The Warner Bros. film pulled in $57 million from 61 territories in its second weekend, crossing the $200 million mark internationally. With the $21 million it made domestically this weekend, “Rampage’s” global tally sits at $283 million.
“Rampage” has brought in $106 million in China alone, seeing $27.2 million on 17,000 screens this weekend. Korea was another top market, where it made $3.3 million on 870 screens. In Mexico, the film earned $2.9 million on 2,193 screens, while in the U.K. it brought in $1.9 million on 744 screens. The next key markets to open will be France, Germany, and Japan.
Another Warner Bros.’ title, “Ready Player One” earned $23 million from 67 territories this weekend. Steven Spielberg’s latest opened this weekend in its final major market, Japan, with $4.4 million from 749 screens. Internationally, the film is just shy of the $400 million mark at $395.4 million. “Ready Player One
A record-breaking, 840-minutes film – the longest fiction feature in Argentine history – La flor consists of six different episodes, all starring the same four actresses, who form the acting company Piel de Lava ("Lava Skin"). Shot independently throughout a nine-year period across three continents,...
The Dwayne Johnson-starring action film earned $27.4 million in its second weekend from close to 100,000 screenings per day, according to data tracking service Ent Group. That was a drop of only 50%, compared with its opening $55.1 million. After 10 days, “Rampage” has a cumulative score of $106 million.
Elsewhere, figures were mostly modest, and the cumulative total of the top 10 films adding up to only $57 million. That score is the third weakest weekend of the year.
Opening in second place, Chinese comedy “21 Karat” could only manage $10.1 million, despite its 62,000 daily screenings. Pointing to a rapid exit from theaters, its numbers dropped on Saturday and again on Sunday.
Slipping to third place, “Ready Player One” scored $8.24 million from 35,000 screenings per day. It now has a cumulative score of $207 million after 24 days, making it
Directed by Marilyn Ness, who produced the award-winning doc Cameraperson, this Tribeca festival premiere follows a cast of real-life cops, community organizers and politicians as they try to save lives in a place where death is an everyday occurrence. Well-made, while offering brief flashes of hope despite the harsh realities depicted, the film could charm its way to VOD and TV...
“It’ll be cool,” he promises, without a trace of anxiety about the fact that the theater looks very much closed to the public.
Pettyfer, outfitted in a baseball cap and a tight-fitting t-shirt that reveals an elaborate series of arm tattoos, is in New York to show “Back Roads,” a moody drama that marks his directorial debut, at the Tribeca Film Festival. He produced the film, as well as stars in it as Harley, a young man struggling to hold his impoverished family together after his mother (Juliette Lewis) is jailed for killing his father.
“The most humble experience I’ve ever had was making ‘Back Roads,’ because I realized as an actor you’re on a solo journey,” said Pettyfer.
Heading into Sunday’s show, four of the Top 14 — Gabby Barrett, Cade Foehner, Jurnee and Ada Vox — were your clear favorites, according to our poll of readers. Each of them had racked up at least 10% of the total vote to date. If they tally at least that when America weighs in, each of them should number among
In her caption for a snapshot of the moment on Instagram, Hudson gushed to her former Dreamgirls co-star, "It’s not what u do but how u do it ! And @Beyonce you have out done yourself ! Only u know how to top this ! I wouldn’t have missed this for the world ! #beychella"
"Here to see my dream girl," Hudson said in a video clip from her experience at weekend two of the California music festival, which she also posted on Instagram. The...
The actor, who played Prince Philip in the first two seasons of the Netflix royal drama, told The Hollywood Reporter he supports Foy.
"Claire is one of my best friends, and I believe that we should be paid equally and fairly," he said, adding: "I support her completely, and I am pleased that it was resolved and they made amends for that because that what's needed to happen. Going forward, I think we should all bear in mind we...
A whopping 169 would-be winners made the trip to La La Land, before being cut to 50. That group then competed both individually and in groups before the judges decided on the Top 24. Those two dozen artists were then asked to sing both solo and in duets with celebrities and convince the three judges that they deserved a place in the Top 14.
See ‘American Idol’ Top 14: How to vote for your favorite artist of Season 16 on ABC
The season 16 finalists are: Gabby Barrett, Jonny Brenns, Marcio Donaldson,
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This Galloway, NJ resident grew up with four siblings and a hard-working mother. “My family is just amazing people and I couldn’t have asked for any bigger supporters,” Mara declared in her “Agt” video package. “I love my mom so much because she believes in me. To have a mom that believes
The special gems, created from the singularities responsible for the Big Bang, have incredible power. Thanos is looking to unite them all in his Infinity Gauntlet. And when they’re all joined, the stones will be able to reshape the fabric of reality itself.
Over the last decade and throughout the 19 movies of the McU, the six Infinity Stones have popped up in various forms. Thanos doesn’t have any just yet. Here is where each of the six Infinity Stones were last seen in the McU.
