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Prior to his involvement in USA’s excellent Mr. Robot series (our review), Rami Malek was often restricted to tertiary roles. From Night at the Museum to The Pacific to Short Term 12, the 36-year-old has no shortage of credits for supporting characters, and even played a small, yet fairly crucial role in Supermassive’s video game sleeper hit, Until Dawn.
That all changes with the release of Bohemian Rhapsody, though, which is poised to place Rami Malek front and center as the great Freddie Mercury. And though a handful of film fans expressed some concern about his casting, those fears were quickly silenced following the unveiling of the actor as Queen’s former frontman.
Whether it’s the signature white vest and blue jeans ensemble, or the way in which Malek channels Mercury’s flamboyant performances, the attention to detail here is uncanny, and Bohemian Rhapsody is now among »
- Michael Briers
Based on the 2005 personal memoir of the same name by Jeannette Walls, this involving, sometimes deeply moving drama features a stunning cast, including Oscar winner Brie Larson, Woody Harrelson and Naomi Watts.
The story revolves around the Walls family, Rex (Woody Harrelson), his wife Rose Mary (Watts), and their four children Jeannette (Larson), Lori (Sarah Snook), Brian (Josh Caras) and Maurenn (Bridget Lundy-Paine). The family are constantly uprooted from their lives, squatting in empty, run-down properties, and constantly living in poverty. They must learn to take care of themselves as their apparent free-spirited parents both hinder and inspire their growth, salt-of-the-Earth-type tortured soul Rex, willing his kids on to find their wild side, falling in and out of sobriety, »
- Paul Heath
The Glass Castle, 2017.
Directed by Destin Daniel Crettin.
A successful New York gossip columnist believes she has left her impoverished and difficult childhood behind her – until one night she encounters her now homeless father. It brings back memories of her earlier years and raises the possibility of letting her parents back into her life.
Is The Glass Castle this year’s Captain Fantastic? Superficially, it could be seen that way. Both have unconventional, unorthodox fathers bringing up a brood of children but, once you get past that, the similarities drop away. Captain Fantastic showed an idealistic and intelligent father whose efforts at raising his children were unusual and sometimes misguided. But there was never any doubt about his devotion to the children. The father in The Glass Castle is a very different proposition. »
- Freda Cooper
The Glass Castle is the kind of film which used to be more common but doesn’t appear so often anymore – at least to this extent of quality, profile and budget. 'Based on a true story about a dysfunctional family' films tend to appear on tv at anti-social times and on anti-social channels, which varying degrees of success. Thankfully, for the most part, The Glass Castle is a real success. It’s a moving tale of a family across the decades, overcoming obstacles thrown at them by the outside world and each other.
A unit, unlike any other, who spent the childhood of their four children squatting in homes and living in poverty – second eldest Jeannette wrote her memoir in 2005, sharing the story of her unconventional childhood and her deeply dysfunctional parents with the world. »
Recent years have seen blockbusters made about pirates and wizards and zombies and superheroes, but you have to go all the way back to Ridley Scott’s “Legend” (1985), or else Rankin/Bass’ animated “The Last Unicorn” (1982), to find a proper movie made about unicorns. It’s a colossal oversight on Hollywood’s part: For all the girls (and boys) who grew up dreaming about those fabled beasts, there exists a unicorn-shaped hole in the cinematic universe today, and it’s long been my belief that the first filmmaker to come along and fill it was going to become very, very rich.
Brie Larson’s “Unicorn Store” is not that movie. Yes, it’s about unicorns, but only obliquely. Mostly, it’s about a unicorn-obsessed young art student named Kit (Larson) who needs some sort of life lesson (although what it was exactly remains maddeningly unclear at the end). In order for this pixie-dusted contemporary fable to make »
- Peter Debruge
Brie Larson is an actress who has given standout performances in films such as “Short Term 12” and “Trainwreck.” In 2016 she won an Oscar for her turn as a young mother willing to do anything to protect her son in “Room.” Now she’s premiering her feature directorial debut, “Unicorn Store,” at Tiff. Larson also stars in the touching film, which follows a young woman whose childhood dream is unexpectedly fulfilled when she begins receiving invitations to “The Store.”
“Unicorn Store” will premiere at the 2017 Toronto International Film Festival on September 11.
This interview has been edited. It was transcribed by Kaidia Pickels.
W&H: Talk a little about your description of the logline of the film.
