6M in 93 markets to lift the total to $501.3M.

The drop was 32.5% from last weekend. The game still has play in it, and two weeks before Black Panther pounces. Can it get to $900M? It looks to be close, but within reach. Japan is still to come to round out the international play and the over/under there looks to be about $10M, although it could surprise as it has elsewhere.

The Top 5 markets are China ($74.6M), the UK ($47.9M), Australia ($36.3M), France ($27.1M) and Russia ($24.9M).

COCO

Coco

Coco has become Pixar’s 7th film in its history to cross $700M at the worldwide box office. With $700.9M to date, it’s also the 6th Disney release of 2017 to hit the milestone. The offshore total after adding $11.6M this session is $496.3M. In Korea, Coco has bragging rights to the No. 4 Disney/Pixar movie ever and the No. 2 Pixar title.

New this weekend were Sweden and Norway, both with No. 1 starts. In Latin America, the Day of the Dead-themed musical held a number of No. 1s and rose 4% in Chile. France and Spain were off by just 27% and 29%, respectively.

With awards momentum and Japan still on deck March 16, we’ll be hearing more from Miguel. The Top 5 markets are China ($183.5M), Mexico ($57.8M), France ($32M), Korea ($22.5M) and Spain ($20M). The UK, which recently opened, is at $14.2M in 6th position and has school breaks ahead which should help pump it up.

THE POST

Niko Tavernise

Handled by Amblin Partners and Universal International overseas, Steven Spielberg’s drama spread into 12 new markets this session for a total of 46. The weekend printed $11M to lift the cume to $40.2M ($9.7M for Uni). In highlights, Italy (Leone Film Group) opened No. 1 ahead of newcomer Death Cure, and France was the top holdover play at $2.1M for a $6.15M cume and staying power at No. 2. Uni is releasing in France and also in Argentina where The Post opened to $351K at 81 dates. The cast is a big draw there with great play in upscale markets to comp ahead of Spotlight, Argo, The Big Short, Sully and The Iron Lady. Still to come are Poland, Germany, Russia, Korea and Japan among others.

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

Twentieth Century Fox

Fox Searchlight’s Frances McDormand-starrer posted another $8.1M in 30 markets and on 3,192 screens. Word of mouth is fueling play, notably in the UK with a 26% drop and a $12.7M cume. Also holding strong are Germany which rose 9% from last session to take $2.5M to date and Australia which fell by just 17% and has cumed $6.27M so far. In France, the dip was 24% for $3.65M so far (a screening attended in Aix-en-Provence on Saturday night was SRO — after three weeks).

Japan and Russia were new to multi-BAFTA and Oscar nominated story of Mildred Hayes with great bows of $773K on 127 and $735K on 362, respectively. The offshore cume is now $46M and there are still 28 markets and lots of awards heat to come.

DARKEST HOUR

Jack English/Focus Features

Focus/Working Title’s WWII drama crossed $100M earlier this week worldwide and this weekend lifted to $114.8M. Released by Universal, the Gary Oldman-starrer picked up another $7.4M in the offshore session for a strong $66M to date in 55 markets.

There were eight additional hubs this session including Sweden at $191K on 78 screens and Turkey at $50K on 53. In holds, the UK is tenacious at No. 2 in its 4th weekend for a $26.15M cume off a 30% drop. France ($4.6M/-22%), Italy ($4.25M/-44%), Australia ($4.14M/-27%) and Germany ($2.3M/-16%) round out the current Top 5. Japan bows March 30.

DEN OF THIEVES

STXinternational’s Gerard Butler-starrer opened in 13 international territories this weekend for a total 31 to date. The directorial debut of London Has Fallen’s Christian Gudegast added $6.5M from 2,291 locations to cume $9.1M so far offshore. The heist pic set a new milestone for STX in the UK where this is the first of the new operation’s films to open bigger than £1M. The haul there was $1.5M at 421 dates, 97% ahead of John Wick, 72% ahead of End Of Watch and 54% ahead of Contraband.

Germany, Austria and German-speaking Switzerland culled $1.4M at 393 including $1.05M in Germany, 31% behind John Wick, 100% ahead of End Of Watch and 146% ahead of Contraband.

