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Lifeforce is the movie that pretty much killed Tobe Hooper's mainstream directing career. The first of his three-movie deal with the great Cannon Films, the film recouped less than half of its $25 million budget (which, for Cannon, might as well be Avatar money) upon its theatrical release and made Hooper something of a laughingstock in the process. Maybe because his previous movie, Poltergeist, had been so commercial (which has more to do with Spielberg’s influence than Hooper's), a lot of the audience for Lifeforce assumed Hooper didn't know what he was doing — they concluded that the movie just got away from him. Nope. Tobe Hooper knew exactly the movie he was making. Lifeforce is a crazy movie. It was designed as a crazy movie. It »
- Patrick Bromley
Audiences couldn’t wait to return to Jurassic Park.
After huge anticipation around the globe, Jurassic World debuted in the number one spot at the domestic box office with an estimated $204.6 million, according to Rentrak.
Globally the blockbuster became the first film ever to break the $500 million mark for a single weekend opener with an estimated $511.8 million.
Co-financed by Universal Pictures and Legendary, the PG-13 film bowed in 4,274 U.S. theaters. Final weekend box office numbers will be released by the studio on Monday.
Here’s a rundown of the all-time box office leaders for an opening weekend (Box Office Mojo)
1 Marvel’s The Avengers $207,438,708
2 Jurassic World $204,600,000
3 Avengers: Age of Ultron $191,271,109
4 Iron Man 3 $174,144,585
5 Harry Potter and the Deathly Hallows Part 2 $169,189,427
6 The Dark Knight Rises $160,887,295
7 The Dark Knight $158,411,483
8 The Hunger Games: Catching Fire $158,074,286
9 The Hunger Games $152,535,747
10 Spider-Man 3 $151,116,516
11 Furious 7 $147,187,040
- Movie Geeks
We look at the films that slipped through Hollywood's net, from biblical epics to a time travelling Gladiator sequel...
This article contains a spoiler for Gladiator.
If you're one of those frustrated over the quality of many of the blockbusters that make it to the inside of a multiplex, then ponder the following. For each of these were supposed to be major projects, that for one reason or another, stalled on their way to the big screen. Some still may make it. But for many others, the journey is over. Here are the big blockbusters that never were...
The late Michael Crichton scored another residential on the bestseller list with his impressive thriller, Airframe. It was published in 1996, just after films of Crichton works such as Jurassic Park, Rising Sun, Disclosure and the immortal Congo had proven to be hits of various sizes.
So: a hit book, another techno thriller, »
Reviewed by Stacey Beth
The second that news is released about any beloved horror film getting the remake treatment, there's usually a collective upheaval in the horror community and the film is almost immediately shunned. To be honest, I am not one of those horror fans that totally shuts a remake out; I'm an equal opportunity viewer. When it was announced that everyone's favorite haunted family was going to be given a contemporary spin, I was pissed...and then I wasn't...and then I saw the movie. I am pissed again.
If you're not familiar with the original story of Poltergeist, it follows a family whose home becomes plagued by spirits and when they're terrorized one night by all kinds of supernatural mayhem, these spirits kidnap the youngest daughter, Carol Anne. From there a group of paranormal investigators come in to help find the little girl with the aid of clairvoyant, »
When "Poltergeist" was released to theaters, I was 12 years old, and it was smack dab in the middle of the best summer of movies I'd ever seen. Film after film after film, I felt like these movies were hitting me right smack dab in my own particular pleasure center, and when I walked into "Poltergeist," I was ready for anything. One of the most complicated things about my reaction to the film was thanks to JoBeth Williams, who played Diane Freeling in the movie, the mother to the family that was troubled by the visitation. In the movie, she was 33 years old, a suburban mom, pretty much the opposite of what most kids at the age of 12 would consider an object of desire. It is safe to say that I had a full-blown out-of-control crush on Williams by the end of the film, though, and I'm not sure I could »
- Drew McWeeny
The last time we caught up with director Colin Trevorrow, it was ahead of the UK release of his sci-fi rom-com, Safety Not Guaranteed in 2012. And how times have changed since; within months of that interview, Trevorrow and his writing partner Derek Connolly (who wrote Safety) had agreed to take on a fourth Jurassic Park movie - a project stuck in a production quagmire for more than a decade.