Bl: That’s a tough one, because you have the plot points, which are that we have a young woman who’s questioning her creativity because for her whole life it’s been critiqued and pulled apart and for her, it’s part of her identity. Once she has this final blow — this professor shatters her completely — the course of the film is then her trying to choose between what feels right in her heart, which looks crazy to everybody else, or what everybody else is doing, which feels wrong to her.
The film questions why we as a society have an obsession with making everybody the same. I think that’s a part of growing up, too. I think so many people who are growing up hit a certain point in your preteen years when you become self-aware, and with that self-awareness, it becomes safe to just suppress yourself and be like everybody else and play it safe. I’ve always struggled with that, and struggled with knowing what I’m supposed to be and then ultimately having some sort of breakdown and realizing that it’s not possible for me. I can’t actually do things like everybody else.
I sometimes wish that I could, but as I’m growing older, I’m realizing that it’s the thinkers that are looking for things outside of cultural norms who are the ones changing society and helping it grow. They’re great teachers of this earth, and I hope that as we’re continuing to grow, we can start to nurture those people more. The film is in some ways a film directly for those people who are maybe going, “This world feels wrong to me and I feel like there’s another way to do it, but I’m afraid to, and I think it might just be easier to be myself.” This film is calling to you, saying, “We need you. We need you more than ever.” Those are the real superheroes of the world.
W&H: You seem so comfortable playing this part. What was it like directing this film and acting in it? And, were you able to get this film going because in the five years since you originally auditioned for this role, your status in this industry has changed?
Bl: Yeah, totally. I think that part of why I didn’t get the part the first go-around was because I wasn’t as “bankable” or whatever term industry people would use. That’s kind of the tricky thing that we’re always dancing with here — finding a way to keep artistic integrity but also making sure that this is an investment that feels safe to people. It’s just part of it.
Having the opportunity to direct “Unicorn Store,” at first I had no intention of playing Kit myself. Then, after working on the script for about a year with the writer Samantha McIntyre, she kind of coaxed me into it. She said, “There’s nobody who knows this character better than you. You’ve lived with this character for so many years. It spoke to you, and you’ve been working on writing it and shaping it. I can’t imagine anybody else doing it.” It took me a little bit to wrap my head around it — I thought, “It seems too hard, it’s impossible!”
But then, I realized that although it was going to be difficult, there was a real asset to it, that, for my first go at this, it was a little bit more contained for me in that I knew exactly what my lead actress was going to do. I knew how she was going to play certain scenes, I knew how to cover it because I knew how she was going to play it. I knew she was going to show up on time! I knew she wasn’t going to have a problem with the blocking that I’d set up ahead of time. There were a lot of things about that that were really helpful.
From my past experience being on set, I know that a huge part of directing actors is actually giving direction to their partner that they’re playing off of. It’s not always giving it to the person that’s on camera, it’s giving it to the person who’s speaking the lines. Because of that, I could fluidly direct. When you’re on somebody else’s coverage, for pretty much every scene Kit is in, I was able to redirect my actors through my own performances off camera. It just made everything feel quite easy, actually.
W&H: You’ve said, “I love that we’re seeing stronger women on-screen, but I don’t think that’s the end of this conversation. I think that the best place to start would be more female directors, more female filmmakers of every type of race, and we need to get out of these binary ways of thinking and we need more intersectionality and unique voices.” What is your inspiration to direct, and has that always been there? Can you talk about your passion for this conversation about having more women behind-the-scenes?
Bl: My obsession with film has been all-encompassing since I was really young — even when I was four years old, I made storyboards of “The Lion King” to take with me on a trip to Disney World so I could get critiques on them. I’ve always loved every part of the process. When I was in school, every summer vacation I would write a script and direct it. I’d get my cousins to be in it, and I’d build sets in our garage out of sheets and tape. This idea of creating new worlds has always been really fascinating to me. I started with some shorts and really loved the experience that I had doing that. Now with this continued conversations and this lack of change that’s happening still, I’m very grateful that we continue to be talking about. I feel like there’s a ton of progress happening for at least as much as I’m asked about it or that we talk about it.
Because of that, it turned into thinking, “Well, all of change starts with me.” I feel afraid to direct a film, because it’s truly terrifying — you’re saying, “This is how I view the world, this is what the world looks like to me” and you’re hoping that there’s some other people that agree with you. It just felt like with having won an Oscar for “Room,” it allows you to have these open doors for a brief period of time and you get to choose, you’re rewarded with that. For me, I thought, “Well, I just want to put more pieces on the board.”
