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.
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,
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 reverse order, here is a rundown of the best and worst that these films have to offer.
10. “Episode I: The Phantom Menace”
We waited 16 years for George Lucas to return to this universe, and what did we get? Trade routes and political intrigue, blood tests for the Force, and perhaps worst of all, Jar Jar Binks. “Menace” isn’t terrible because it’s a kid’s movie; it’s terrible because it’s a terrible kids movie.
Also Read: 'Star Wars': How the First 6 Films Performed at Box Office
Highlight: The light-saber battle between Qui-Gon Jinn (Liam Neeson
Putting its titular MI5 agent Eve (Sandra Oh) and assassin Villanelle (Jodie Comer) in the same space as each other midway through its first season, “Killing Eve” all but guaranteed an even bigger face-off by finale. In many ways, it was like Chekov’s gun. Seeds of chemistry were planted, but the bigger threat loomed for weeks as the first short season moved through the story fast, creating a two-way cat-and-mouse chase as Eve
In just eight episodes, BBC America’s “Killing Eve” established itself as a whipsmart, terrifying, hilarious force to be reckoned with. It was exciting to see creator Phoebe Waller-Bridge breathe life into the spy thriller genre, if unsurprising given the brilliance of her series “Fleabag.” It was spellbinding to watch Sandra Oh as restless agent Eve in her first major TV starring role since “Grey’s Anatomy,” if unsurprising given how good Oh has long proven herself to be.
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
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