Australia picked up $1.07M at 189 locations, also topping comps. The Middle East region was good for $1.6M at 450 with $790K out of the UAE. Eastern Europe play has lifted to $1.16M at 245. Upcoming key markets include France and Mexico later this month.

INSIDIOUS: THE LAST KEY

Universal/Blumhouse

Sony/Blumhouse’s chiller unlocked another $6.3M from 3,600+ screens in 56 markets, to hit $90M overseas. Korea debuted to $2.7M to set a new franchise record for biggest opening in the market. Australia, the final major, releases next weekend. The Top plays are Indonesia ($9.1M), Mexico ($8.4M), Russia ($7.1M), the UK ($7M) and France ($4.9M).

WONDER

Lionsgate’s family sleeper put another $5.7M in the school bag this weekend from 53 markets. The overseas total is now $146.5M for $277.5M worldwide. Germany stayed rapt with Wonder this session, dropping just 1% from last and cuming $4.4M after two weeks. In Israel, Wonder is now Lionsgate’s biggest release ever with $4.6M. China has risen to $24.1M after three weeks. It’s the No. 2 market on the movie. Brazil leads at $28M, Italy is in 3rd at $14M and Australia ($9.8M) and Mexico ($8.9M) round out the Top 5. Sweden and Norway are still to come.

FERDINAND
Blue Sky’s Ferdinand kicked up another $5.57M in 41 markets to hit $187M at the international box office. There were no new markets in play. China is the top hold at $1.3M for $22.48M to date. France saw an 18% drop for $16.26M after seven sessions; Brazil was down 37% for $12M; and Germany dipped 13% to cume $7.9M.

THE SHAPE OF WATER

Fox Searchlight

Guillermo del Toro added to his awards haul on Saturday night, scooping the DGA prize for this fairy tale. The Fox Searchlight Oscar nominee put another $4.4M in the tank from 2,307 screens in 23 markets including a handful of new plays. In Mexico, this is del Toro’s biggest movie ever at $11.6M. It was No. 2 in its 4th session. Brazil bowed to $881K on 179 screens at No. 3; Chile took $238K on 67; Central America opened No. 2 with $234K on 120; and Hong Kong on 18 screens started off at $232K. The early international is $19.6M with Finland on deck next session.

PHANTOM THREAD

Laurie Sparham/Focus Features

Paul Thomas Anderson’s drama stitched another $3.1M this session to lift the Focus title to $3.2M in 21 markets. Major debuts included the UK, Spain and Germany. In the former, the Daniel Day-Lewis pic bowed to $964K at 195 dates for No. 10, ahead of Nocturnal Animals, Carol, Inherent Vice and There Will Be Blood. Spain likewise opened above PTA’s There Will Be Blood with $544K at 147. It also topped Carol and Focus’ Nocturnal Animals. Germany is PTA’s best opening ever with $387K at 15, also besting Carol and Jackie. In Greece, PTA and Day-Lewis had their top starts with $328K at 50. There are several majors to come on the Oscar nominee including France, Russia, Brazil, Italy, Mexico and Korea.

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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.


Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.


More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”


If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.

The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.

Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)



The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.


Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”


“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.

In a theater, the tendency with a movie so dependent on a central mystery might be to become antsy. At home, “Antebellum” is worth seeing, not only because of what it has to say about America’s past and present, but as a reminder of the often yawning gap between an intriguing idea and a fully realized film.



Read from source: https://edition.cnn.com/2020/09/17/entertainment/antebellum-review/index.html

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‘Chemical Hearts’ director Richard Tanne on the film’s ‘bittersweet’ ending and what he hopes fans take away from the movie

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and ..

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and what he hopes fans take away from it.

“I think it’s gonna disappoint some people, and maybe all people on a certain level, ” the 35-year-old filmmaker told us. “It’s bittersweet. But that’s OK.”

The film, based on Krystal Sutherland’s 2016 book “Our Chemical Hearts” and now available to stream on Amazon Prime Video, centers on 17-year-old high school senior Henry Page (Austin Abrams), who finds himself drawn to a mysterious and secretive new transfer student named Grace Town (Lili Reinhart).

“Chemical Hearts” is told from Henry’s perspective, chronicling his first heartbreak after he falls in love with the person he thinks Grace is.

