terça-feira, 30 de abril de 2019

Want a Break in the 3-Hour ‘Avengers’ Movie? You’ll Need a Passport or a Time Machine

At a multiplex in Jerusalem, midway through the three-hour epic “Avengers: Endgame,” the hammer-wielding superhero Thor was gracing the screen when the picture suddenly stopped.

Thor’s golden locks cut out, the Hebrew word for “pause” appeared and audience members began to rise from their seats. About 10 minutes later, the superheros resumed their battle against the villain Thanos.

The finale of the Avengers saga, which began showing across the United States on Thursday, is expected to make box-office history, with experts predicting that the film will gross more than $300 million in its opening weekend. Another big number associated with the film is its run time: Clocking in at 181 minutes, “Endgame” is the longest Marvel Studios movie to date.

It has been decades since American movie theaters regularly had interm issions. But when word of the film’s length got out earlier this year, it prompted online pleas from some fans for a break in the action. The filmmakers shot the idea down, and American theater chains have publicly responded to tweets from moviegoers to make clear that, no, there will be no built-in moment to buy or dispose of their Coca-Colas.

“We’re telling everyone to prep as if they’re going into surgery,” joked Joe Russo, one of the directors, in an interview with ComicBook.com. “Don’t have any water or anything to drink post-midnight the day before you see the film, and you’ll be fine.”

So in the United States, most audiences will have to steel themselves for three uninterrupted hours. But theaters across the world have taken control of the remote and hit pause roughly halfway through. Avengers fans in countries including Egypt, Italy, Portugal, Switzerland and Tu rkey â€" where a mid-movie break is customary, even in shorter films â€" all reported having an intermission during showings this week.

Intermissions were once a regular part of the American moviegoing experience, even with films that were not “Gone With The Wind”-sized (three hours, 58 minutes) epics. The reason was partly practical: Theaters needed time to swap out film reels.

Jonathan Kuntz, a film historian who teaches at the University of California, Los Angeles, remembered seeing “Lawrence of Arabia” in 1962 and going to his car during intermission, thinking the movie was over (it ran to a whopping three hours, 48 minutes).

In recent decades, intermissions in the United States have been rare. “Gandhi” in 1982 (three hours, 11 minutes) had a break in one version of the film, as did “The Hateful Eight,” the 2015 Western by Quentin Tarantino, which was about as long as “Endgame.” But filmmakers today are not accustomed to building pauses into the screenplay, and the tradition has largely disappeared.

One independent movie theater outside Baltimore, a drive-in called Bengies, has taken matters into its own hands by adding an intermission to their Sunday screening of “Endgame” to accommodate the “unusually long run time of this movie,” according to its website. The theater did not respond to requests for comment.

But in the rest of the country, facing the possibility of needing to leave the theater and missing key plot points, moviegoers prepared themselves for a battle of their own.

Lined up to enter Williamsburg Cinemas in Brooklyn for a Thursday evening showing, some fans said they had deprived themselves of liquids for most of the day to avoid even a brief departure from the theater.

Standing toward the back of the line in the cold April drizzle, Kevin Myvett, 28, said he had spent much of the last week preparing for “Endgame” by exercising self-control and watching older Marvel films back-to-back without letting himself take a break.

“I was really trying to prepare myself mentally for this,” he said.

Fans and websites circulated tips on which moments were opportune for quick getaways. At an AMC theater in Inver Grove Heights, Minn., a suburb of St. Paul, Dylan Novacek, 23, darted from his seat during a scene that fans online said was not particularly consequential. He was back in about a minute. “I didn’t even know how he made it to the bathroom so fast,” his girlfriend, Kayla Erickson, said.

The American movie industry is unlikely to embrace intermissions again, despite all the snacks viewers might buy during a pause. And adding in an intermission for a movie like “Endgame” would only further complicate the scheduling headache that comes with showing a wildly popular three-hour (not including trailers) film.

A longer movie, paired with extra time after the show needed to clean the theater, would typically mean fewer showtimes, and thus fewer ticket sales, said Jeff Bock, a senior analyst at Exhibitor Relations, an entertainment research firm. Instead, some theaters are simply opening earlier and closing later â€" or not at all â€" to screen “Endgame” as many times as possible.

In the United States, 29 AMC theaters were showing “Endgame” around the clock from Thursday to Friday. An additional 17 were open for 72 hours straight.

“The fan base is so rabid that they can eke out a lot of money with these multiple show ings,” Mr. Bock said.

Marvel movies, in particular, have trained fans to stay in their seats for as long as possible. Most Marvel films include scenes after the credits that give clues about future films, and the credits themselves can be quite long (about 10 minutes for “Endgame”) because of all the visual effects involved. Given that “Endgame” is meant to conclude the Avengers saga, the existence or lack of a post-credits scene has been the subject of much online discussion.

Still, many Marvel fans are remaining in their seats to the very end, and most of those interviewed after they saw the movie on Thursday said they did not mind that they didn’t have a chance to get up sooner.

At an AMC in Phoenix, Matt Hoskins, 40, said the Marvel fandom was so strong that the length simply did not matter to most of them. Plus, adding an intermission â€" wit h its air of 20th-century nostalgia â€" wouldn’t fit well in a mainstream 21st-century film about superheroes, he said.

“This is a comic-book movie,” he said. “This is not Evita.”

Chicago-area native Aimee Garcia on her new film 'El Chicano' and Latinx representation in movies

Chicago-area native Aimee Garcia is poised to add some groundbreaking achievements to her resume in May. The Fenwick High School alumna will be the Oak Park school's first Latina graduate to deliver the commencement speech. The 40-year-old actress also stars in "El Chicano," which is due out in some theaters Friday and is being billed as the first Latino superhero movie with an all-Hispanic cast.

In the movie, Raul Castillo plays twins Diego and Pedro Hernandez, who embark on very different career paths. Pedro turns to a life of crime, while Diego becomes a Los Angeles police detective. When Pedro is murdered, Diego resurrects the masked street legend of their youth, El Chicano, to avenge his brother's death.

Garcia plays Diego's fiancee, Vanessa, who has returned to East Los Angeles to teach and give back to her neighborhood. Garcia considers Vanessa the "moral compass" and "voice of reason" in the film. Garcia said she was wowed by the script, which she called historic.

"I think since 'Selena' there hasn't been a major studio film release with a predominantly all-Latino cast," Garcia said by phone. "We need a Latino superhero, a Latino Batman, a Latino Punisher, and I feel like representation is really important. 25% of ticket sales are Latinos and only 3% of characters on screen are Latinos. And when it comes to genre films and action films, the disproportionality is even greater."

Indeed, a study last year by the USC Annenberg Inclusion Initiative found that 2 to 7% of the characters in some 1,100 movies released between 2007 and 2017 were Latinx. Underrepresented characters were more likely to appear in animated or comedy films than in action/adventure movies in 2017, the researchers determined.

"El Chicano," which also stars comedian George Lopez in a dramatic role, is an indie-financed film that was mostly shot in Canada, with some exterior scenes filmed in L.A. Briarcliff Entertainment — helmed by Tom Ortenberg, who shepherded "Spotlight" to the best picture Oscar — acquired the U.S. distribution rights to "El Chicano" after it premiered in September at the L.A. Film Festival. It's expected to hit 600 screens on Friday, including several in the Chicago area.

Our streets. Our fight. Our hero. Watch the official trailer for "El Chicano," due out in theaters May 3.

Our streets. Our fight. Our hero. Watch the official trailer for "El Chicano," due out in theaters May 3.

SEE MORE VIDEOS

Garcia said she hopes "El Chicano" takes off like other action films with diverse casts such as "The Fast and the Furious," "Alita: Battle Angel" and "Black Panther." "I hope that 'El Chicano' is poised for a franchise success, and we can keep telling the story of this Latino family from East L.A," she said.

Garcia, who grew up on the Northwest Side and in River Forest, has other projects in the works. She voices a character in "The Addams Family" animated comedy, which is due out in October. She plays the assistant to the supervillain voiced by "The West Wing" alum Allison Janney. Meanwhile, the fourth season of her police drama "Lucifer" — Garcia plays a forensic scientist — is slated to drop on Netflix May 8.

In just weeks, the actress will return to the Chicago area, where she lived until graduating from Northwestern University nearly two decades ago. She's slated to throw out the first pitch at the Cubs game on May 25. It will be her fourth time opening a game at Wrigley Field. The last time, she practiced with her dad at an Oak Park field to improve her arm. "I'm two for three so I don't know what this will be, but I'm hoping I make it all the way to the mound," she said.

Garcia graduated from Fenwick in 1996 as a member of the school's first co-ed class, and she plans to discuss trailblazing in her May 24 speech to graduates. She appeared in McDonald's commercials alongside Michael Jordan and Sammy Sosa as a kid, but she's also experienced some career lows including 17 rejections in a row. She considered giving up before landing a role on the drama "Dexter."

"I'm from Chicago. I hustle. I work hard. I don't take things for granted. I know it could all be taken away. My parents and my friends from Chicago keep me really grounded. I feel like it's not what you've done, it's what you're doing and what you're going to do," she said.

tswartz@tribpub.com

Twitter @tracyswartz

MORE COVERAGE: Chef Marcus Samuelsson explores Chicago's Mexican-American culture on new PBS series »

Gina Rodriguez launches campaign to promote Hispanic actors »

Chicago's Lila Star trying to be the 'first Latina trans rapper' »

Want a Break in the 3-Hour ‘Avengers’ Movie? You’ll Need a Passport or a Time Machine

At a multiplex in Jerusalem, midway through the three-hour epic “Avengers: Endgame,” the hammer-wielding superhero Thor was gracing the screen when the picture suddenly stopped.

Thor’s golden locks cut out, the Hebrew word for “pause” appeared and audience members began to rise from their seats. About 10 minutes later, the superheros resumed their battle against the villain Thanos.

The finale of the Avengers saga, which began showing across the United States on Thursday, is expected to make box-office history, with experts predicting that the film will gross more than $300 million in its opening weekend. Another big number associated with the film is its run time: Clocking in at 181 minutes, “Endgame” is the longest Marvel Studios movie to date.

It has been decades since American movie theaters regularly had interm issions. But when word of the film’s length got out earlier this year, it prompted online pleas from some fans for a break in the action. The filmmakers shot the idea down, and American theater chains have publicly responded to tweets from moviegoers to make clear that, no, there will be no built-in moment to buy or dispose of their Coca-Colas.

“We’re telling everyone to prep as if they’re going into surgery,” joked Joe Russo, one of the directors, in an interview with ComicBook.com. “Don’t have any water or anything to drink post-midnight the day before you see the film, and you’ll be fine.”