Trevorrow and Connolly's fresh perspective seemed to grease the gears on the project, and now, here it is: Jurassic World, the bigger, more evolved sequel to a series that hasn't been seen on the silver screen since 2001. Its story could be seen as a reflection of the filmmaking duo's journey from the east coast to the cutthroat landscape of Hollywood: in the movie, »
As director and producer, few storytellers have utilized the wonderment and fascination (and sometimes horror) of children as points-of-entry into the wonderment and fascination of the adult world more effectively than Steven Spielberg has. Conversely, Spielberg has also masterfully used the normalized responses of children to the abnormal as an approach to disarm world-weary grown-ups. From Cary Guffey in "Close Encounters" to Henry Thomas and Drew Barrymore in "E.T." to Heather O'Rourke in "Poltergeist" to Christian Bale in "Empire of the Sun" to Haley Joel Osment in "A.I." to Dakota Fanning in "Taken" and "War of the Worlds," Spielberg has always know that there's something pure and primal in the reactions of children and that those reactions can be used to steer the reactions viewers of all ages. Steven Spielberg is one of the executive producers of ABC's new "the kids are not alright" drama "The Whispers," but his participation »
- Daniel Fienberg
People have a pretty intimate relationship with music. The song that was playing when you had your first slow dance, broke up with that certain someone, or lost your virginity will rank higher for you than it will for some random listener. Even bad songs have a way of causing flashbacks, for better or worse. So when a movie ties a song to imagery we never imagined while making out in the back seat, it can shake up our reality a little. Say Anything permanently connected Peter Gabriel’s “In Your Eyes” with boom boxes and early-morning wake-ups, and who among us can hear Van Morrison’s “Brown Eyed Girl” without regretting that they spent good money to see Sleeping with the Enemy? Here are some other songs that celluloid changed forever.
“The Star-Spangled Banner,” Poltergeist (1982) – A whole generation hears this song with a sense of dread thanks to its »
- M. Robert Grunwald
The clown doll from Tobe Hooper's Poltergeist, Pennywise the clown from Stephen King's It, and the angry monster, Gunther, from Hooper's The Funhouse are the inspirations for three new Killer Carnival Punk Pillows now available from Horror Decor.
Priced at $25.00 apiece and also available throughout the rest of today in a discounted three-pack for $68.00 (sale ends after tonight), these free-standing, approximately 14-inch tall Killer Carnival Punk Pillows were designed by artist Matt Ryan:
"Inspired by classic knock-down dolls, these creeps aren't just normal pillows, they are free standing! A bean bag at the base allows you to put them on your couch, a shelf, or even create an actual carnival game with them!"
To learn more about Horror Decor's new pillows, visit:
Horror Decor pillows
To learn »
- Derek Anderson
Although “The Whispers” was developed by writer Soo Hugh, ABC is eager to cite Steven Spielberg’s involvement, and no wonder: This summer series is a veritable mashup of the director’s filmography — a pinch of “E.T.” here, a dollop of the Spielberg-produced “Poltergeist” there, and a soupcon of what might be called “Invisible Encounters of the Kid Kind.” None of that takes away from the modest enjoyableness of the show, which drips clues over the first three episodes, as kids interact with an “imaginary friend” only they can see. Less imagination is required to see “The Whispers” hooking enough viewers to make some noise.