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The stone that has been the biggest part of the McU up to now is the Space Stone, which is hidden in a blue cube called the Tesseract. Last time we saw it, it was in Odin’s vault on Asgard in “Thor: Ragnarok,” where it was placed after Thor took possession of it at the end of “The Avengers.” However, as of the end of that movie, Asgard isn’t there anymore.
Toward the end of “Thor: Ragnarok,” Loki was in the vault to use the crown of Surtur to bring about Ragnarok, destroy Asgard and stop Hela. He stopped when he spotted the Tesseract, which heavily implied he took it from the vault before Asgard was destroyed. That would put the Tesseract, and the Space Stone inside, on the spaceship bearing Thor, Loki, Hulk and the people of Asgard to Earth. Trouble is, a mid-credits scene at the end of “Thor: Ragnarok” showed that ship being intercepted by the massive warship commanded by none other than Thanos himself.
Since the Asgardians already had an Infinity Stone in their vault, they figured it was a bad idea to keep two there. After Thor recovered the Aether from the Dark Elves in “Thor: The Dark World,” he took the stone to the Taneleer Tivan, the powerful and ancient Elder of the Universe also known as the Collector, on the criminal outpost Knowhere. The idea was for the Collector to keep the Aether and protect it.
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We haven’t seen the Aether since then, so it’s presumably still on Knowhere and still with the Collector. However, who knows what the Collector might have done with it.
The Guardians of the Galaxy got hold of the Power Stone, which was formerly secreted in the round silver object referred to only as “The Orb,” after defeating Ronan the Accuser, who Thanos sent to retrieve it. In “Guardians of the Galaxy,” the team left the Infinity Stone on the planet Xandar, in the care of its military, the Nova Corps. It’s presumably still locked up there for safekeeping.
The Mind Stone is more than just a powerful object: it’s also a person, at least in its current form. The stone is on Earth and was used by Tony Stark and Bruce Banner in “Avengers: Age of Ultron” to create Vision, the part-biological, part-artificially intelligent robot Avenger.
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Vision last appeared in “Captain America: Civil War,” which showed him living with the other Avengers in their compound in Upstate New York. When Thanos comes for the Infinity Stones, he’ll have to take the Mind Stone out of Vision’s head… and we have no idea what that might do to him.
Doctor Stephen Strange has the Time Stone on Earth in a powerful amulet he wears around his neck called the Eye of Agamotto. Strange used the amulet, which he didn’t know was an Infinity Stone at the time, to defeat the interdimensional entity Dormammu after the sorcerer Kaecilius tried to bring forth Dormammu’s Dark Dimension to take over Earth. Strange traveled to the Dark Dimension and used a powerful artifact called the Eye of Agamotto to manipulate time, trapping Dormammu in an endless time loop until it agreed to undo the damage Kaecilius had done.
Strange’s ally, the sorcerer Wong, revealed that the Eye contained the Time Stone, and Strange has kept it ever since. He was last seen wearing it in “Thor: Ragnarok,” when Thor and Loki traveled to New York in search of Odin and met Strange in the New York Sanctum.
Though we’ve seen all of the other Infinity Stones in some capacity through the films of the Marvel Cinematic Universe, there is one that has never popped up in any movie: the Soul Stone. There are some theories, however.
First, the Soul Stone could be hidden in Wakanda. In “Black Panther,” audiences saw that T’Challa was able to visit a spiritual plane populated by his ancestors when he consumed the Heart-Shaped Herb. It could be that the meteorite filled with Vibranium that crashed into Wakanda in Earth’s distant past and which gives the Heart-Shaped Herb its power, could actually contain the Soul Stone — which would make sense with the spiritual aspect of its power.
The stone could also be on Titan, the moon of Saturn. Thanos is originally from Titan and we know from trailers that events in “Infinity War” take place there. The reason several of the heroes and Thanos wind up near Saturn, then, could be to retrieve the stone.
Apart from the stone we’ve never seen, the last known whereabouts of the Infinity Stones place two on Earth, one on Xandar with the Nova Corps, one on Knowhere with the Collector, and one on Asgard — probably on the Asgardian spaceship. Trailers suggest Thanos will have two of the stones by the time he shows up on Earth: the Space Stone that it seems Loki will give him, and the Power Stone, which we last saw on Xandar. What happens to the rest of the stones after that, however, is still anybody’s guess.
Read original story ‘Avengers: Infinity War’ – Here’s Where We Last Saw Each Infinity Stone At TheWrap
“Diane” is a character study about an older woman played by Mary Kay Place, and it is an unusual, elusive, windblown sort of movie, always twisting and turning and moving in different directions. Whenever “Diane” seems to settle down for a moment to let us comprehend something about the lives of its characters, it jumps ahead or sideways or away from us; as in life, our understanding of what is happening and what it means keeps shifting. The tone here is elevated and a bit difficult sometimes, but the end point of all this difficulty is transcendent, and then something beyond even transcendence.