So in the United States, most audiences will have to steel themselves for three uninterrupted hours. But theaters across the world have taken control of the remote and hit pause roughly halfway through. Avengers fans in countries including Egypt, Italy, Portugal, Switzerland and Tu rkey â€" where a mid-movie break is customary, even in shorter films â€" all reported having an intermission during showings this week.

Intermissions were once a regular part of the American moviegoing experience, even with films that were not “Gone With The Wind”-sized (three hours, 58 minutes) epics. The reason was partly practical: Theaters needed time to swap out film reels.

Jonathan Kuntz, a film historian who teaches at the University of California, Los Angeles, remembered seeing “Lawrence of Arabia” in 1962 and going to his car during intermission, thinking the movie was over (it ran to a whopping three hours, 48 minutes).

In recent decades, intermissions in the United States have been rare. “Gandhi” in 1982 (three hours, 11 minutes) had a break in one version of the film, as did “The Hateful Eight,” the 2015 Western by Quentin Tarantino, which was about as long as “Endgame.” But filmmakers today are not accustomed to building pauses into the screenplay, and the tradition has largely disappeared.

One independent movie theater outside Baltimore, a drive-in called Bengies, has taken matters into its own hands by adding an intermission to their Sunday screening of “Endgame” to accommodate the “unusually long run time of this movie,” according to its website. The theater did not respond to requests for comment.

But in the rest of the country, facing the possibility of needing to leave the theater and missing key plot points, moviegoers prepared themselves for a battle of their own.

Lined up to enter Williamsburg Cinemas in Brooklyn for a Thursday evening showing, some fans said they had deprived themselves of liquids for most of the day to avoid even a brief departure from the theater.

Standing toward the back of the line in the cold April drizzle, Kevin Myvett, 28, said he had spent much of the last week preparing for “Endgame” by exercising self-control and watching older Marvel films back-to-back without letting himself take a break.

“I was really trying to prepare myself mentally for this,” he said.

Fans and websites circulated tips on which moments were opportune for quick getaways. At an AMC theater in Inver Grove Heights, Minn., a suburb of St. Paul, Dylan Novacek, 23, darted from his seat during a scene that fans online said was not particularly consequential. He was back in about a minute. “I didn’t even know how he made it to the bathroom so fast,” his girlfriend, Kayla Erickson, said.

The American movie industry is unlikely to embrace intermissions again, despite all the snacks viewers might buy during a pause. And adding in an intermission for a movie like “Endgame” would only further complicate the scheduling headache that comes with showing a wildly popular three-hour (not including trailers) film.

A longer movie, paired with extra time after the show needed to clean the theater, would typically mean fewer showtimes, and thus fewer ticket sales, said Jeff Bock, a senior analyst at Exhibitor Relations, an entertainment research firm. Instead, some theaters are simply opening earlier and closing later â€" or not at all â€" to screen “Endgame” as many times as possible.

In the United States, 29 AMC theaters were showing “Endgame” around the clock from Thursday to Friday. An additional 17 were open for 72 hours straight.

“The fan base is so rabid that they can eke out a lot of money with these multiple show ings,” Mr. Bock said.

Marvel movies, in particular, have trained fans to stay in their seats for as long as possible. Most Marvel films include scenes after the credits that give clues about future films, and the credits themselves can be quite long (about 10 minutes for “Endgame”) because of all the visual effects involved. Given that “Endgame” is meant to conclude the Avengers saga, the existence or lack of a post-credits scene has been the subject of much online discussion.

Still, many Marvel fans are remaining in their seats to the very end, and most of those interviewed after they saw the movie on Thursday said they did not mind that they didn’t have a chance to get up sooner.

At an AMC in Phoenix, Matt Hoskins, 40, said the Marvel fandom was so strong that the length simply did not matter to most of them. Plus, adding an intermission â€" wit h its air of 20th-century nostalgia â€" wouldn’t fit well in a mainstream 21st-century film about superheroes, he said.

“This is a comic-book movie,” he said. “This is not Evita.”

segunda-feira, 29 de abril de 2019

New in theaters this weekend (April 26-28)

Avengers: Endgame

Let's face it. "Avengers: Infinity War" was the MOST DRAMATIC CLIFFHANGER EVER! (even more so than "The Bachelor's" Colton jumping the fence!) So what do you do when your fellow superheros go up in smoke or turn into moths or whatever happened to them at the end of "Infinity?"

Gosh darn it, you're The Avengers...you avenge! Go after that big bad Thanos who stole your fate-changing stones, and try to bring back your buddies! So that's exactly what they do in "Avengers: Endgame." No spoilers here. They previewed it in the trailer.

So much anticipation for this series finale that's been a decade in the making, (The franchise itself will play on.) Can it possibly live up to all the hype? Yes, it can! I won't reveal the story line other than to say that time travel is involved, and Captain Marvel sure comes in handy! The three-hour one minute running time flies by. (Though it wouldn't have hurt to speed up the stones retrieval.) There's humor, but it's spread out. (unlike the silly "Thor: Ragnarok") There's also heartbreak.

This is a well-made, well-acted film. Robert Downey, Junior as Iron Man is a standout, so is Mark Ruffalo as Hulk. And when the Avengers assemble, I defy any of you to not have a lump in your throat, while at the same time cheering! I was weeping for a number of reasons for the last 45 minutes. We fans have devoted a lot of time to this series. Most of it has been worth it. And thankfully, it ends by harnessing all those powers into a thrilling and satisfying conclusion. If Endgame breaks all box office records, as it's sure to do, at least it's deserved. Endgame's a winner. Thanks, guys!  

Disney/Marvel - Rated PG-13

Family

If you want to avoid the crowds and see a really funny movie, check out "Family." Taylor Schilling ("Orange Is The New Black) stars as a workaholic forced to take stock in relationships. She stays one step ahead of her office colleagues, by stepping on them. Then her estranged brother calls with a family emergency. He needs her to babysit her offbeat tween niece. Suddenly life is thrown off balance. Newcomer Bryn Vale plays the niece, who'd rather hang out with her newly-acquired "Juggalo" pals (look it up) than go to the prom. 'SNL's' Kate McKinnon is the overbearing neighbor. Clever writing by first time feature director Laura Steinel. I'll be watching what's next from her.

 The Film Arcade - Rated R

quinta-feira, 25 de abril de 2019

Movie Theaters & Marvel Fans Celebrate Premiere of Avengers: Endgame

The two theaters have signs in place reminding movie-goers not to spoil the ending for people who have not seen it yet

FARGO, N.D.– Marvel fans, assemble! Local theaters are celebrating the opening that millions of Marvelites have been waiting for – Avengers: Endgame.

West Acres and Century Cinema started showing the 22nd film in the Marvel Cinematic Universe at 6:00 Thursday night. The two theaters have signs in place reminding movie-goers not to spoil the ending for people who have not seen it yet.

Century will be running the movie around the clock for the next couple of days including showings at 3 a.m.. West Acres will be running it into the early hours of the morning.

"It has a pretty significant fan base and it becomes a celebration, people are dressed up, and they are all excited for it," Marcus West Acres Cinema general manager Rick Solarski said. "One thing that's a little different, with advanced sales, people used to camp out the night before or would come hours early. Now, with the advance sales and reserved seating, sometimes people will hold off and come at the last minute. I'd recommend coming in a half hour early."

"Everybody is coming in and streaming in," Century Cinema general manager Tristan Ross said. "Everybody is in a great mood. Some people are dressing up, without masks, of course. It's just a great atmosphere and it's very welcoming."

The superhero blockbuster raked in $169 million dollars overseas on Thursday.

Make sure to go to the bathroom and eat a big meal before going to the theater. The longest Marvel movie ever clocks in at three hours and one minute.

Movie Theaters in Wheeling, Moundsville, and New Martinsville featured in West Virginia Historic Theatre Trail

Kelli Shapiro, a program associate with Preservation Alliance of West Virginia, appears Tuesday at the Ohio County Public Library to talk about historic theaters in Wheeling and other cities. Formerly of California, she wrote her senior thesis on an effort to save a picture palace.

Five Northern Panhandle theaters are featured on the West Virginia Historic Theatre Trail.

The statewide thematic tour of historic theaters includes the Capitol, Victoria and Towngate, all in Wheeling; Strand in Moundsville and Lincoln in New Martinsville.

Kelli Shapiro, a program associate with Preservation Alliance of West Virginia, said the Capitol is "a wonderful example" of efforts to restore and reopen historic venues. She also cited the Strand for its preservation through adaptive re-use for live performances.

Shapiro, who lives in Morgantown, said Oglebay Institute's Towngate Theatre is listed on the trail even though it represents a reverse transformation from a church into a venue for theatrical performances and film screenings.

The trail "promotes rehabilitation and sustainability of historic theaters," she said. In turn, these sites are promoted as heritage tourism venues.

She spoke Tuesday at the Ohio County Public Library's Lunch With Books program and shared information from her 2018 book, "Historic Movie Theatres of West Virginia." The pictorial volume is part of Arcadia Publishing's "Images of America" series.

The book contains archival images of more than 200 theaters that operated in the state, she said. Chapters are divided regionally, based on nine regions defined by the West Virginia Tourism Office, and listed alphabetically by town.

Offering cultural and social context in her presentation, she examined the rise and fall of various types of theaters and addressed modern efforts to preserve and re-use old movie houses.

As forms of entertainment evolved, live theaters became film venues. The first theater built specifically for movies, the Nickelodeon, opened in Pittsburgh in 1905. Owner Harry Davis licensed the idea and it spread nationally, Shapiro said.

Rudimentary movie theaters, located usually in storefronts, were cheap to open, but typically were short-lived, functioning about 10 years, she said.

Owners chose "fantastical names for this new form of entertainment," she said. "It was opening up an entire new world for audiences."

Whimsically-named theaters in the Mountain State included Dreamland in Charleston, Fairyland in Hinton and Wonderland in Buckhannon.

Open-air theaters, known as airdromes or airdomes, were established on vacant lots in business districts, but most closed fairly quickly, she said. Multi-function venues in coal company towns were used for community events and for showing movies.

"You often couldn't even tell there was a movie theater in the building," she said.

Downtown movie houses in Wheeling and other cities were "larger, nicer showplaces" that faced "increasingly fierce competition," she said. "In Huntington and Wheeling, it worked because not all were competing with one another. Some were part of the same theater chain."