The program opens on a creepy note, with a 6-year-old girl luring her mom up to a tree house, where the woman experiences a harrowing fall. The case catches the attention of an FBI agent, Claire Bennigan (Lily Rabe), who specializes in children, and begins »
- Brian Lowry
First of all, sorry for the delay folks. I would have had this yesterday as usual on Sunday, but this is a holiday weekend, so, of course, nobody was around reporting on b.o. tallies this weekend. The numbers have now come out, and they only cover Friday through Sunday, so every total you see below will be much higher when the Sunday night/Monday figures are added in. However, one question I have about this weekend's opening is why anyone would think that a remake of the 1980 horror film, "Poltergeist," was a good idea... We know that Hollywood is afraid of original ideas, but, seriously has it come to this? Now the original 1982 version, directed by Tobe Hooper »
The combined star power of Melissa McCarthy, Rose Byrne, Jude Law and Jason Statham in Paul Feig.s action-comedy Spy wasn.t enough to topple Mad Max: Fury Road from the top of the Australian box office over the weekend.
George Miller.s latest instalment to the iconic franchise scooped $4,149,968 over 273 locations, boosting its total domestic earnings to $12,557,065. The film, distributed by Roadshow, follows the plight of a road warrior Furiosa (Charlize Theron) who, with the help of Max (Tom Hardy) tries to save five imprisoned women from the clutches of Immortan Joe (Hugh Keays-Byrne).
McCarthy stars in Fox.s Spy as Susan, an eager-to-please CIA employee who spends most of her time behind a desk acting as the eyes and ears of her partner and top operative Bradley Fine (Law). But when a Bulgarian arms dealer named Rayna Boyanov (Byrne) enters the picture, claiming to know the identities of all CIA operatives, »
- Emily Blatchford
When the announcement of a Poltergeist remake hit the internet, it was next to impossible to ignore the cries and groans from friends/acquaintances who were absolutely livid at the thought of one of horror’s classics being given the dreaded redux. Never letting that sway my interest in giving everything a fair shake, I decided to go for it and gave my hard earned money to my local cinema and…was it the worst thing ever, like so many fans crying “foul” predicted it to be? No. With that being said, was it the best thing ever? Nope,not even close. There have been worse remakes of horror royalty in recent years..*cough* Nightmare On Elm Street *cough*,but let’s face it…you fright fanatics work hard for your money, and well, I decided to sacrifice a small part of my weekend to watch it, so you don’t have to. »
Directed by Tobe Hooper
The original 1982 Poltergeist, directed by Tobe Hooper, opens with an apt image: an extreme close-up of a television set. Not only does the object prove pivotal to the film’s narrative, but the close proximity of the camera to the screen imbues the television with a strange, almost alien quality. Though it simply plays the national anthem over patriotic imagery, the signature sign-off for most TV stations in the 1980s, the close-up distorts the pictures and renders them wholly indeterminable. For a film that explores the dark unknowns that lie beneath the seemingly innocent and ordinary, Poltergeist certainly knows how to prime its audience for what’s to come.
As the channel transitions to the familiar static blizzard, five-year-old Carol Anne Freeling (Heather O’Rourke) awakens to the sound of voices emanating from the set. As »
- Jacob Carter
This Memorial Day weekend won’t set any box office records, but it should be interesting to watch nonetheless. One week after Pitch Perfect 2 and Mad Max: Fury Road surprised many of us with their bigger-than-expected debuts, there is still a lot of goodwill remaining for the two holdovers. Pitch Perfect 2 earned an estimated $9.7 million on Friday and is expected to bring in approximately $33 million this weekend. That will push the musical comedy well over the $100 million mark and may even be enough to give PP2 a second frame on top of the domestic box office. The fate of Pitch Perfect 2 hangs on the number of people that turn out to see Disney’s Tomorrowland this weekend. Initial projections had the PG-rated adventure claiming an easy win with at least $40 million over its debut frame. But based on Friday’s estimates, Tomorrowland may have to settle for second. »
- Nicole Pedersen
On Thursday, I saw the Gil Kenan (Monster House, City of Ember)-directed movie Poltergeist, a remake of Tobe Hooper's 1982 masterpiece. David Lindsay-Abaire (Oz the Great and Powerful, Rise of the Guardians) re-adapted the script from the original film, which had been conceived and co-written by Steven Spielberg. I expected the new movie to completely suck, so I'm surprised to disagree with many of my fellows and say that it's not great, but it's sort of okay.
