box-office

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we finally got a super hero movie with one of the most diverse casts ever AND EVERYONE IS LETTING IT FLOP.

OH LOOK: A SUPER HERO MOVIE WITH • INDIAN SUPERHERO
• CHINESE SUPERHERO
• LATINA SUPERHERO
• HANDICAPPED SUPERHERO
• AUTISTIC AND AFRICAN AMERICAN SUPERHERO
• QUEER SUPERHERO
•GREAT ACTING
•RELATABLE CHARACTERS
•GREAT SOUNDTRACK
• A+++ CHEMISTRY
• NOSTALGIA
• NO FORCED ROMANCE
• NO NEGATIVE STEREOTYPES FOR PEOPLE WITH AUTISM
• NO QUEER BAITING
• FEMALE LEADS THAT AREN’T USED AS LEVERAGE FOR THE MALE LEADS
• AND THE OPPORTUNITY FOR 5 FUTURE SEQUELS WITH A FEMALE GREEN RANGER


But no, everyone wants to go see another Scarlett Johansson flick (no shade I love her), Alec Baldwin voicing a baby, and beauty and the beast.

If there’s not going to be a sequel, someone fight me. I may be little but I’m feisty.

Praying that South Korea, Tokyo, and China save the day because once again, America has let me down.

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‘Hidden Figures’ beat 'Star Wars’ at the box office this weekend

  • It was a close race that looked deadlocked Sunday, but Monday morning brought good news for Hidden Figures
  • The film won the box office this weekend and is officially the no. 1 movie in the country.  
  • This is the win that will make Hidden Figures a success not just at the box office, but also with the Oscars. 
  • And most of all, as star Taraji P. Henson noted on Instagram, it again proves movies about women and people of color make money. Read more

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Yall need to stop boycotting Spilt

Okay, I usually don’t come on here with my own opinions but I feel the need to speak up. And fuck all yall haters.

Split is the most mental illness empowering movie I have ever seen.

M. Night Shaymalan used great care in handling both illnesses displayed (DID & PTSD) throughout the film. James McAvoy’s performance is well portrayed, chilling, and beautiful. I never felt like his character was a bad person. What I saw was a good man struggling with an illness in his brain and trying to live in a world that broke and triggered him constantly.

The movie itself is, at times, hard to watch but that is expected for a Shaymalan film. In true Shaymalan fashion, this movie is filmed in an artistic way that forces you to face some hard truths without actually having to shove it in your face.

I honestly feel that every person with any kind of mental illness needs to see this movie. I personally walked out of the movie last night feeling empowered and even more accepting of myself because for once the characters with mental illness had the upper hand in both bad and good ways and I had witnessed a movie that not only understood how things can be for a mentally ill person but was able to display both the up and down sides of the illness.

And to top it all off there is a surprise at the end that completely turns the film on it’s head and even changes the world that you believe the film is in.

So basically what I am trying to say is don’t bash this movie until you have seen it. Go see it and if you still feel like it displays mental illness poorly then hate on it all you want.

I, however, want to thank Mr. Shaymalan and his cast and crew for a tense, beautiful, well researched and well put together peice of cinema. This is what movies were meant to be. Thank you for all of your hard work.

Just a quick update on how movies starring POC are doing at the box office:

  • Get Out is projected to make $26.1 million this weekend, a minuscule -22% drop from its first weekend.
  • Lion crossed the $100 million worldwide mark.
  • Moonlight is projected to make $2.5 million, countering the trend of Best Picture winners declining quickly after initial re-expansion. It’s playing in more theaters than the previous two BP winners, Spotlight and Birdman, while also averaging more money per theater than they did.
  • Octavia Spencer currently has 2 movies in the top 10 at the domestic BO (Hidden Figures and The Shack). She’s the first black woman to have two movies in the top 10 since Queen Latifah did it with Bringing Down the House and Chicago back in 2003.

I don’t mean to beat a dead horse, but it’s almost like if you make movies for more than one demographic people actually go to the movies! What a concept.