Theater chains, known as circuits in the film industry, showed "different types of films for different audiences in different theaters in the same area," she explained. "It didn't help all of them survive, but it was a valuable strategy."

Chains operated with joint booking of films and combined management, purchasing of fixtures, marketing and brand identity, she said.

"The arrival of sound in the late 1920s caused a massive shift for theaters. It required brand-new, costly equipment," Shapiro said. "Many, especially independents, closed."

One of the most important changes, she said, was a transition from storefront theaters to picture palaces designed for extravagant stage shows and orchestras. In the post-World War II era, though, filmgoers departed downtown venues for drive-in theaters.

Later, many drive-ins were eliminated to accommodate suburban growth, while downtown sites were demolished for new construction or parking lots. The rise of multiplex facilities became "a harbinger of death for many single-screen indoor theaters and drive-ins," she added.

Remodeling and rebranding became a survival tactic. For instance, the Rex in Wheeling was remodeled and renamed the Coronet, but later it was torn down, she said.

quarta-feira, 24 de abril de 2019

America’s Grandest Movie Palaces Find Strange New Lives

French photographers Yves Marchand and Romain Meffre spent over a decade photographing former movie palaces like San Francisco's old Alhambra Theater, which has been converted into a gym.

When it opened in 1925, the Uptown Theater was Chicago's largest theater. Closed in 1981, it is currently awaiting restoration.

Berkeley, California's 1,400-seat Rivoli Theater opened in 1925 and closed in the 1950s. It has subsequently been converted into various supermarkets.

The 1,000-seat Fox Theater in Inglewood, California, opened in 1949 and served as a major site for Hollywood movie premieres in the 1950s. It closed in 1984 and was listed on the National Register of Historic Places in 2012.

New York's Gotham Theater showed movies from the 1920s to the 1950s and was subsequently converted into a disco and now a supermarket.

San Diego's Loma Theater operated from 1945 to 1987 and has now been converted into a bookstore.

Brooklyn's 4,100-seat Paramount Theater showed movies and hosted artists such as Duke Ellington and Frank Sinatra before closing in 1962. It's now used as a gym by Long Island University.

French photographers Yves Marchand and Romain Meffre captured this image of Long Branch, New Jersey's Paramount Theater before it was demolished in 2017. Since closing in 1959 it had been used as storage for a paint company.

The 3,600-seat Loew's Palace Theatre in Bridgeport, Connecticut, was once the largest theater in the state. It opened in 1922 and closed in 1975 after a period of showing adult films.

Proctor's Theater in Troy, New York, opened in 1914 and was designed to resemble a medieval cathedral. The theater closed in 1977 and has been the subject of multiple failed renovation attempts.

The RKO Flushing Theater in Queens, New York, opened in 1928 with nearly 3,000 seats. It was divided into three screens in the 1970s and closed in 1986.

The Spooner Theater in the Bronx was opened in 1910 by stage actress Cecil Spooner and taken over by Loew's Theater Company in 1913. It operated until the 1960s, when it was converted into a series of clothing and furniture stores. The auditorium was gutted in the mid-2010s.

Philadelphia's Uptown Theater opened in 1929 and later became a major venue for African American performers such as James Brown, Stevie Wonder, and the Supremes. In 2002 it was purchased by Uptown Entertainment and Development and is awaiting restoration.

The 1,300-seat Uptown Theater in Racine, Wisconsin, opened in 1928 and closed in 1959. It was listed on the National Register of Historic Places in 1982.

The 1,000-seat State Theater in West Orange, New Jersey, opened in the early 20th century and was later converted into a school bus depot.

terça-feira, 23 de abril de 2019

Tom Holland Films New Movie 'Chaos Walking' in Atlanta

Tom Holland takes photos with fans as he enjoys a break in between scenes of his new movie Chaos Walking on Monday (April 22) in Atlanta, Georgia.

The 22-year-old actor kept things super casual in a white T-shirt and blue-plaid pajama pants as he spent the day on set of his new movie.

PHOTOS: Check out the latest pics of Tom Holland

As Tom films the new movie in Atlanta, it looks like he will be skipping the premiere of Avengers: Endgame – which is happening tonight in Los Angeles.

Avengers: Endgame will be premiere tonight in Los Angeles before it hits theaters on Friday, April 26.

Tom will be reprising his role as Spider-Man in the film.

Like Just Jared Jr. on FB tom holland films new movie in atlanta skips avengers endgame premiere 01 tom holland films new movie in atlanta skips avengers endgame premiere 02 tom holland films new movie in atlanta skips avengers endgame premiere 03 Photos: Backgrid USA Posted to: Tom Holland

segunda-feira, 22 de abril de 2019

PHOTOS: Long-anticipated movie theater debuts in Country Club Plaza

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3 movie theaters formerly run by Bow Tie Cinemas have new operators

Three Long Island theaters formerly run by Bow Tie Cinemas have changed operators this month, according to company executives.

Bow Tie Roslyn Cinemas at 20 Tower Place, Bow Tie Cinemas at 430 Plandome Rd. in Manhasset, and Bow Tie's Squire Cinemas at 115 Middle Neck Rd. in Great Neck are now under new management.

The Roslyn and Manhasset properties, formerly owned and operated by Bow Tie, were purchased late last year by Gilman Management Corp., a Great Neck-based real estate investment and property management company.

Bow Tie ceased operations at those locations on Saturday, and a new operator has taken over the theaters, an executive with Gilman said, adding that the new operator's anticipated opening date is Friday.

The Gilman executive said the locations are "going to remain as movie theaters for the foreseeable future."

Joseph Masher, chief operating officer for Ridgefield, Connecticut-based Bow Tie Cinemas, said in an email, "Our leases have ended at those theaters, and we no longer operate them."

The Squire theater in Great Neck began screening films under a new operator on April 1. The new operators previously ran MovieWorld Cinemas in Douglaston, Queens, for 10 years until the family-run theater was forced to close in July when its former landlord announced plans to open a Lowe's Home Improvement store at the site.

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"We were looking for a new home for a while," said Russell Levinson, operations manager for the Squire. He said he and his father began the search for a new location a few months before their last day in business in Queens.

"We were lucky enough to find this, which is about 3 miles from MovieWorld," said Levinson, adding that the Squire will offer a mix of mainstream movies and independent films. "We're actually seeing a lot of our old customers here."

As part of his company's move to the Island, Levinson said he and his partners plan to upgrade the seven-screen theater's concession offerings, install new digital menus and replace its roughly 900 seats with between 300 and 400 luxury reclining seats after the summer.

Bow Tie Cinemas dates back to 1900. Before the screening of films became widespread, the entertainment company produced vaudeville shows. The company currently has two other Long Island locations — in New Hyde Park and Franklin Square — according to its website.

Bow Tie's Port Washington theater closed unexpectedly in January last year.

domingo, 21 de abril de 2019

Movies in local theaters, Thursday, April 18

Capsule review of movies in local theaters

A young woman starts college as a good student, daughter and girlfriend until she meets a mysterious stranger who causes her to question everything she has believed. Based on an Anna Todd novel. Rated PG-13.

Showing: Grand 18, RED Cinema, Lexington Cinema

A British military officer, assigned to oversee the rebuilding of Hamburg, Germany after World War II, and his wife share a house with a German widower and his troubled daughter. Rated R.

Showing: Aperture, RED Cinema

Arthur Curry (Jason Mamoa) inherits Atlantis, the undersea kingdom, and must learn to lead it. Rated PG-13.

“The Best of Enemies” HH½

In Durham, in 1971, Ann Atwater, a civil rights activist, and C.P. Ellis, the leader of the local Ku Klux Klan, clash over school integration. Eventually, they begin to see one another differently. Based on a true story. Rated PG-13.

“Breakthrough” HH

A 14-year old boy nearly drowns in a lake. His mother stays by his side, praying for his recovery. Rated PG.

Showing: Grand 18, AMC Hanes 12, RED Cinema, Starmount, Lexington Cinema

“Captain Marvel” HH½

Captain Marvel (Brie Larson) steps in when the Earth is threatened by a galactic war between two alien races. Rated PG-13.

Showing: Grand 18, AMC Classis 10, RED Cinema

“The Curse of the La Llorona” HH

A social worker and her children are drawn into a frightening realm after ignoring a woman who tried to warn them. Rated R.

Showing: Grand 18, AMC Hanes 12, AMC Classic 10, RED Cinema, Starmount, Two Rivers Cinema, Lexington Cinema

“Dumbo” HHH½

Live action story about a circus that is in financial trouble and the flying baby elephant who helps save it. Rated PG.

Showing: Grand 18, RED Cinema, Lexington Cinema

“Five Feet Apart” HH

Two teenagers with cystic fibrosis meet in the hospital and fall in love, despite the life-threatening illness they both have. Rated PG-13.

“Green Book” HHH½

Tony Lip (Viggo Mortensen) is an Italian American driver from New York who is hired to chauffeur Don Shirley (Mahershala Ali), an African American classical pianist, through the South in the 1960s. Winner of the Best Picture Academy Award. Rated PG-13.

“Hellboy” H½

Hellboy battles a sorceress who wants to destroy the world. David Harbour and Milla Jovovich star. Rated R.

Showing: Grand 18, AMC Hanes 12, RED Cinema, Starmount, Two Rivers Cinema, Lexington Cinema

“High Life” HHH

A man and his young daughter are the last members of a group of space explorers made up of death-row inmates, led by a doctor with malevolent intentions. Directed by Claire Denis. Not rated.

“How to Train Your Dragon: Hidden World” HH½

Hiccup and Toothless search for a secret dragon world before a malevolent dragon hunter finds it. Rated PG-13.

Showing: Grand 18, AMC Classis 10

“Isn’t it Romantic” HHH

A woman who has given up on romance finds herself trapped in a romantic comedy. Rated PG-13.

“The Kid Who Would Be King” HHH

After he finds Excalibur, the sword in the stone, Alex (Louis Ashbourne Serkis) and his friends must team up with Merlin the Wizard (Sir Patrick Stewart) to defeat Morgana the enchantress (Rebecca Ferguson). Rated PG.

“The LEGO Movie 2: The Second Part” HHH

LEGO DULPOs are destroying everything in their path. Rated PG.

When being an adult gets to be too much, a woman is changed into a younger version of herself. Rated PG-13.

Showing: Grand 18, AMC Classis 10, RED Cinema, Two Rivers Cinema, Lexington Cinema

“Missing Link” HH

Mr. Link hires Sir Lionel Frost to locate his missing relatives. Featuring the voices of Hugh Jackman, Zach Galifianakis, Zoe Saldana, Stephen Fry and Emma Thompson. Rated PG.