Whether or not this movie is successful or whether people like it is kind of irrelevant, to be honest. In my opinion, if women go to see this movie, or people who are of a different race or identify with a different sexual orientation, who don’t feel like their stories are being told on-screen and may be afraid to step up and do it, I hope that they can watch this movie and think either, “Wow, she did it! I want to do that and I can! I feel like I can now,” or “This is the worst thing I’ve ever seen, but if she can do this, I can definitely do this.” Either way, it’s putting something out there that’s allowing for more conversation about this, to say, “Let’s do this. It’s totally terrifying, but let’s jump in the water and do this together.”
With that, there was a very specific choice in making this movie in this way — even in the way that I handled the end credits. I felt like softness and innocence were something that we’re not seeing on-screen right now because we have an obsession with taking male characters and making them female [gender-swapping characters]. That’s not to say that that’s not incredibly valuable or that I don’t enjoy watching it — I love it, but we can’t say that we’ve solved anything then, because it’s all still about women needing men in their space.
The cliche of men is that they’re masculine, they’re tough, they don’t mess around, they’re straight-shooters. For decades now it’s been about women kind of acting in that male space, saying “We’re here, we’re tough, we’re strong, we can go toe-to-toe with you,” and of course we can go toe-to-toe with them — but can men then meet us in our softer spaces? Is that possible? Are we allowed to now challenge them and say, “We’ve proven ourselves time and time again. I don’t know why we’re still having this conversation. Can you prove it to us?”
W&H: It’s like when women wore ties to go to work in the ‘80s.
Bl: Yeah, and you know what? If you want to wear a tie in the workplace, then that’s your own prerogative. It just shouldn’t be that that’s the only way that we’re doing this. It needs to be a two-way street. By continuing to have conversations like, “Do I feel pressure as a woman to do this?” or “Do I feel like I have something to prove by doing this?” the subtext is still, “Do you really believe that women could be equal to men?” To me it makes me laugh, because why should I believe that I am less than? Just because somebody invented a patriarchal society doesn’t mean that I have to believe it.
The other thing about this is that I am a woman, so it’s very easy for me to speak my truth from the space of being a woman. I do think that as women, and having taken a backseat for so long, I think that we can very much relate to others who have also had to take a backseat for many, many years. Part of this is opening up our space, even though we’re still trying to find our own space in here. Part of it is creating opportunities for others who’ve been left in the dark as well.
W&H: When you got the role of “Captain Marvel,” did you say, “I want to make sure that we have a woman director as part of this?”
Bl: That was actually part of what they said to me, and that was part of why I was excited about doing this. They said, “It’ll be female screenwriters, a female director, as many females on the team as possible.” That’s part of why I felt comfortable making the leap into that field, because these movies are huge and they have such a major platform. Being able to give a message to people on this global scale is an interesting opportunity, but what are we saying? How are we saying it?
That all comes from the collaboration of a team — it comes from the script, it comes from the director, it comes from the editor, it comes from even costume and production design. There has to be a real awareness of what’s progressive for us. What’s interesting for us to see? What’s the new way that we can show the world that we’re dynamic, interesting, complicated beings? We’ve never been just one thing.
W&H: What made you decide that you wanted to play Victoria Woodhull? She’s a woman who’s such an important piece of history, but lots of people don’t even know who she is.
Bl: That’s part of it. It’s one of the most incredible true stories that I’ve ever read that most people don’t know about. She had extreme conviction and a real belief system, and an interesting dynamic in that the things that are her strong suits are also her weaknesses. She’s incredibly savvy and kind of a genius when it comes to things like publicity, but it’s also the thing that continues to get her in trouble. She saw through the veil that existed at that point — there weren’t many people who were thinking the way that she was.
As the same time, she was struggling with her past, struggling with where she came from. There are so many parallels still to where we are today versus then. A lot of the hurdles that she was going through, a lot of the obsession that the public had with certain aspects of society are exactly the same. I think it’ll be interesting for audiences to see that, to see the cycle that we’re in and how we can move forward.
Brie Larson on Embracing Uniqueness, Directing Herself, and “Captain Marvel” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Melissa Silverstein
Brie Larson is an Academy Award-winning actress whose credits include “Short Term 12,” “Room,” “The Glass Castle,” and the upcoming “Captain Marvel.” Her short film “The Arm” won the Special Jury Award for Best Comedic Storytelling at 2012's Sundance Film Festival. “Unicorn Store” is her feature directorial debut.