If you haven't watched the 1982 Poltergeist, which stars Craig T. Nelson, JoBeth Williams and Zelda Rubinstein, do yourself a favor and stop reading now. Find it on disc or online. It's the apex of family horror films and the greatest haunted house movie ever made, so it's little surprise Kenan would be chosen to direct the remake, based on his earlier Monster House. Hooper's original figures heavily in this review, and you »
- Mike Saulters
“Tomorrowland” doesn’t have as promising a future as Disney might have anticipated.
The George Clooney-starrer is being outperformed at the U.S. box office this Memorial Day holiday by the second weekend of “Pitch Perfect 2.” While “Tomorrowland” was expected to open to $45 million — already slightly below recent forecasts — it now looks likely to reel in less than $40 million, giving the “Pitch Perfect” sequel a narrow edge with $41 million-plus.
The two films were neck and neck on Friday in as tight a race as it gets, with “Tomorrowland” earning $9.73 million, while “Pitch Perfect 2” brought in $9.66 million. The weekend’s other newcomer, “Poltergeist,” was a close third, but will likely finish the weekend in fourth with about $29 million.
The tentpole “Tomorrowland,” which carries a hefty $180 million pricetag, had been shrouded in mystery leading up to its release and is likely suffering from being an unfamiliar property with no established brand, »
- Maane Khatchatourian
Chicago – Whether it’s the 1982 original or the remake just released in theaters today to the wrath of numerous fans, the lesson of “Poltergeist” remains the same: Don’t do a half-assed job when relocating skeletons for corporate greed, or suffer the supernatural consequences.
Fear not, however, as this is one remake that doesn’t just dress up a nostalgic skeleton for the modern horror crowd, but one that reminisces, and looks forward, with a mostly intelligent, genuine heart.
Produced by Sam Raimi and crediting its story to the one made Steven Spielberg, this remake of the 1982 Tobe Hooper film involves a new family, the Bowens, as they move into a house with its own bad mojo. There’s a weird electric air in their new home, which husband Eric (Sam Rockwell) and wife Amy (Rosemarie DeWitt) have brought young Madison (Kennedi Clements), son Griffin (Kyle Catlett), and older daughter Kendra (Saxon Sharbino) into. »
- email@example.com (Adam Fendelman)
Disney’s “Tomorrowland” is looking to notch a narrow box office victory with an opening of about $45 million during Memorial Day holiday weekend, according to early estimates.
The four-day frame could see as many as four other films top the $30 million mark, with the second weekend of “Pitch Perfect 2″ likely leading the rest of the pack with about $38 million, followed by Fox-mgm’s launch of “Poltergeist” at as high as $35 million, the second weekend of Warner Bros.’ “Mad Max: Fury Road” at $33 million, and the fourth weekend of Disney-Marvel’s “Avengers: Age of Ultron” at $30 million.
“Tomorrowland,” which carries a $180 million pricetag, opened Friday at 3,972 U.S. locations with about $11 million, including $725,000 from Thursday night preview showings at 701 selected sites. The $45 million estimate is slightly below recent forecasts for the George Clooney-Britt Robertson sci-fi adventure, based partly on Walt Disney’s philosophy of innovation and one of the Disney theme park rides. »
- Dave McNary
"They’re here." The 1982 horror classic Poltergeist, directed by Toby Hooper of The Texas Chain Saw Massacre fame, and highly influenced by Steven Spielberg, has been an influence for many horror films since its release. It's no surprise, especially for a horror film, that a remake would be inevitable. How does one fill the shoes of the original Poltergeist? You don’t. It’s impossible. Director Gil Kenan, who directed 2006’s animated Monster House, takes on the unenvied task of updating Poltergeist. With a few accomplished scenes and set pieces, this updated product hits all the highlights, but looses all the substance that made the original a portrait of quaint suburban life turned into a nightmare.
The Bowen family move into a suburban community and strange occurrences begin happening in their new home. Eric (Sam Rockwell) is looking for a fresh start after being recently laid off from his job »
- Monte Yazzie
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