Showing: Grand 18, AMC Hanes 12, AMC Classis 10, RED Cinema, Lexington Cinema

“The Mustang” HHH½

A convict in Nevada with a violent past is selected to take part in a wild horse training program. As he works with a difficult mustang, he begins to change. Rated R.

Showing: Aperture, RED Cinema

A penguin named Steve is searching for a mate in Antarctica. It’s a documentary from Disneynature. Rated G.

Showing: Grand 18, AMC Hanes 12

“Pet Sematary” HH½

A family moves from Boston to rural Maine and are told about a pet burial area near their home. When their cat is killed and they bury it there, strange things begin to happen. Rated R.

Showing: Grand 18, AMC Classis 10, RED Cinema, Lexington Cinema, Two Rivers Cinema, Starmount

The story of the 1819 Peterloo Massacre, when British cavalry attacked a crowd of 80,000 people in Manchester who were peacefully demonstrating for government reform. Rated PG-13.

“The Public” HH

Bitter cold hits Cincinnati and a group of homeless residents take shelter in the public library. But it eventually turns into a stand-off with police and the media after they refuse to leave. Written and directed by Emilio Estevez. Rated PG-13.

“Shazam!” HHH½

Billy Batson, a 14-year-old foster child, is granted the powers of Shazam that turn him into an adult super hero. Rated PG-13.

Showing: Grand 18, AMC Classis 10, RED Cinema, Lexington Cinema, Two Rivers Cinema, Starmount, Liberty Theatre

“Sleepless in Seattle” HHH

A little boy whose mother died convinces his father to call a radio talk show and talk about his wife and their marriage. Women all over the country hear the story and fall in love with him. One even writes him to suggest they meet at the top of the Empire State Building. Starring Tom Hanks, Meg Ryan and Ross Malinger. Rated PG.

Showing: Marketplace, today only

“Tyler Perry’s A Madea Family Funeral” HH

Madea and her family are in the backwoods of Georgia for a reunion and find they have to plan a funeral that may reveal family secrets. Rated PG-13.

Abby Johnson was the director of a Planned Parenthood clinic until she saw something that changed her life. Rated R.

Showing: Grand 18, RED Cinema, Liberty Theatre

A wealthy quadriplegic (Bryan Cranston) hires an unemployed man with a criminal record (Kevin Hart) to take care of him. Nicole Kidman also stars. Rated PG-13.

While a family is staying in the mother’s childhood home, a group appears that looks just like the family. Rated R.

Showing: Grand 18, AMC Classis 10, RED Cinema

“Wonder Park” HH

At a large amusement park the wild imagination of a little girl named June runs rampant. Rated PG.

Showing: Grand 18, AMC Classis 10

sexta-feira, 19 de abril de 2019

New movie multiplex opens Friday at Hudson Valley Mall in Ulster

TOWN OF ULSTER, N.Y. â€" It's showtime for the new NCG Cinema multiplex at Hudson Valley Mall.

After expressing some uncertainty during a press event Thursday morning, the company said later in the day that the theaters will show their first movies Friday.

"We will be opening tomorrow!" NCG representative Tim Dilts wrote in an email about 4 p.m. "Tickets will be on sale shortly."

At the morning press event, which included a ribbon-cutting ceremony, NCG President Jeff Geiger said he merely was waiting for the final permits needed to operate. â€œThere’s a very good chance we’ll be open tomorrow night," he said at the time, "but we can’t 100 percent commit to that until we have all the permits in hand."

The 12-screen multiplex will provide movies at the town of Ulster mall for the first time since Regal Cinemas shut down last summer. NCG occupies Regal's former space but has made numerous renovations and upgrades.

NCG expects to have everything running smoothly by next Friday, April 26, when the blockbuster "Avengers: Endgame" opens. NCG expects to show the film on five of its 12 screens at Hudson Valley Mall, which is at 1300 Ulster Ave. (Route 9W).

Work still being done at the multiplex on Thursday was largely cosmetic, including putting trim and signage on the exterior. Employees also were running video and audio tests and securing handles on the doors to the individual theaters.

The seating capacities of the the theaters range from about 100 to 300. Regular ticket prices will be $10 or $11, plus a $2 upcharge for reclining seats that have a heating option, Geiger said.

Other amenities include free refills of popcorn and soda, and closed-captioning for the hearing-impaired that can be accessed with an infrared reader. 

Geiger did not provide a list of movies that will be shown when the new multiplex opens, though Disney's "Dumbo" remake was given a test run  Thursday in an empty theater so equipment could be checked. 

Geiger said "Captain Marvel" and "Hellboy" also are expected to be among the initial offerings.

He said advanced tickets for "Avengers: Endgame" would be put on sale as soon as NCG had all its permits in hand.

“If all goes well today and we get the green light, we’ll put tickets on sale for next weekend probably by the end of the day today or tomorrow,” he said Thursday.

Hudson Valley Mall, like many of its counterparts, has been struggling in recent years with store closures and a reduced number of shoppers, but town of Ulster Supervisor James Quigley is optimistic the new movie theaters will give the mall a boost. 

“It’s going to add foot traffic to the mall, which is what the retailers need to survive,” Quigley said Thursday. “We can see that the mall is in transition and the traffic is in transition. So with the addition of the movie theater, hopefully we can bring younger people, more active people, people with more disposable income to the mall.”

Ulster County Regional Chamber of Commerce President Ward Todd is pleased about the local jobs being created by NCG. 

“They're bringing in [40 to 50] employees,” he said. “... A lot of Kingston High School and Coleman students are coming to work ... so it’s good from that standpoint, getting some more money into our local economy.”

Geiger said helping young people get their first jobs is at the core of his own commitment to the company, which began in Michigan and now has 24 theater locations across the U.S. 

Minecraft live-action movie won’t arrive in theaters until March 2022

The Minecraft movie we've been hearing about for years has a new theatrical premiere date, and it's bad news for fans who were hoping to see the film this year. According to an official update given by the Minecraft team, the movie based on the hit video game will hit theaters on March 4, 2022. This is in contrast to the date we heard back in 2016, which had originally pegged the premiere for May 2019.

Given Minecraft's massive popularity, it's a bit surprising that we haven't see a big blockbuster movie based on the franchise. Back in 2016, Mojang announced plans to premiere an official Minecraft movie in theaters on May 24, 2019, but that plan was obviously scrapped given the complete lack of advertisements about the film.

In an update published by Minecraft staff, the company now explains that we'll see the movie arrive in 2022. This will be a live-action, full-length feature film, according to the company, which is 'really complicated' to make. We now know what the movie will be about, however, and it includes a 'malevolent Ender Dragon.'

Viewers will be introduced to a teenage girl and an 'unlikely group of adventurers' who 'must save their beautiful, blocky Overworld' from the Ender Dragon, which is described as being 'on a path of destruction.' The movie has Peter Sollet as director and Warner Bros. is partnered for the film.

The movie has been in the pipeline for many years, but Mojang stresses that it is still working on the project and that it will follow through on bringing it to audiences. "In summary," the company says, "the movie has a date. It has a director. It has an official storyline, and we're NOT AT ALL COUNTING THE DAYS TO THIS MONUMENTAL EVENT."

Which, just in case you were wondering, is 1,053 days away.

quinta-feira, 18 de abril de 2019

Q&A: AMC Chief Talks Netflix, the Summer Box Office and Saudi Arabia’s First New Cinema in Decades

Adam Aron, the CEO of AMC Entertainment, is predicting big things for 2019. The head of the world's largest exhibition chain is riding high from a record-breaking day of pre-sales on "Avengers: Endgame," the upcoming Marvel movie that's expected to debut to north of $250 million when it premieres in April. But Aron believes that there are a number of upcoming Hollywood blockbusters such as "The Lion King" and "It: Chapter 2" that will keep multiplexes full throughout the year. With that kind of lineup, he thinks 2019 has the potential to hit $12 billion in box office revenues for the first time in history.

But there are difficult issues that AMC and other theater chains must grapple with if they want to keep selling tickets — chief among them a changing media landscape that's seen streaming services such as Netflix rise in popularity and power. During an interview with Variety at CinemaCon, the annual exhibition industry conference that took place this month in Las Vegas, Aron talked about his box office forecast and explained why he's not fearful of Netflix. He also discussed AMC's plans to continue to build theaters in Saudi Arabia despite reports that Saudi Crown Prince Mohammad bin Salman ordered the assassination of journalist Jamal Khashoggi.

Related Richard E Grant Sally Field

There seems to be a lot of animosity towards Netflix within the exhibition community. Why is it such a big issue at CinemaCon?

It's a big issue on your mind. It's not a big issue on my mind. The big issue on my mind is the booming nature of our industry. Not to go way back into ancient history but in 2018 the box office domestically was $11.9 billion, the biggest in the history of cinema. The increase over '17 was $800 million. It was the biggest single increase year-over-year in the history of the domestic box office.

Just yesterday while you were consumed by the issue you just asked about, I was consumed by our bookings for "Avengers: Endgame." It was the biggest single first day sales for a movie in the history of AMC. It was more than triple the first day for "Avengers: Infinity War." Triple. It was more than 50% higher than the biggest single movie's first day ever. Bigger than "Black Panther," bigger than "Captain Marvel," bigger than "Star Wars: The Last Jedi" combined. Combined. Think about that? And then you look at the slate that's coming in 2019 — it's going to be one massive hit after another. I think that our industry is booming in 2018. It was certainly booming yesterday and it's going to be booming in 2019. Last I checked, Netflix was around in 2018 and it was in business yesterday. AMC had a record year in 2018 and Netflix was successful in 2018. I think that the world's appetite for consuming content is so voracious that theaters and streaming ser vices can happily co-exist side-by-side.

What would Netflix need to do for AMC to show it's movies?

We'd love to play Netflix movies, but there is a status quo for how movies are shown. Whatever we do for Netflix, we would have to do for Warner Bros. and for Disney and for Sony and for Paramount. If Netflix is willing to follow what all of those guys do, we would happily show Netflix movies in our theaters.

Are you having conversations with Netflix about showing Martin Scorsese's "The Irishman"? Are they willing to compromise on the length of time the movie could be exclusively in theaters?

I'd rather not talk about our private conversations in the pages of Variety. That's not the way to have those discussions. The ball's far more in their court than in ours. They know what it would take to get into an AMC theater.

I take your point about the box office and I appreciate that you're sanguine about the rise of streaming services. But when Helen Mirren said 'f–k Netflix' at one of the studio presentations the room erupted in applause. Clearly there's a lot of hostility towards the company. Why?

