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.
Jennifer Fox wants you to see “The Tale.” While most writer-directors are invested in finding an audience for their picture, Fox’s motivations are deeper. The new HBO film isn’t just her first feature as a writer and first scripted film as a director; it’s her own story, crafted (and re-crafted) while she was living it, and meant to help the world understand the complex nature of childhood sexual abuse — abuse she experienced first-hand.
“My goal was to understand how and why it happened and to help other people and the world understand how complex and nuanced these events are,” Fox said in an interview with IndieWire. “That’s the purpose of this film.”
“The Tale” focuses on Jennifer (Laura Dern), a documentary filmmaker who’s forced to reassess an adolescent relationship with two coaches, a horse riding instructor named Mrs. G (Elizabeth Debicki) and her friend and track coach,
De la Huerta currently lives in France, but plans to return to New York in order to be interviewed by prosecutors. “Anything that will put him in jail will make me happy, but it’s important to me that my voice is heard. I’m happy we’re closer to justice. But I feel my case is being overlooked and not taken as seriously, and that upsets me,” she adds.
“It’s complicated. Part of me is very happy, and part of me is sad.
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 ...
Co-owned by the top three American theater chains — AMC, Cinemark, and Regal — Fathom Events hosted 26 different live events that grossed over $1 million each last year, among them being the boxing match between Floyd Mayweather and Conor McGregor and a showing of “Disney’s Newsies: The Broadway Musical,” which led all events with $4.7 million.
Also Read: 'Solo' Struggles at Box Office, to Open at $101 Million for 4-Day Holiday Weekend
It’s been slow-going for alternative content to become a factor in movie theater revenue, but Fathom Events is hoping that 2017 will be seen as the year that momentum for the medium started to ramp up. At CinemaCon in April,
24.) The Dilemma: What at first appears to be Howard’ attempt at a Woody Allen-style film about crisscrossing relationships gradually instead turns out to be an inert romantic dramedy. Vince Vaughn and especially Kevin James are taken well beyond their comfort zones, but Winona Ryder and Jennifer Connelly acquit themselves about as well as possible. Howard’s style isn’t as instantly identifiable as someone like Tarantino, but The Dilemma barely even feels like it was made by him.
23.) How the Grinch Stole Christmas: Dr. Seuss has rarely translated well onscreen,
A “Deadpool 2” trailer that had fans buzzing in anticipation of a continuing presence of the X-Force was actually shot to pull the rug from under Marvel fans, says Terry Crews, who played a mutant called Bedlam.
The sneak preview footage played up Deadpool’s plan to create the X-Force after he had sufficiently alienated the X-Men. But the result of the much-hyped skydive scene quickly turns that upside down — as almost every single member of Deadpool’s new team was killed off in comically gruesome ways.
Crews, whose Bedlam meets his end at the hands of an oncoming bus, told Business Insider that the audience reaction at the world premiere gasped when the mutant superteam was squashed.
Also Read: 'Deadpool 2': What Is 'Fridging' and Why Are People Annoyed About It?
“Everything that we shot that
“Solo: A Star Wars Story” adds a lot of context to a pair of objects that have become a big part of the new crop of “Star Wars” movies. Those objects are a chained pair of gold dice, hanging from the cockpit of the Millennium Falcon.
Though eagle-eyed or highly dedicated “Star Wars” fans might have been aware of them way back in “A New Hope” in 1977, the dice have only become a bigger part of the main story in “Star Wars: The Last Jedi” when Luke Skywalker (Mark Hamill) found them in the Falcon. For your average “Star Wars” fan, the history of those dice was a bit of a mystery. “Solo” spends some time explaining their deal, and why they matter to Han Solo.
Also Read: Why Chewbacca Is the Unsung,
Directed by Kate Novack, the documentary explores the life and creative vision of fashion writer Andre Leon Talley, who is most famous for serving as the editor-at-large at Vogue. It is estimated to have a three-day opening of around $44,500 for a per screen average of $11,125. Reviews have been positive with an 84 percent score on Rotten Tomatoes.
Also Read: 'Solo' Slows at Box Office, to Open at $101 Million for 4-Day Holiday Weekend
Just below “Gospel” on the per screen average charts is the Chinese import “How Long Will I Love U,” a sci-fi romantic comedy about a man and woman who live in the same apartment 20 years apart, only to discover that their timelines have merged and forced them to live together.
“Solo: A Star Wars Story” fills in the backstory of Han Solo and quite a few other characters. The movie’s biggest twist, however, doesn’t have to do with the events that lead Han to becoming one of the greatest smugglers in the galaxy — it’s about one “Star Wars” character who turns out to be still alive, still influencing the galaxy, and still posing a threat to a lot of people.
The end credits for Solo: A Star Wars Story list Phil Lord and Christopher Miller as executive producers on the project; of course, less than a year ago, they were still in the director’s chair before being fired. The shift from Lord and Miller to Ron Howard as director might have felt very extreme; though Howard has lent his voice and producing credit to the seminal TV comedy Arrested Development, his films are rarely as fast-paced, manic, and outrageous as any of Lord and Miller’s live-action or animated directorial efforts. Considering that ...
For a movie packed with action set pieces and dazzling special effects, the most hair-raising moment of “Solo: A Star Wars Story” comes near the end in a much quieter scene, when a fan-favorite character appears on the big screen, via hologram, for the first time since 1999.
“Star Wars” films are built on revelations that someone bigger and badder is pulling the strings behind the scenes, from the emergence of Emperor Palpatine in “The Empire Strikes Back” to the introduction of Supreme Leader Snoke in “The Force Awakens.” So it’s hardly a surprise that a nefarious player would be lurking in the shadows of the underworld depicted in “Solo.”
That player turns out to be Darth Maul, a bold move by writers Lawrence and Jonathan Kasdan
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