“Unicorn Store” will premiere at the 2017 Toronto International Film Festival on September 11.
W&H: Describe the film for us in your own words.
Bl: Kit is a young artist who is kicked out of art school and takes a job at a temp agency. Once there, she starts receiving these very odd and intricate magical invitations that lead her to a place called “The Store.” She learns that there she can get a unicorn, which has always been her dream since she was a kid. It doesn’t cost anything; she just has to prove she’s worthy of it.
W&H: What drew you to this story?
Bl: For me, the idea of going after this unicorn was dreaming the impossible dream.
The fact that I wanted to be an actor for so long and was told “no” so many times kind of made me feel a little crazy; I was like a person going after a unicorn. There were all these people scratching their heads and going, “Why are you doing this? This is obviously never going to work out.”
So, this is, in some ways, an homage to my life and my journey and hopefully a way to inspire others to keep going on their path, whatever their unicorn is.
W&H: What do you want people to think about when they are leaving the theater?
Bl: It’s not an easy time in the world right now, so I hope that, in the spirit of film’s traditional escapism and a way to dream, this film can do that.
W&H: What was the biggest challenge in making the film?
Bl: Making a feature film is a long and hard yet fulfilling process. I garnered so much empathy for the many, many jobs involved in making a feature film and what it takes to get it made.
I wore so many hats in pre-production, production, and post-production. As a director, you have to be deeply involved in every aspect from the costumes and casting to location scouting and sound mixing.
It was a wonderful, informative, challenging, exhausting, and rewarding experience.
W&H: How did you get your film funded? Share some insights into how you got the film made.
Bl: I actually auditioned for “Unicorn Store” about five years ago and didn’t get the part. When I later found out that the film didn’t get made, I decided to go about it in a non-traditional way because the script had really resonated with me.
W&H: What does it mean for you to have your film play at Tiff?
Bl: It’s emotional and meaningful to be back at Tiff sharing this film. It just feels like another piece of my heart is up for viewing at Tiff!
W&H: What’s the best and worst advice you’ve received?
Bl: One of the most interesting pieces of advice I got recently was to “give it five years.” It’s essentially both good and bad — everything is perspective.
The worst piece of advice was before a callback a number of years ago. I was told to “come back in a short jean skirt.” I hope we’ve moved past that as a community.
W&H: What advice do you have for other female directors?
Bl: If the traditional ways don’t work, don’t be afraid to go an untraditional route. We are in the business of creativity; utilize that skill set.
W&H: Name your favorite woman-directed film and why.
Bl: Agnès Varda’s “Cleo from 5 to 7.” It is vastly symbolic. Instead of focusing on major plot points, it’s a film about process. It began my deeper understanding of archetypal images as a supplement to storytelling.
It’s beautifully performed, thoughtful, and engaging.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
Bl: Ultimately, if opportunities aren’t handed to us, we will create them for ourselves and continue pushing the limitations.
Directors like Patty Jenkins and Kathryn Bigelow are great examples of this. One just proved that a female director with a female star in a traditionally male-driven genre can be just as successful and formidable. And the other is the only female director to win an Academy Award across nearly nine decades. They continue to tell gritty, true-life stories that many would hesitate to finance or distribute.
As a minority, for better or worse, we are required to work harder and smarter for opportunity. By doing so, we may hopefully ease the way for our peers.
Tiff 2017 Women Directors: Meet Brie Larson — “Unicorn Store” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Kelsey Moore
With a highly searchable subject matter, there are a plethora of podcasts exploring the great unknown of human sexuality. Just type “sex” into the Apple Store search bar, and a slew of eyebrow raising titles come up, like “Sex Talk With My Mom” to “The Manwhore Podcast.” But how is one to choose, with only so much time on the morning commute or treadmill? For every engaging, funny, and informative sex podcast out there, there are twice as many skippable duds. Which is why we’ve searched the audio waves to bring you the very best sex-talk the podcast world has to offer.
Ranging from the hilarious and outrageous to the nerdy and informative, with a lot of overlap in between, these eight podcasts represent a diverse array of perspectives. We prioritized entertainment value, non-judgmental approaches, and feminist perspectives to deliver an enjoyable crash course in human sexuality. From long-running »
- Jude Dry
Lionsgate UK have released the very first trailer and UK quad poster for their upcoming motion picture drama The Glass Castle, which stars Brie Larson, Woody Harrelson and Naomi Watts. We saw this film a little while ago and were absolutely blown away by it, particularly by the performances of those three actors. Watch The Glass Castle UK trailer below.