I have no hostility towards Netflix. I'm a Netflix customer. I loved "The Crown" and I loved "House of Cards." And by the way I watch lots of television networks and I go to sporting events. There are a lot of things I do to entertain myself, but I still go to movie theaters. Maybe I'm a little more relaxed about our place in the sun because we're the largest exhibitor in the world. AMC has the potential to be a $6 billion company in terms of revenues. We're confident in the relationship we have to our guests.

We're doing a lot of things right. Guys like you have been writing about declining attendance in U.S. cinemas for a long time now. Our attendance per screen was up 7% last year. Why? Partially because Hollywood made some great movies. But it was also because we're marketing better than we ever have before. I'm more confident about our place in the sun. I think the business is big enough that we can all coexist. I think some of the people in that auditorium might not be as confident as I am about the coexistence part. Some of them see it as an "either/or" situation. I see it as an "and" situation.

I should preface this next question by noting that Saudi Arabia's sovereign wealth fund is an investor in Variety's parent company. That said, I wonder if the murder of journalist Jamal Khashoggi has changed AMC's plans to build theaters in Saudi Arabia?

In April 2018 we opened the first theater that operated in that country in 37 years. We have male and female employees. We have male and female managers. Men and women sit together in the theater enjoying what has been dozens and dozens of movies that have come out over the past year. Obviously we're aware of the news and the developments over the past six months. It caused us to think and think hard about what was the right thing to do. After a lot of thought we concluded that we're there in that country for the benefit of the people.

There are 33 million people in that country, 70% of whom are under the age of 30. They like movies and for 37 years they were deprived of seeing them on a big screen. After a lot of thought we decided we should go forward because if we follow through with our plan we think we could do a lot of good. Fast forward a few years and you'll see that millions of millions of moviegoers will get to experience what people experience in New York and London and Hong Kong and all around the planet. We have one theater open as of the end of '18. We'll have between five and 10 theaters opened by the end of this year. We'll have between 15 to 20 theaters opened by the end of next year. And I would think we'll have 40 to 50 theaters open by three to five years from now.

Variety recently published an investigation into the poor working conditions of movie theater janitors. In the piece, ACS, one of the companies that AMC uses for janitorial services, was accused of using subcontractors so it could get around paying workers a living wage. Has AMC had any kind of discussion with ACS about its practices?

I don't have a comment about what ACS is doing or is not doing. I do have a comment about what AMC is doing. Our contracts with our vendors require that they comply with all laws of the United States and we're fully prepared to enforce those contracts. We comply with all laws of the United States. We expect any vendor of ours to comply with all laws. And I'm not making a comment as to whether ACS is or is not.

How is AMC A-List, your subscription service, doing?

It's already up to more than 700,000 people. It's already ten percent of our movie-going clientele in its first nine months. It's still growing. At some point, logically, it will top out, but I don't think we're close to that yet.

Will it be a record year at the box office?

I don't think we're going to know until the end of December. The box office growth was so explosive in '18 that it set a high bar for 2019. I've said publicly the year has the potential to be the first in history that the box office crosses $12 billion, but I don't know for a fact that's going to occur. We won't know until the year plays out. What I can say is it's going to be a very strong year.

terça-feira, 16 de abril de 2019

Movies about faith, penguins and Prince in theaters the Wednesday before Easter

Chris Foran Milwaukee Journal Sentinel

Published 9:00 AM EDT Apr 16, 2019

The Wednesday before Easter weekend is prime time for movies looking to capture audiences before (or during) spring break. This Wednesday, theaters get two new movies — and an old favorite playing homage to a legend. 

'Breakthrough' 

Short version: When a teen ends up in a coma after falling through the ice, his mother ("This Is Us' " Chrissy Metz) doubles down on her faith, inspiring her family and community to join her. This faith-fueled drama based on a true story has an impressive cast, including Josh Lucas, Topher Grace, Mike Colter and Dennis Haysbert, and is the feature-film directorial debut of Roxann Dawson, the actress ("Star Trek: Voyager") turned prolific TV director. 

Critics say: IndieWire's Kate Erbland gave the movie a C, lamenting its thin storytelling while praising its spirit. " 'Breakthrough' breaks through its own genre-specific worldview to offer something that's in just as short supply as steadfast faith: nice people doing good work," she wrote.

Rating/running time: PG, for thematic content; 90 minutes. 

'Penguins' 

Short version: In Disney's annual Earth Day-adjacent nature documentary, an Adélie penguin named Steve seeks love and a new life in Antarctica.

Critics say: Reviewing for Variety, Courtney Howard, calls "Penguins" a "poignant narrative" with "an engaging, highly accessible and hugely entertaining underdog hero's journey."

Rating/running time: G; 76 minutes. 

Off-the-grid: 'Purple Rain' 

To mark the third anniversary of the death (on April 21, 2016) of music legend Prince, the Avalon Theater, 2473 S. Kinnickinnic Ave., is showing the 1984 movie that cemented his superstardom. "Purple Rain" is showing at 9:45 p.m. Wednesday; tickets are $5. Info: avalonmke.com.

Contact Chris Foran at (414) 224-2182 or chris.foran@jrn.com. Follow him on Twitter at @cforan12, Instagram at @chrisforansofcourse or Facebook at www.facebook.com/cforan12. 

Movie Tuesday: The fusion of cinema and theater

This past weekend the Gene Siskel Film Center screened Patrick Wang's two-part feature A Bread Factory, likely the most original and ambitious American movie to play in Chicago so far this year. (If you missed it, Northwestern University's Block Cinema is bringing it back on Saturday, May 4.) Part of what makes Bread Factory so daring is how Wang incorporates devices associated with theater—eloquent soliloquies, actors breaking the fourth wall, a chorus that comments on the action—in a manner that feels distinctly cinematic. The film never feels like an adaptation of a play, but rather a unique fusion of the two artistic media; this fusion helps to strengthen Wang's celebration of art (and specifically theater) as part of any healthy community.

The five Reader capsule reviews presented here are of movies that integrate theatrical devices in a similar (and no less celebratory) fashion. Jacques Rivette once wrote that the only true subject of cinema is theater, and if you watch any of the films discussed below, you might understand what he meant by that cryptic statement. Fiction and documentary films alike create bonds with the audience through the viewers' relationships to the people behaving on screen. And the cinema's power to present new worlds—which requires the audience's willed acceptance in order to truly succeed—of course has its roots in stage drama. Unfortunately too many movies based on plays have failed to draw on this power; "filmed theater" has long been a pejorative term in film criticism, shorthand for visually uninspired hackwork that fails to build upon the theatrical aesthetic in any meaningful way. Here are Reader-approved examples of movies that are definitely not "filmed theater," but richer , mysterious objects that introduce new possibilities for how theater and cinema can interact.

Applause Rouben Mamoulian's 1929 classic tells the story of a chorus-line mama (the great Helen Morgan) trying to keep her daughter out of the sleazy world of burlesque. The film is always used in courses on the history of the movies to show that not all early talkies were static and leaden, and it's true that Mamoulian manages some remarkable moving-camera effects (the only other director doing things of that sort was King Vidor in Hallelujah, also in 1929). Though this is Mamoulian's earliest, it's possibly his freshest film. —Don Druker

A Double Life George Cukor's work took an unexpected turn into darkness during the 40s. This film, with Ronald Colman as a Broadway star who succumbs to fits of Shakespearean jealousy while playing Othello, is perhaps the best of the period; it's a reversal of the role-playing theme that Cukor developed during the 30s, in which a fluid, diffuse personality leads not to happiness and liberation (cf Holiday) but to madness and despair. The screenplay, by Ruth Gordon and Garson Kanin, contains shuddering insights into the psychology of the actor, and Cukor has obtained a multilayered performance from Colman to match the complexity of the conception. Though the plot line tends toward a facile parallelism, Cukor keeps the film dense and vivid through strong imagery and behavioral detail. With Shelley Winters and Signe Hasso (1947). —Dave Kehr

An Actor's Revenge Kon Ichikawa's 1963 masterpiece, one of the most dazzling and stylistically audacious Japanese films ever made, has to be seen to be believed—though in Japan, interestingly enough, it's never been regarded as anything but a potboiler. The film was putatively made to celebrate the 300th film appearance of box-office idol Kazuo Hasegawa, and is in fact a remake of a 1938 film by Teinosuke Kinugasa that featured Hasegawa in the same parts. Ichikawa uses it as an unprecedented opportunity for unbridled stylistic play (the film's use of 'Scope and color is breathtaking), Shakespearean complication (Hasegawa plays two parts, one of them in drag), and a fascinating investigation into the relationship between theater and cinema. The hero is a Kabuki female impersonator out to avenge the deaths of his parents, and the plot proceeds somewhat like a film noir (with revelatory flashbacks), while adroitly mixing onstage and offstage action. To make the campy mixture even weirder, Ichikawa periodically uses contemporary jazz on the soundtrack. One can easily see here why Disney is one of Ichikawa's favorite filmmakers, but perhaps the most remarkable aspect of this singular experiment is its demonstration that theater and film are more kissing cousins than distant relations—the more stagebound the film gets, the more cinematic it becomes. If you've never seen this, prepare to be stunned. —Jonathan Rosenbaum

The Gang of Four Bulle Ogier runs an all-female acting school, many of whose students (newcomers Laurence Côte, Fejria Deliba, Bernadette Giraud, and Inês de Medeiros) share a suburban house and get involved with the same creepy guy (Benoît Régent), who's either a cop or a criminal. In short, it's conspiracy time once again in Jacques Rivette's highly charged and scary world, where a fanatical devotion to theater and paranoia are often viewed as the only viable alternatives in a tightly closeted universe. This 1988 feature was the best Rivette to reach the U.S. in at least a decade, full of the sexual tensions and female camaraderie found in his Celine and Julie Go Boating (though without much of the comedy), as well as the kind of haunting and chilling aftereffects that are common to his work. More classical and less experimental than his previous features, it's almost a summary and compilation of his major themes and preoccupations—an ideal introduction to his work. —Jon athan Rosenbaum

Caesar Must Die The great Italian directors Paolo and Vittorio Taviani film the staging of Julius Caesar with inmates of the maximum-security Rebibbia Prison in Rome; the result (2012) is not a straight documentary but an eccentric Shakespeare adaptation, a condensed version of the play assembled from months of rehearsal footage. Throughout, the Tavianis blur the line between fiction and nonfiction filmmaking, ingeniously shooting the prison so that it looks like a set and having the prisoners comment on the action in scripted asides that mimic Shakespearean prose. Ultimately the distinctions between drama and documentary seem less important than Shakespeare's human insights, which the Tavianis render stirringly immediate. —Ben Sachs  v

Sorry there are no upcoming showtimes for A Double Life, An Actor's Revenge, Applause, Caesar Must Die, or The Gang of Four

Movie theaters turn to 4D technology, haptic vests to draw new audiences

LAS VEGAS -- Behind many new innovations is a source of disruption.