Place’s Diane is first seen asleep in a hospital room, with her dying cousin Donna (Deirdre O’Connell, “The Path”) watching over her. Diane is there to help Donna die, basically, but it is Donna who is there at the beginning to bless Diane with some attention, and that reversal is typical of this movie. Diane is shown as a conscientious woman who is always making lists and visiting her friends and family, most of whom are physically ill in some way; she is barely ever seen at home. We never do find out what she once did for a living, and we only hear about her deceased husband in passing.
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But we learn a great deal about Diane’s tortured relationship with her son Brian (Jake Lacy), who is a drug addict. At first, it appears as if the very selfish Brian never looks outside of himself and that Diane spends a somewhat inordinate amount of time helping others, and “Diane” seems to be getting at a difficult subject here.
There have been many movies about having detestable parents, but comparatively few films about having a detestable child. In many ways, having a detestable child is a far worse fate, because it’s relatively easy to reject hateful parents and almost impossible to reject a hateful child. But this is actually not what “Diane” is ultimately interested in.
When Diane goes to see some elderly family members and friends all huddled around a table in a kitchen, we can feel just how much comfort she takes in their presence because Jones switches to a much faster editing style with quick cuts that makes for a contrast to the scenes of Diane by herself, which begin to rely on dissolves to show how she is losing her grip on her life.
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Place has often been cast as a best-friend character on TV and in movies, and Diane is a best-friend type, on the surface. But as this movie goes on, we begin to realize that Diane hasn’t always been like this. “Diane” is a very insightful film about old age because it acknowledges how many different people a person can be throughout a long lifetime, and it’s a lucky person who isn’t ashamed of some of those younger variants of themselves.
This movie changes somewhat drastically when we see Diane go to a bar to get drunk because her awful son has gone missing. With a few drinks in her, we see a different Diane, an earlier version who liked a good time and wasn’t as hard on herself. She starts to dance by the jukebox, but then her drunken high spirits crash down low as we see her sitting at a table while the 1991 hit “I’m Too Sexy” plays, a piece of pop detritus that incongruously bobs back to the surface.
Will Diane ever hear that song again, or think of it? Will we? There’s a randomness to that silly old song coming on that points up the deliberate untidiness of this movie, its refusal to look away from moments that might not have any meaning.
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Though she has obviously had a lot of drinks, Diane’s voice sounds clear and calm as she asks for another, but the waitress thinks she has had enough, and she is basically told to leave the bar. “I remember you, Diane,” the bartender tells her. In that one line, we can hear a reaction to this other person Diane used to be, and we can sense that maybe she wasn’t too unlike her own son when she was younger.
There comes a point when Jones does briefly quote another director here. Diane starts keeping a journal, and there’s a section of this movie where we see what look to be her favorite moments from her past. These short shots are clearly an homage to the fleet-footed visual style of Terrence Malick, a filmmaker that Jones has praised in the past. But Jones ultimately has a far tougher point of view than Malick. The thing that’s so unsettling, finally, about “Diane” is that it stresses the formlessness of life.
Diane’s brown hair goes white. We hear her voice on the soundtrack, and she is wondering if she left the stove on, and if she took a pill she needed to take. If we get to be old, we are probably not going to be thinking about the best sex we ever had, or a poem we loved. When we are old and still clinging to life, our thoughts can rest on the small things that suddenly seem so important, like if we left the stove on, or if we took our pills.
“Diane” is not easy to take sometimes, but it never lies, and the performances from all the actors here tell the truth, too. Jones has always been unusually attentive as a critic when it comes to how much acting can affect or influence a movie, and so “Diane” is about many things, but it is also a movie about Mary Kay Place and her “Are you kidding me?” facial expression and what caused that expression.
This is a movie that notices things and people that we are trained to ignore, and you are not likely to forget it, even as the life of its heroine finally drifts away from her like a kite lost on a winter beach.
Read original story ‘Diane’ Film Review: Mary Kay Place Is Spellbinding as a Woman Whose Life Has Slipped Away At TheWrap
Paramount’s “A Quiet Place” has taken back the No. 1 spot in its third weekend in theaters with a domestic box office total of over $132 million. With a production budget of just $17 million, it has shown endurance at the box office, holding its weekend-to-weekend drop-off to under 35 percent after opening to $50.2 million.
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As we’ve previously written, Paramount had been struggling at the box office for over a year, with “The Last Knight” being the studio’s highest grossing film in 2017 but still struggling to make a profit with a $217 million budget before marketing.
While it won’t pass the global gross of the “Transformers” films with just $74.8 million grossed overseas so far, “A Quiet Place” is still on pace to gross more domestically than any Paramount film released since the start of 2016.
The studio’s top release in 2016 was “Star Trek: Beyond,” with a domestic gross of $158.8 million. Paramount’s last film to gross over $200 million in North America was “Transformers: Age of Extinction,” with $245.4 million made in summer 2014, followed by the $195 million made by “Mission:Impossible — Rogue Nation” in July 2015.
Read original story John Krasinski’s ‘A Quiet Place’ Is Now Paramount’s Biggest Us Hit Since Summer 2016 At TheWrap
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