Chronicling the adventures of an eccentric, resilient and tight-knit family, The Glass Castle is a remarkable story of unconditional love. Oscar® winner Brie Larson brings Jeannette Walls’s best-selling memoir to life as a young woman who, influenced by the joyfully wild nature of her deeply dysfunctional father (Woody Harrelson), found the fiery determination to carve out a successful life on her own terms.
The screenplay is by Destin Daniel Cretton »
- Paul Heath
Ever since it was revealed that Warner Bros. is planning an origin movie built around Batman’s archenemy, the Joker, speculation has been rampant about which actor will fill the character’s clown shoes.
The film will be under an entirely new DC banner, one that exists outside of the DC Extended Universe, meaning that Suicide Squad’s Jared Leto won’t be making an appearance in the project. According to the report, Todd Phillips will direct and co-write the screenplay with Scott Silver, and Martin Scorsese will produce.
While the film’s concept may leave some viewers confused, given how the Joker is already an established character within the studio’s other movie universe, it does leave DC with a blank canvas ripe with exciting story, creative team and casting possibilities. As for the latter, actor Lakeith Stanfield has already thrown his hat in the ring for the role. »
- Justin Cook
Japanese manga hit Death Note comes to Netflix this Friday in a big-budget American film adaptation. Horror director Adam Wingard (V/H/S, Blair Witch) puts a western spin on a franchise that has enthralled Asian audiences for years. The original comic was written by Tsugami Ohba and illustrated by Takeshi Obata in 2003. It has sold millions of copies since its inception. Followed by an anime television series, three live action films, and multiple video game releases. To say Death Note has an established fan base is a tremendous understatement.
The western version of Death Note takes place in modern day Seattle, Washington. Nat Wolff, the former Nickelodeon star turned indie-film favorite, stars as Light Turner. He's an angry teen struggling with the accidental death of his mother. Sitting alone on a rainy day outside class, a strange book called the Death Note appears beside him. It is given to »
Once again, it’s almost Tiff season and several new films will be hitting the scene. This includes a new, buzz-worthy project from “Your Sister’s Sister” helmer Lynn Shelton. Deadline reports that The Orchard has obtained worldwide distribution rights to Shelton’s “Outside In,” which will make its debut at Tiff in September.
Written and directed by Shelton, “Outside In” explores the relationship between a high school teacher, Carol (Edie Falco), and an ex-student (Jay Duplass) following his release from prison. As he works to catch up with all that he’s missed, Carol attempts to rebuild a relationship with her teenage daughters.
“Outside In’s” cast also includes Kaitlyn Dever (“Short Term 12”) and Ben Schwartz (“Parks and Recreation”). Mel Eslyn and Lacey Leavitt serve as producers. The Orchard’s two-part release plan includes a theatrical and digital premiere sometime in 2018 followed by a Netflix release shortly thereafter.
“Your Sister’s Sister,” starring Emily Blunt (“The Girl on the Train”), Rosemarie DeWitt (“La La Land”), and Mark Duplass (“The League”) also premiered at Tiff. Shelton’s directorial credits include episodes of “Glow,” “The Mindy Project,” and “New Girl” and films “Laggies” and “Touchy Feely.”
The Orchard Acquires Lynn Shelton’s “Outside In” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Kelsey Moore
In what’s been a fairly wretched summer box-office season, Oscar-winners Casey Affleck, Brie Larson, and Matthew McConaughey had some of the worst of it with “A Ghost Story,” “The Glass Castle,” and “The Dark Tower.” Casting didn’t drive those failures, but possessing Hollywood’s most-coveted award offered little or no bottom-line benefit.
Read More:The Most Surprising Movies of the 2017 Summer Movie Season
Beyond creating certain mention in the first sentence of an obituary, the long-term impact of an Oscar is never clear. In the 15 years since Halle Berry won an Oscar for “Monster’s Ball,” her roles have ranged from decorative to derivative — a trend that continued with this late-summer’s release of the low-budget, don’t-mess-with-Mama thriller “Kidnap.”
Still, is it too much to expect a short-term uptick in interest and box office? The summer of 2017 suggests that may be the case.