Before television, stories were told over the airwaves of terrestrial radio and prior to the Internet, people gathered at the local movie theater to catch the latest in entertainment.

Fast-forward to today, and just how television's emergence in the early 1950s ended up surpassing radio as the medium of choice for consumers, Hollywood is facing a digital revolution of its own that is reshaping the way people choose their content.

"It's not just enough to put a movie on a screen and expect people to go, you have to give people a reason to have a night out," said Daniel Loria, editorial director for Boxoffice.

HELEN MIRREN YELLS 'F—K NETFLIX' AT CINEMACON 2019

At this year's CinemaCon in Las Vegas, companies like MediaMation underscored the importance of creating an experience for the viewer – showcasing their MX4D technology that makes moviegoers feel like they're actually in the film.

Pictured is a theater equipped with MX4D full motion cinema chairs that spray water, drop snow from the ceiling and whip the viewer around as if they were in the film. (MX4D/MediaMation)

The full-motion cinema chairs do everything from squirt water to blow wind in your face to tickle your legs, coupled with a new haptics vest that was debuted for the first time to exhibitors this week to add another layer of immersion.

"You're not only watching the movie and getting all the great 4D effects, now you've got all of these other sensors," Dan Jamele, MediaMation co-founder, told Fox News. "So you're getting the bullet shots into your chest, you're getting the vibration of the motorcycle going through your whole body. You're getting everything right into you."

Although movie attendance had a record year in 2018, surpassing 1.3 billion tickets sold according to data from the National Association of Theater Owners (NATO), the broader picture still paints an industry in flux as digital-streaming giants like Netflix, Hulu and Amazon keep growing.

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"When you have the ability to have that kind of entertainment at home, you have to do something better with the theater," said Robert Laity, Hollywood Esports CEO and one of the owners of the TCL Chinese Theater in Los Angeles, which is equipped with 4D technology.

In 2017, only 1.24 billion tickets were sold – the lowest number since 1993, according to NATO, while tickets prices increased year-over-year.

Cord-cutting is also on the rise – 33 million Americans ditched cable in 2018 – while streaming services like Netflix are producing about 90 original films a year, including documentaries and animated movies, which far exceeds the roughly 30 movies Universal Studios pumps out annually, according to the New York Times.

MediaMation partnered with Sony to create a haptics vest equipped with sensors to add another layer of immersion to the MX4D experience. (Fox News / Ben Brown )

As technology evolves, theaters must adapt in order to remain a destination choice in an era where the Internet has become the cornerstone for the majority of Americans daily routines. Roughly 26 percent of American adults are "almost constantly" online, while 77 percent say they surf the web on a daily basis, according to a 2018 Pew Research Center study.

HARVEY WEINSTEIN, ASHLEY JUDD SEXUAL HARASSMENT CASE POSTPONED

However, despite all the talk of Netflix and other digital streaming platforms taking down Hollywood, Loria's outlook for the industry is positive -- noting that while movie attendance might have hit a 24-year low in 2017, it also surged back the following year, with box office numbers topping 11 billion for the past four years in the U.S. and Canada.

"Movie theaters are ahead of that curve, in my opinion, in making sure you have some moviegoer four or five different options on how you want to see that movie," he said. But he acknowledged that "it's no longer the one-size-fits-all multiplex cookie cutter model."

"You're seeing a customizing of the cinema-going experience based on the consumers' expectations and [what they] want to see," Loria said.

Additionally, a study last year conducted by Ernst & Young found that the relationship between Netflix as well as other digital-streaming services and movie studios is neutral, and perhaps somewhat positive, as those who stream more frequently are also the ones more likely to head to the theater, according to Deadline – which pointed out that NATO commissioned the study.

'GUARDIANS OF THE GALAXY' STAR DAVE BAUTISTA TALKS JAMES GUNN'S RETURN: 'I THOUGHT HE WAS GIVEN A RAW DEAL'

4D technology is highly popular in overseas markets like Asia. But it has been slower to take root in the U.S., which Jeremy Devine, MediaMation vice president of marketing believes is beginning to change.

CinemaCon attendees could experience MX4D and the technology aimed at boosting the moviegoing experience. (Ben Brown / Fox News )

"I think the biggest hold-up is that United States exhibitors have gone ahead and put in recliners and so on… They did 3D and now they need to do other new formats and they seem committed to that, they just have to take a little breath before they do their next capital improvement or retrofit," he told Fox News.

According to Jamele, the return rate is "very high" for theaters that have implemented the 4D experience.

"We have a very high occupancy rate hovering us anywhere from two-and-a-half to four times the typical occupancy rate in theaters," Jamele said. "And on top of that, some of our complexes are doing with our one theater (equipped with 4D), we're doing more than 50 percent of the revenue for the entire complex."

MELISSA JOAN HART COMMENTS ON LORI LOUGHLIN, FELICITY HUFFMAN SCANDAL: 'MAYBE THEY DIDN'T UNDERSTAND?'

In addition to offering the typical moviegoer a new experience, Laity is using the technology at the TCL Chinese Theater to tap into a soon-to-be-expected billion-dollar industry – esports.

"Gaming and movies compete in many ways for the same audience," Laity said. "So, instead of having gamers go one place for their gaming activities and then to the movie theater to watch movies, now you have a single location that can do both for them. Our theaters convert between movie mode showing motion special effects movies, IMAX 4D movies, over to esports mode in about an hour."

But if getting whipped around, sprayed with water and blasted with different scents associated with what's going on in the film is not your scene, don't worry – a small popcorn, soda and a seat that reclines will remain as timeless as some of the Hollywood classics.

Benjamin Brown joined Fox News in 2016 and currently serves a multimedia reporter based in Las Vegas. 

segunda-feira, 15 de abril de 2019

All four new movies underperform as Shazam! wins the box office again

The box office numbers are in thanks to Box Office Mojo! How did your favorite movie do over the weekend? If it wasn't Shazam! it likely didn't perform too well. Let's look at the top 10 movies of the weekend, below.

At the top of the Top 10 is Shazam! with $25.1 million, neither debut was big enough to compete with the latest theater at the movies. Shazam!'s worldwide total is now $221.2 million, not bad for a movie with a $110 budget. The hero better enjoy its last week at the top, though, as Avengers: Endgame quickly approaches. To compare, Shazam!'s current worldwide total is what Endgame is predicted to collect on its first weekend.

New in theaters are Little, Missing Link, Hellboy, and After. Did you catch any of these at the movies?

Little comes in at No. 2 with $15.4 million, it's a decent amount considering the size of the film and it going up against Shazam!'s second week. The disappointment here is Hellboy, which you can find at No.3 with a low $12 million. What happened to the hype? Everyone was initially excited for the return of the franchise, but now, a sequel may not even happen.

To make matters worse, Hellboy was made for with a reported budget of $50 million. The movie still has a long way to collect any profit.

After, Jenny Gage's romantic drama, sits at No. 8 with $6.2 million. And near the very bottom of the Top 10 is Chris Butler's Missing Link at No. 9 with $5.8 million. If you ask me, Missing Link is underrated! It's a great film that deserves more attention and belongs in the top five.

See the complete top 10, below:

  • Shazam!: $25.1 million
  • Little: $15.4 million
  • Hellboy: $12 million
  • Pet Sematary: $10 million
  • Dumbo: $9.1 million
  • Captain Marvel: $8.6 million
  • Us: $6.9 million
  • After: $6.2 million
  • Missing Link: $5.8 million
  • The Best of Enemies: $2 million
  • Up next, The Curse of La Llorona, Disneynature: Penguins, and Under the Silver Lake premieres in theaters April 19. Which movie will you be watching? Something new or a repeat? Share with us in the comments!

    sábado, 13 de abril de 2019

    From an '80s classic to a new take on horror, here are the movies to catch in NYC theaters this week

    Need date night ideas? Take a look at this week's lineup of acclaimed movies showing on the big screen in and around New York City.

    Here are the highest rated films to catch, based on review aggregator Rotten Tomatoes' Tomatometer Score, which reflects the opinions of hundreds of film and television critics.

    (Movie descriptions courtesy The Movie Database; showtimes via Fandango. Movie ratings and showtimes are subject to change.)The Searchers

    As a Civil War veteran spends years searching for a young niece captured by Indians, his motivation becomes increasingly questionable.

    Boasting a Tomatometer Score of 100 percent and an Audience Score of 88 percent on Rotten Tomatoes, this classic is a critical darling. The Chicago Tribune's Michael Wilmington said, "The Searchers is Ford's greatest western, with John Wayne as the relentless adventurer Ethan Edwards," while Jack Moffitt of the Hollywood Reporter noted, "This C.V. Whitney production is undoubtedly one of the greatest Westerns ever made."

    It's playing at City Cinemas Village East (181-189 Second Ave.) on Monday, April 15. Click here for showtimes and tickets.

    Apollo 11

    A look at the Apollo 11 mission to land on the moon led by commander Neil Armstrong and pilot Buzz Aldrin.

    Boasting a Tomatometer Score of 99 percent and an Audience Score of 88 percent on Rotten Tomatoes, "Apollo 11" has been a must-watch since its release on March 8.

    "The NASA mission at the heart of the must-see documentary 'Apollo 11' reminds you what it feels to be truly awestruck," according to Chris Nashawaty of Entertainment Weekly, while the Associated Press's Jake Coyle said, "'Apollo 11' might not tell you anything you don't already know about the moon landing. But it will make you feel it, and see it, anew."

    It's playing at AMC Lincoln Square 13 (1998 Broadway) until Friday, April 12 and City Cinemas Village East (181-189 Second Ave.) through Wednesday, April 17. Click here for showtimes and tickets.

    Say Anything...

    A budding romance between noble underachiever Lloyd Dobler and high school valedictorian Diane Court is threatened when Diane's overly possessive, disapproving father interferes with their relationship. With a prized scholarship to study abroad hanging in the balance, Diane must find a way to make both men happy.

    Boasting a Tomatometer Score of 98 percent and an Audience Score of 85 percent on Rotten Tomatoes, this '80s throwback boasts plenty of accolades.

