The Han Solo origin film began its international run with a dismal $65 million this weekend. Its three-day domestic total of $84 million and four-day estimate of $101 million would bring “Solo’s” worldwide launch to $148 million.
“Solo” is currently tracking the lowest opening for a “Star Wars” movie. The most recent “Star Wars” installment, “The Last Jedi,” opened internationally in December 2017 with $230 million and went on to generate $712 million overseas. “Rogue One” — the first standalone “Star Wars” anthology film — debuted in 2016 with an international total of $134 million. It ultimately earned $523 million overseas.
“There’s a depth to the color, there’s a superiority to the resolution, there’s a depth to the blacks, the contrasts, everything. I mean, there are all kinds of things that digital technology can’t duplicate,” Nolan adds.
“It can do its own version and all that, and there are a lot of filmmakers who respond really well to that and really enjoy that version of imaging, but it’s different.
Putting in one of the worst opening-weekend performances of any Hollywood tentpole of recent memory, Disney and Lucasfilm's Solo: A Star Wars Story earned just $10.1 million in its first frame in China, according to early estimates from ticketing app Maoyan.
The sputtering start left the Han Solo origin story lagging in a distant third place behind two holdovers. Chinese romantic comedy How Long Will I Love U dominated with $25 million in its second weekend, while Avengers: Infinity War similarly trounced its fellow Disney title, earning ...
Nonetheless specialized audiences are still searching out top films like Magnolia’s Top Ten $5-million breakout “Rbg,” about the octogenarian Supreme Court justice, which continues to thrive at over 400 theaters. Paul Schrader’s “First Reformed” (A24) found more interest in its second weekend in a top city expansion as it goes full steam ahead.
The concept of captivity as a breeding ground for romance seems ripe for a #BelleToo response. And however eagerly we await the beast’s screen redemption, surely all the psychological think-pieces of the last few years have disabused us of believing clinical narcissism is even remotely a curable condition. As for the idea that the west wing is the most treacherous place a person could venture… well, okay, that one still holds.
But the songwriting team of Howard Ashman and Alan Menken could sell us on anything, and
Solo: A Star Wars Story holds an interesting position on the border between familiar, well-known territory and a brave new world, as the first film in the franchise not to feature any members of the Skywalker family. While Solo is easily the installment least interested in exploring the nature of the Force, there are other ways in which the film sticks closely to tried and true Star Wars narrative formulas. Nowhere is this more apparent than in the character of Tobias Beckett (Woody Harrelson). Ever since the very beginning, with Leia’s (Carrie ...
“Solo: A Star Wars Story” managed just $9.62 million, according to local data service Ent Group. Disney’s estimates point to $10.1 million.
The film had been given some 77,000 screenings on its opening Friday, more than any other title in the marketplace. But after that weak opening, exhibitors transferred screens to “How Long” on Saturday and again on Sunday. “Solo” played just under 60,000 sessions on Sunday.
Chinese time swap romance, “How Long” had been the previous weekend’s surprise package, when it opened in second place. In its second weekend, it climbed to top spot, and scored $24.1 million. That was down only 33% from its first weekend score. After 10 days on release it now has $81.4 million.
In case you were curious, HBO is no longer providing screeners for “Westworld,” which means this humble reviewer has no idea what happens beyond this week’s episode, and any speculation is thus based on pure theory. Only four episodes left before the season finale. And what a ride it’s been already.
While the past two episodes have demonstrated immense focus on specific storylines, “Phase Space” plays catch-up with nearly all of the show’s main players, moving the football forward for each of their storylines to at least a small degree. This means we see Maeve and her crew make their way out of Shogun World, following a badass samurai swordfight between Musashi and Tanaka and an emotional moment for Akane, as she says goodbye to surrogate daughter Sakura — and Maeve even makes it as far as the homesteads of Westworld,
From the beginning, “Killing Eve” — an adaptation of Luke Jennings’ novellas — has specialized in surprises that both reveal and confuse aspects of its characters’ psychologies. The obsession that MI5 officer Eve Polastri (Sandra Oh) has with the international assassin known as Villanelle (Jodie Comer) is in itself a muddled mess of desires, and that comes to a head in the jam-packed finale when the two meet again.
When Eve tracks down Villanelle to her posh Paris flat, she confesses that the killer has overtaken her every waking thought and then collapses on the bed from exhaustion. Villanelle takes the gun that Eve had been holding, lays down beside Eve, and then puts the gun away. It appears that they’ve come to an understanding with no threat of danger between them.
But as the two turn to each other in a charged, intimate moment,
How do you convey facts in an era of fake news? “The Fourth Estate” aims to illustrate exactly that, as Liz Garbus’ four-part docuseries delves into the exhausting lives of New York Times’ reporters delivering exhaustive coverage of all things Trump. Starting with the newsroom watching his inauguration and running through April 2018, the engrossing series moves at the pace of its subjects: fast and efficient. Yet much like some of the inevitable mistakes of the paper of record,
No one was expecting a challenge to all-time openings: “Solo: A Star Wars Story” falls outside the main franchise storyline and faces competition in a top-heavy blockbuster period. Still, the most pessimistic guess was $105 million for the four-day period, with $115 million considered a more likely low-end result.
We anticipated some reasons for the lower guesses. But this even-weaker total suggests that all the possible excuses came to pass — a troubled production history, mediocre early reaction, too much competition, too many Star Wars films in close proximity.
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Here’s the synopsis, which gives away a great deal for those who aren’t familiar with the Bard’s tragedy: “The 80-year-old King Lear divides his kingdom among his daughters, Goneril, Regan and Cordelia, according to their affection for him. Cordelia refuses to flatter him, so he banishes her. Having acquired power, Goneril and Regan expel their father from their homes. At the same time, Lear’s prime minister, Gloucester, is betrayed by his son Edmund and his other son, Edgar, is forced to go into hiding. Lear becomes mad, Gloucester is blinded: both the
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