Best Actress, 2016
Oscar-winning film: “Room, »
- Tom Brueggemann
With David out sick, Devindra and Jeff team up this week to chat about The Glass Castle, the latest film from Short Term 12 director Destin Daniel Cretton. You can always e-mail us at slashfilmcast(At)gmail(Dot)com, or call and leave a voicemail at 781-583-1993. Also, like us on Facebook! Download or Play in Browser: Subscribe to the /Filmcast: Shownotes What We’ve Been Watching Devindra (03:45): Annabelle: […]
The post /Filmcast Ep. 431 – The Glass Castle appeared first on /Film. »
- David Chen
“Annabelle: Creation” may not be able to save the summer — which, after this weekend, will only fall farther behind last year’s pace — but it is doing its part to frighten audiences into theaters.
The latest from New Line and Warner Bros, which serves as the fourth installment in what has become the “Conjuring” extended universe, is casting its evil eye on $35 million from 3,502 locations. That’s a strong start for the horror flick, which was made for about $15 million.
The track record for the franchise is strong — “Annabelle” ($37.1 million); “The Conjuring” ($41.9 million); and “The Conjuring 2” ($40.4 million). David F. Sandberg directed the sequel about a dollmaker whose creation terrorizes a group of orphan girls. For those invested in the “Conjuring” canon, it serves as a prequel to the first “Annabelle.” Stephanie Sigman, Talitha Bateman, Anthony Lapaglia, and Miranda Otto star in the pic that critics have generally given a thumbs up »
- Seth Kelley
The Glass Castle, 2017.
Directed by Destin Daniel Cretton.
A young girl comes of age in a dysfunctional family of nonconformist nomads with a mother who’s an eccentric artist and an alcoholic father who would stir the children’s imagination with hope as a distraction to their poverty.
While watching The Glass Castle (based on the true story and life memoirs of Jeannette Walls) I was frequently reminded of last year’s incredible Captain Fantastic which also dealt with an unorthodox family preferring to live and raise their own children by the opposite of society’s expectations. In both films, the very well-being and safety of the children are endangered, but the events throughout The Glass Castle are unsettling, disturbing, and unforgivable. So, not to pick a debate with »
- Robert Kojder
It seems that audiences are eager to drown out the threat of nuclear armageddon on the Korean peninsula by hitting up the multiplexes this weekend. Nothing makes Americans forget about a looming missile crisis like a demonically possessed children’s toy.
With cable news chyrons blaring the latest in the war of words between Kim Jong Un and President Donald Trump, “Annabelle: Creation” is shaping up to be a much more potent force than initially anticipated. The Warner Bros. and New Line horror film is on track to bring in as much as $38 million this weekend from 3,502 locations, according to Friday afternoon projections. Some rival studios even think it has a chance of hitting $40 million. No matter where it lands, the opening weekend will be a nice return on the film’s $15 million production budget. It’s also a much bigger debut than the $25 million launch that many were predicting the film would enjoy.
- Brent Lang
The Bottom Line: August 11, 2017 This weekend sees the return of Short Term 12 director Destin Daniel Crettin and that creepy little doll Annabelle. Find out how they will do in this week’s edition of The Bottom Line! Box Office Top Five The Dark Tower managed to top the box office despite overwhelmingly mediocre reviews. It took in $19.2 million, which [...]
- Michael Smith
After the critically acclaimed success of 2013’s “Short Term 12,” director Destin Daniel Cretton already knew what he wanted to tackle next — an adaptation of Jeannette Walls‘ 2005 best selling memoir “The Glass Castle.” The book is chalk full of dark and heavy themes about Walls’ childhood but primarily focused on the dysfunctional relationship she had with her mentally unbalanced parents.
- Jordan Ruimy
Hollywood is pinning its hopes on a demon-possessed doll as it looks to shake off the late-summer doldrums. “Annabelle: Creation,” the latest installment in the “Conjuring” cinematic universe, opened to $4 million in Thursday pre-shows. Box office sages predict that the horror film will pull in roughly $25 million this weekend.
That makes the film a shrewd bet for Warner Bros. and New Line, which spent an economical $15 million to put a frightening spin on children’s toys. It is, however, a significant drop-off from the openings of other films in the series. The first “Annabelle” kicked off to $37.1 million, while “The Conjuring” and “The Conjuring 2” premiered to $41.9 million and $40.4 million, respectively.
David F. Sandberg directed the prequel about a dollmaker whose creation terrorizes a group of orphan girls. The cast includes Stephanie Sigman, Talitha Bateman, Anthony Lapaglia, and Miranda Otto. Reviews have generally been favorable, which should help the latest “Annabelle” push last weekend’s winner, Stephen King »
- Brent Lang
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