    "'Say Anything' is an easy film to like," noted Kirk Honeycutt of the Hollywood Reporter, while Variety's Variety Staff said, "(John) Cusack and (Ione) Skye's relationship develops nicely and believably, but (Cameron) Crowe has not written an entirely convincing character for the latter to play."

    It's playing at Alamo Drafthouse Downtown Brooklyn (445 Albee Square West) through Monday, April 15. Click here for showtimes and tickets.Us

    Husband and wife Gabe and Adelaide Wilson take their kids to their beach house expecting to unplug and unwind with friends. But as night descends, their serenity turns to tension and chaos when some shocking visitors arrive uninvited.

    With a Tomatometer Score of 94 percent and an Audience Score of 68 percent on Rotten Tomatoes, "Us" has garnered plenty of praise since its release on March 22. The Chicago Reader's Ben Sachs said, "it achieves an insidious, lingering effect that's rarer in the horror genre," and the Christian Science Monitor's Peter Rainer noted, "Ambition in the horror genre can be a good thing, but the overreach in this movie detracts from both the horror and the ambition. Having said that, (Jordan) Peele shows a marked advance in filmmaking skills here and, in her dual role, (Lupita) Nyong'o is ferociously good."

    You can catch it at Regal E-Walk Stadium 13 & RPX (247 W. 42nd St.), Concourse Plaza Multiplex (214 E. 161st St.) and College Point Mult iplex Cinemas (2855 Ulmer St.) through Tuesday, April 16. Click here for showtimes and tickets.---

    This story was created automatically using local movie data, then reviewed by an editor. Click here for more about what we're doing. Got thoughts? Go here to share your feedback.

    quinta-feira, 11 de abril de 2019

    Disney Releases New ‘The Lion King’ Trailer; Movie In Theaters July 19

    (CBS Local) — A new trailer for the live action Disney movie "The Lion King" was released Wednesday.

    Although it's not the first trailer released for the movie, in this trailer you can hear the characters talk.

    The highly-anticipated Disney movie will be released in theaters this summer. The company has been releasing live action version of its classic animated movies — including Cinderella and Beauty and the Beast.

    The live action movie Dumbo was released March 29 and Aladdin will be released May 24.

    The Lion King will be in theaters on July 19.

     

     

     

    quarta-feira, 10 de abril de 2019

    'Mary Magdalene,' feminist icon? Joaquin Phoenix's new Jesus movie tells untold story

    Patrick Ryan USA TODAY

    Published 1:17 PM EDT Apr 10, 2019

    Rooney Mara never thought she'd go viral. 

    In 2017, the actress became a minor internet sensation when a photo leaked from the set of biblical drama "Mary Magdalene," showing her smoking a cigarette in full costume right next to a crucified Jesus (Joaquin Phoenix) on the cross. The anachronistic image quickly became a meme on social media and was picked up by sites such as BuzzFeed, which declared it "art." 

    Mara, 33, laughs at the mention of the picture, which was snapped in between takes. 

    "My grandparents have it framed in their house, actually," she says. In all fairness, "I was lighting it for (Phoenix) because he couldn't use his hands." 

    Although you won't see any disciples taking smoke breaks during the Last Supper, "Mary Magdalene" (in theaters Friday, on digital HD platforms April 19) still puts a decidedly modern spin on the familiar Jesus story. The film is told from the perspective of Mary, who rebels against her family's attempt to marry her off and leaves them to follow a traveling rabbi known as Jesus, who spreads the gospel with the help of his apostles Peter (Chiwetel Ejiofor) and Judas (Tahar Rahim). 

    But unlike past depictions of Mary, the movie rejects the longstanding myth that she was a prostitute (a fabrication of Pope Gregory the Great in 591). And by film's end, Mary helps lead the apostles in preaching the word of God after Jesus' crucifixion. 

    Before signing on, "I wasn't that familiar with Mary's story but I had always heard that story of her being a prostitute," says Phoenix, 44, who wasn't raised Christian but considers himself "spiritual." "But it was incredible what a significant role she played in this movement. You realize how much the women in this story had been dismissed and disregarded." 

    Some biblical scholars have gone so far as to call Mary history's "first feminist," given that she was an independent, strong-willed woman who refused to let men try to put her in her place and instead became an influential prophet, now regarded as the first witness to Jesus' resurrection. 

    "It feels feminist now ... because she does think about the injustices and unfairness between men and women," Mara says. "She was also fiercely brave to leave everything behind and go follow a group of men. I can't even imagine how scary that must have been."

    "Mary Magdalene" marks the third feature that Phoenix and Mara have starred in together, after 2013's "Her" and last year's "Don't Worry, He Won't Get Far on Foot." The real-life couple began dating during the shoot and took their relationship public two years ago at Cannes Film Festival in France. (Asked how he feels about the media attention paid to their romance, the deeply private Phoenix says, "I'm just totally unaware of it. I'm not on social media and don't read any entertainment sites.")

    The film has been embroiled in its share of controversy. It was roundly criticized online for its "whitewashed" casting, given that neither Phoenix nor Mara are of Middle Eastern descent. (Mara similarly received backlash for playing a Native American in 2015's "Pan.") Director Garth Davis ("Lion") defends the decision, noting that there are African and Israeli actors in the cast. 

    "The casting was an opportunity to modernize the story and make it reflect the multicultural world we're living in now," he says. "And ultimately, the most important thing for me was finding actors who captured those characters in a soulful and emotional way." 

    The movie was planned for release in late 2017 but was repeatedly pushed back after The Weinstein Co. shuttered in the wake of multiple accusations of sexual assault against power producer Harvey Weinstein. (IFC Films ultimately released it.)

    "The irony of it was that it's taken 2,000 years to get Mary's story out, and then there's a roadblock," Davis says.  

    Animated movie ‘Pilgrim’s Progress’ shows this month in theaters and in Hernando County churches

    With Easter approaching, members of several local churches are excited about the upcoming release of a new animated film version of John Bunyan's epic allegory, Pilgrim's Progress. It was the first novel ever written in English and tells the story of a man named Christian who journeys to the Celestial City.

    "The 2019 film will be the story's feature-length theatrical debut, as well as the first CGI (computer-generated imagery) animated telling of the timeless tale," according to a press release by the film's producers, Revelation Media and Cat in the Mill Studios. "Media-driven families can be assured that this centuries-old story can still connect with viewers of all ages."

    It will be shown only in 700 selected theaters throughout the country on April 18 and 20, but producers made the film available to churches to show to their congregations before to the release. Members of Faith Evangelical Presbyterian Church, Brooksville Wesleyan Church and New Beginnings Life Center signed up to participate in the private screening.

    "I thought it was wonderful," said Janet Massenburg from New Beginnings after seeing the movie in March. "It connected so well with what the Bible says. Even the names of the characters made a connection, but in a subtle way that we could easily understand."

    Gale New, business manager and treasurer at Brooksville Wesleyan, also saw the film in March, along with 480 other church members, including children.

    "I thought that it was well done and stayed close to the book," he said. "I did personally think that they took a lot of liberty with their monsters. It appeared they were trying to compete with the present-day movies, which could make this a little too much for the younger kids. I would recommend it for teens and above."

    Publicity released for the film recommends the movie to those age 8 and older.

    Faith Evangelical Presbyterian Church will preview the film this month. Senior pastor Matthew Everhard is enthusiastic about seeing this version of the story and sharing it with his congregation.

    "Pilgrim's Progress is one of the all-time great Christian classic books. In fact, I believe it is the number two best-selling Christian book of all time, second only to the Bible," Everhard said. "I love this book and read it aloud to all of my children at the family dinner table. I use scenes from the book as sermon illustrations regularly in my preaching and teaching. I find it of enormous spiritual benefit as devotional reading."

    Everhard hopes people will go further than viewing the film.

    "My hope is that people would see the movie and be prompted to actually read the book itself," he said.

    Bunyan penned the story of Christian's adventures circa 1678 while in prison in Bedford, England, for preaching without a license and holding religious services that did not conform to the Church of England.

    The story of Christian begins in the "City of Destruction" where he reads a "Book" that leads him on "a treacherous and dangerous journey from which he would never return." Bunyan uses characters, as well as places, throughout the story. Each is named according to his or her character, like Giant Despair and Slough of Despondency, to aid or try to impede Christian along his way. The journey ends when Christian reaches the Celestial City. Having come by the way of the cross where his sins were forgiven, he is able to enter.

    "A man there was, though some did count him mad, the more he cast away, the more he had," wrote Bunyan about his earnest pilgrim.

    The story is one that can be related to by "every Christian in all places and all times," said producer Steve Cleary in an interview with American Family Association Journal. "It exists in a world of its own while revealing profound biblical truths. That's why its appeal has been universal."

    There was no charge to the churches showing the film; the production company requested an offering be taken toward production costs. The film is available for free to missionaries.

    To go: About 700 theaters nationwide will show Pilgrim's Progress on April 18 and 20 through Fathom Events. To find a theater, download a free storybook or request information on making the film available to missionaries, visit pilgrims.movie/. DVD copies will be available at afastore.net after the film's opening.

    terça-feira, 9 de abril de 2019

    New Movies At Home! The Red Carpet Home Cinema

    Published on April 9, 2019

    Is there anything better than kicking back in the comfort of your own home, enjoying a relaxing night and a great movie. Well, today we get a look at a great new way to do precisely that; Red Carpet Home Cinema. Red Carpet Home Cinema is the latest high-end streaming service that is bringing first-run films right to your home theater. This unique service provides access to new movies on the same day as they're released at the theater, though you will have to dig a little deeper into your pockets.

    Red Carpet Home Cinema will set you back around $1,500-$3,000, and that will get you two viewings in a 36-hour period, which is a bit more than your average $10 movie ticket. Potential customers will have to go through an application process to qualify, and a $15,000 device is required for viewing.

    Red Carpet Home Cinema is currently available in Los Angeles and New York, and more markets will follow soon. This is undoubtedly a game changer, but would you pay the price? Give us your thoughts in the comments and learn more from Red Carpet Home Cinema right now.

    Saudi Arabia Says It Will Invest $35 Billion in Movie Theaters by 2020

    Confirming indications that emerged at CinemaCon, Saudi Arabia says it will invest $35 billion by 2020 in building multiplexes and aims to have more than 2,500 movie screens up and running over the next five years.

    The figures were trumpeted in an announcement Thursday by Saudi Arabia's General Commission for Audiovisual Media, which said that more than 200 construction and exhibition execs from 20 countries are expected to attend the Cinema Build KSA Forum on April 14 and 15 in Riyadh, the Saudi capital. 