Tanne, who wrote the screenplay, said that he was impressed by how the story goes ‘a little bit deeper than your average teen romance’


“I loved how it embraced the dark side of being young, the pain and the grief and the loss, the idea of crossing the threshold from being an adolescent to an adult for the first time,” he told us.

By the end of the movie, Henry learns about Grace’s tragic past. On their last day of senior year, the characters don’t end up together. Instead, they prepare to explore different futures, with Henry heading off to a school for writing and Grace taking a year off to continue therapy.

Even though fans might be disappointed by the love interests splitting, Tanne said that ‘not everything has to be escapist’


“Sometimes, younger people watching movies don’t know that it’s OK to have unhappy endings because they’re fed a steady stream, a steady diet of escapist happily ever after movies,” he told us. “And that’s OK.”

He added: “There’s a place for those, I’m not knocking them. But I just wanted to make something that didn’t talk down to the younger audience. I wanted to make something that either meets them at their level or asks them to reach a little bit higher or dig a little bit deeper.”

Tanne said that having to confront that ‘bittersweet ending’ could also be useful to viewers


The director described the conclusion as bittersweet because “there’s hope at the end, maybe not for their relationship, but for other aspects of their lives.”

“Maybe it will be helpful for young people to see that and walk away with the same sting that Henry has, but to know that it’s going to be OK, to know that Henry will be OK,” he said.

Abrams, who was 22 when he filmed the movie, told Insider that hopefully, audiences will empathize with Henry.

“I think in terms of I supposed how he’s navigating relationships, I feel like hopefully at least anyone can relate to that,” he said.

Abrams told Insider that Henry and Grace’s relationship status at the end speaks to the film’s realistic nature


Abrams shared similar sentiments as Tanne, telling us that they tried to “portray the characters as honestly as possible,” which ties in to the conclusion.

“I think there are some people that meet one person and that’s who they’re with for the rest of their lives, who actually are Henry’s parents in the movie,” the 23-year-old actor told us.

“But then there are other people, and I think it’s probably a larger number, that are going to be in multiple relationships and some of them, a lot of them aren’t going to go well. I hope that that’s an aspect of the movie that people are able to relate to.”

Abrams added that he’s “perfectly fine” letting fans decide for themselves what their main takeaways are from “Chemical Hearts.”

“I hope that maybe they take away things that I didn’t even think of, because everyone’s different and at a different point in their life and hopefully will be able to relate to it in different ways.”

Read from source: https://www.insider.com/chemical-hearts-director-richard-tanne-bittersweet-ending-interview-2020-8


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Julia Sawalha furious after being told she is ‘too old’

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would n..

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would not be cast in the forthcoming sequel to the hit Aardman Animation film Chicken Run as her voice sounded “too old”.

In the original film, released in 2000, Sawalha voiced the lead role of Ginger, the plucky hen who inspires her fellow egg-layers to escape from a farm when they are threatened with being turned into pies. News of the development of a sequel first emerged in 2018, and Netflixs involvement was announced in June. It is due to be directed by Sam Fell (ParaNorman) and start production in 2021.

Sawalha posted a statement on social media saying she was told a week ago that she was not wanted for the sequel. “The reason they gave is that my voice now sounds too old and they want a younger actress to reprise the role.”

She added: “Usually in these circumstances, an actress would be given the chance to do a voice test in order to determine the suitability of their pitch and tone, I however was not given this opportunity. I am passionate about my work and I dont go down without a fight, so I did my own voice test at home and sent it to the producers … However, they stated, We will be going ahead to recast the voice of Ginger.”

Sawalhas protest follows reports that Mel Gibson, who voiced the character of daredevil rooster Rocky, would not be involved in the sequel. While Rocky is named as a character in the official plot synopsis for Chicken Run 2, the role is due to be recast. Variety magazine reported that Gibson was told that as “the sequel will revolve around younger chickens, therefore casting younger voice actors” was necessary. The report also claimed that Gibsons history of controversial behaviour, including an accusation of antisemitic comments by actor Winona Ryder, which Gibson denies, played no part in the recasting.

Sawalha added: “I feel I have been fobbed off with the same excuse … To say I am devastated and furious would be an understatement. I feel totally powerless.”

No official announcements have been made for the Chicken Run 2 cast, but original film cast members Jane Horrocks and Lynn Ferguson have been added to the films IMDb page.

Aardman has been contacted for a response.

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