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 ...
“Deadpool 2” and “Avengers: Infinity War” slipped to second and third places, respectively. With a drop of 69%, Fox’s “Deadpool” earned $3.68 million for a cumulative of $26.9 million after two weekends. Disney’s “Infinity War” earned $890,000 to extend its five-weekend total to $91.4 million.
Another Disney release, “Solo: A Star Wars Story” debuted in fourth place on Thursday. The “Star Wars” spinoff earned $931,000 over its opening four days. Upi’s horror thriller “Truth or Dare” debuted on the same day as “Believer” and took fifth place,
“Some people called it a road movie. Some people called it a black comedy,” says Cretulescu. “But it is a film about love. That’s what I wanted to make from the very beginning, and hopefully, that’s what I made.”
It would be misleading, however, to call “Charleston” a love story; though it pays tribute to some of the genre’s conventions, the object of desire in this off-beat love triangle is killed off just minutes into the film—a swift narrative feint that allows Cretulescu to explore love through its absence. In “Charleston,” two men aren’t competing for the same woman so much as fighting over her memory,
Dr. Robert Ford was dead: to begin with.
But his mind? Well, that’s a horse of a different color.
Anthony Hopkins made his triumphant return to “Westworld” as everyone’s favorite late, great amusement park creator on Sunday’s episode of Season 2, “Phase Space.” And while his shocking cameo lasted but a few seconds and he only uttered three words, Hopkins unexpected reappearance on Jonathan Nolan and Lisa Joy’s HBO series will be enough to launch a thousand fan theories come morning.
Also Read: 'Westworld': Shogun World Reflects Ties Between Samurai Films and Westerns
Yes, more theories. Because Dolores (Evan Rachel Wood) shot Ford in the back of the head at the end of Season 1 and the last time we saw his corpse at the beginning
The film is described as a new type of fairytale, geared toward teenage audiences. It tells the story of a lonely man living in New York becomes friends with a young woman through a shared love of dancing. They both suffer from Moon's Butterfly syndrome, which makes them invisible to everyone, except to carriers of the disease.
Neapolitan director Michele Dioma is directing the English language film, which will star young ...
“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.
Over the roughly 20 years between those two projects, Biel went on something of a professional odyssey, trying her luck in ...
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
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