    Related stories

    Movie Theater Chains Forging Ahead With Saudi Arabia Expansion

    Saudi Arabia Announces New Film Initiatives, Including Its First Film Festival

    Listed companies at the forum include U.S. exhibition giant AMC Entertainment, which has confirmed that it is moving ahead with plans to build screens in Saudi Arabia after a brief pause in those plans following the killing of dissident journalist Jamal Khashoggi, allegedly by Saudi operatives, in Turkey last October. AMC opened the country's first movie theater in Riyadh in April 2018, after the country ended its 35-year ban on moviegoing. 

    At CinemaCon in Las Vegas on Tuesday, National Association of Theater Owners President John Fithian said that two other U.S. theater chains were moving forward in Saudi Arabia, despite Khashoggi's murder.

    "I don't think it's our business to make foreign policy as a trade association," Fithian told reporters, adding that "the idea of having the freedom to see movies in a country…can onl y help to open up thinking in that country. Movies have always been a sword for freedom for a very long time."

    By contrast, London-based Vue International, which is one of the world's largest exhibition chains, has decided to pull out of Saudi Arabia, at least for now.

    Vue founder and chief exec Tim Richards told Deadline on Wednesday that, following the Khashoggi killing, he resigned from a position on the global board of Saudi Arabia's Qiddiya entertainment and sports venture, and that Vue is not moving forward in the kingdom this year. However, Richards did not rule out that Vue might do so in the future.

    Weeks ago, Hollywood entertainment conglomerate Endeavor returned a $400 million investm ent from Saudi Arabia's Public Investment Fund in protest. The government fund remains an investor in Variety's parent company, Penske Media Corp.

    Other exhibit ion companies attending the Cinema Build conference in Riyadh include Dubai-based exhibitor Vox Cinemas, currently the top cinema player in Saudi Arabia, which is on track to open 110 screens there this year, and Lebanese exhibitor-distributor Empire Cinemas, India's Carnival Cinemas, and Mexico's Cinepolis.

    Sign up for Variety's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.

    segunda-feira, 8 de abril de 2019

    10 big changes the new 'Pet Sematary' movie makes from the book

    In the book: Gage runs out into the street as a truck is barreling down the road. Louis just misses catching him and Gage is fatally hit.

    In the movie: Louis tries to get rid of the family's cat, Church, after it returns from the dead. He tells an upset Ellie the cat has run away. Ellie sees Church in the road during her ninth birthday party and goes to pick him up. As she's in the road, the truck comes speeding along. This time it breaks. Unfortunately, the trailer on the truck pops off and slides down the road colliding into poor Ellie.

    Directors Kevin Kolsch and Dennis Widmyer explained their reasoning for changing the child who's killed, and honestly it makes sense story wise when they explained to Entertainment Weekly they felt it was something that has been seen on screen already.

    "Much of how they shot the first [movie] was a doll," Widmyer told EW. "It's creepy and it's effective. But we've now seen 'Child's Play' and we've seen the little kid trying to kill, and it's effective when done right."

    Yes, it's creepy to watch a toddler go after his family. But it does seem a bit unrealistic he could overpower both Jud Crandall and his mother. In the books, a possessed Gage stabs Jud to death with his father's scalpel and somehow hangs his mother from a rope.

    The remake uses a conversation Ellie has in the book with her family about her fear of death and what happens when one dies to perfectly set up the twist in the remake. The nine-year-old is more adept and agile for the task of taking on her family in the new film.

    "There are things that we put back in that, if people didn't read the book, they're going to think they are things that we've changed [from the 1989 film]," said Kölsch. "If you read the book, these are things that are taken right out of it that just didn't make it into the original movie because they probably couldn't have a 3-year-old do it."

    sábado, 6 de abril de 2019

    New Month, New Movies: Which April Blockbuster Will You Be Seeing in Theaters First?

    April is here and there is so much to celebrate!

    With a new month we do have to say goodbye to certain movies on Netflix, which isn't exactly happy news, but there are new movies coming to theaters so that's what we're focusing on. 

    As you start buying all your Easter candy and preparing for April showers it's time to figure out which upcoming movie release you're going to see first in theaters. There are a lot of great movies coming out this month and we have no clue which one we are going to see first.

    From the next Marvel installment of the Avengers films, Avengers: Endgame, to thrillers like Pet Sematary and The Curse of La Llorona there are so many different types of films we have on our must-watch list right now.

    Are thrillers your thing? We've got them! What about friendship tales? We have those too! Trust us, April is a movie-lovers month.

    Beginning this week, films like Shazam! AKA a funny superhero flick and The Best of Enemies, which is about segregation in the south back in 1971, will be coming to a theater near you.

    There are also fun Netflix original films including Unicorn Store starring Brie Larson and Someone Great starring Gina Rodriguez that you can stream this month from the privacy of your home.

    From comedies like Little to romance films like After, there is truly something for everyone at the movies this April.

    To see what 15 films are coming in hot this month keep scrolling. Once you've previewed all of the films make sure to vote for your must-see movie of the month.

    Shazam!: April 5

    After standing up for his foster brother and narrowly escaping the cops, Billy Baston (Asher Angel) finds himself in a weird cave when his subway train opens up there. He meets a superhero and is gifted his powers. All he has to do is shout "Shazam!" and the powers take over. The real question is when Shazam (Zachary Levi) takes over can he rise to the superhero challenge?

    The Haunting of Sharon Tate: April 5

    Hilary Duff plays actress Sharon Tate in this haunting movie that shows the weeks leading up to her murder. The Haunting of Sharon Tate takes you back to the horrible night when Tate, who was only 26 years old and pregnant, was murdered by the Manson Family in 1969…but this time you see it through her eyes and all of the visions that plagued her before it took place.

    The Best of Enemies: April 5

    The true story of the unlikely friendship between civil rights activist Ann Atwater (Taraji P. Henson) and Ku Klux Klan leader C.P. Ellis (Sam Rockwell) will leave you stunned in the theater this spring. The Best of Enemies is inspired by Osha Gray Davidson's book The Best of Enemies: Race and Redemption in the New South and shows what happened in 1971 Durham, North Carolina when both Atwater and Ellis were put on the committee overseeing the issues of school desegregation and surprisingly found common ground during a time where racial differences ruled America.

    Pet Sematary: April 5

    After leaving Boston and moving to a rural home out in the woods, Louis Creed (Jason Clarke), his wife Rachel (Amy Seimetz) and their two kids quickly discover that the pet sematary located nearby is not what it seems. It's not just an eerie place to bury your pets; it's much, much scarier than that. In fact, they learn that maybe sometimes, dead is better.

    Unicorn Store: April 5

    Unicorn Store (arriving on Netflix) gives adults the fantasy world they've always wanted…with bright colors and unicorn dreams. After getting kicked out of school, Kit (Larson) starts temping at a PR firm. She then receives a mysterious invitation to a store that promises to fulfill her childhood dream of owning a unicorn. While she prepares to get this magical gift she learns something about herself and how to be an adult.

    Teen Spirit: April 12

    Teen Spirit shows a side of Elle Fanning you've never seen before and you'll definitely want to see again. In this film she plays Violet, a shy teen who dreams of singing and escaping her small town. After entering a TV singing competition that relies on the public's votes she gets thrown into a world she never imagined, but the good news is that she can sing.

    Hellboy: April 12

    Based on the graphic novels by Mike Mignola, Hellboy (David Harbour) is ready to be the hero you didn't know you needed. Even though Hellboy is caught between two worlds, the supernatural and human, and he technically came from hell, he uses himself as a weapon to battle against the ancient sorceress Nimue the Blood Queen (Milla Jovovich), who only wants to get revenge on the world and destroy it.

    After: April 12

    Based on Anna Todd's novel by the same name, After follows Tessa (Josephine Langford) as she goes off to college. During her first semester away she proves she's not going to give into peer pressure, has a good head on her shoulders and is a ready to win at college. The only issue comes when she falls for the mysterious Hardin Scott (Hero Fiennes Tiffin) who is rebellious, has a dark secret and makes her question everything about herself and her life.

    Little: April 12

    Jordan Sanders (Regina Hall) is a mean boss lady who doesn't appreciate her assistant April (Issa Rae), but when adulthood becomes too intense for everyone, and she makes a little girl mad, she finds herself in a much different world…a little world. Jordan wakes up one day as her younger self (played by Marsai Martin) and let's just say things get interesting at the office and at school.

    Missing Link: April 12

    Kids, this one's for you! Mr. Link (Zach Galifianakis) asks for help from explorer Sir Lionel Frost (Hugh Jackman) to find his long-lost relatives in this animated film. Along the way to the fabled valley of Shangri-La, the duo and fellow adventurer Adelina Fortnight (Zoe Saldana) travel the world and see amazing things.

    Crypto: April 12

    Kurt Russell, Luke Hemsworth, Alexis Bledel, Beau Knapp and more star in this crime drama. Buckle up as you go deep into the world of crypto currency as Martin (Knapp), a young agent, is tasked to investigate a corrupt and fraudulent business in New York that could end up getting him or his loved ones killed.

    Someone Great: April 19

    This Netflix movie is perfect for a night in with your girls. After Jenny (Rodriguez) takes a new job in San Francisco her boyfriend breaks up with her because he doesn't want to do long distance. In order to get over her heartbreak and prepare for her new life she has one last New York City adventure with her best friends Erin (DeWanda Wise) and Blair (Brittany Snow), because female friendships can make anything better.

    Little Woods: April 19

    Little Woods is the modern Western you didn't know you were missing in your life. It tells the story of two sisters Ollie (Tessa Thompson) and Deb (Lily James) who work outside the law to try and better their lives. When her sister needs help, Ollie goes back into her illegal job of selling Canadian medicine to the struggling residents of North Dakota, risking it all to save her and her family from more heartbreak.

    The Curse of La Llorona: April 19

    If horror films are your thing than The Curse of La Llorona is the film for you. This scary movie follows a social worker named Anna Tate-Garcia (Linda Cardellini) who finds herself and her children being haunted by a ghost named La Llorona (Marisol Ramierz) after getting an eerie warning from a mother suspected of child endangerment.

    Avengers: Endgame: April 26

    They're back! Avengers: Endgame is the finale fans of the Marvel franchise have been waiting for. Following the devastating events of Avengers: Infinity War AKA when Thanos (Josh Brolin) wreaked some serious havoc on the universe, the Avengers assemble once again, with the help of Captain Marvel (Larson) and the remaining allies and set out to undo Thanos' actions and save the universe once and for all.

    Which April blockbuster are you most excited to see first? Vote now!