Disney’s “Beauty and the Beast” will easily hold on to the No. 1 spot at the box office in its second weekend in theaters, making $23.6 million on Friday to reach $252 million domestic and soar past the $500 million global milestone in just a week, reaching $541 million worldwide. Disney now estimates that the film will pass the $300 million domestic mark by the end of the weekend, which would make “Beauty” the sixth film to pass that mark in just ten days.

latimes.com
Disproving the 'black films don't travel' Hollywood myth
Prevailing Hollywood wisdom is that international audiences won't see movies about the African American experience. But is that true?
By Tre'vell Anderson

“Every time there’s a success, it gets swept under the rug,” says Jeff Clanagan, president of Lionsgate’s Codeblack Films, which primarily produces films with African American casts. “It’s almost like there’s an asterisk on it. They chalk it off as an anomaly.”

“Kong: Skull Island” Stomps Past Half A Billion at the Worldwide Box Office

(April 6, 2017 – Burbank, CA) – Warner Bros. Pictures, Legendary Pictures and Tencent Pictures’ global blockbuster “Kong: Skull Island” has crossed the $500 million mark at the worldwide box office, it was announced today by Sue Kroll, President of Worldwide Marketing and Distribution, Warner Bros. Pictures, and Mary Parent, Vice Chairman, Worldwide Production for Legendary.

The acclaimed action adventure—certified Fresh on Rotten Tomatoes—opened at the top of the domestic box office on March 10, and has grossed more than $150 million, and climbing.

Internationally, “Kong: Skull Island” was released day-and-date in 65 markets, including Vietnam, one of the movie’s primary filming locations, where it has become the highest-grossing picture of all time.  Hugely successful openings followed in Japan, as well as China.   Continuing to demonstrate broad appeal that transcends borders, “Kong: Skull Island” has earned more than $358.7 million in the international marketplace, for a combined worldwide total of approximately $509 million.

In China, where “Kong: Skull Island” is being distributed directly by Wanda-owned Legendary, the film is expected to become one of the top 10 English-language releases of all time.

In making the announcement, Kroll stated, “‘Kong: Skull Island’ has taken audiences and critics on a thrilling ride, resulting in strong word-of-mouth and repeat business.  These tremendous results speak not only to the powerful legacy of this mythic icon but also the crowd-pleasing monster movie director Jordan Vogt-Roberts, his cast and fellow filmmakers have delivered.  We congratulate them and our partners at Legendary Pictures and Tencent Pictures on reaching this benchmark.”

Added Parent, “‘Kong’ reaching this global milestone is fantastic news for the movie.  We’re also thrilled to have another firmly established cornerstone in our goal of creating a Monsterverse that will bring some of the world’s most iconic creatures back to the big screen with a contemporary style that resonates with moviegoers across the globe.  The film’s success to date in China also underscores Wanda and Legendary’s commitment to delivering content that will drive moviegoers across the region to the theater.”

From the producers of “Godzilla” comes “Kong: Skull Island,” a compelling, original adventure directed by Jordan Vogt-Roberts (“The Kings of Summer”).  The film tells the story of a diverse team of scientists, soldiers and adventurers uniting to explore a mythical, uncharted island in the Pacific, as dangerous as it is beautiful.  Cut off from everything they know, the team ventures into the domain of the mighty Kong, igniting the ultimate battle between man and nature.  As their mission of discovery becomes one of survival, they must fight to escape a primal Eden in which humanity does not belong.

Source: WB

Disney’s ‘Moana’ Sailing Past $600M At Worldwide Box Office Today

Walt Disney Animation Studios’ plucky Polynesian navigator is set to sail across the $600M global box office mark today. The Ron Clements/John Musker-helmed Moana is pushing past the milestone following a strong $6.3M No.1 opening in Japan last frame. The domestic gross is $247.6M and the international box office is $351.8M through Wednesday.

Moana, which stars newcomer Auli’i Cravalho and Dwayne Johnson, debuted domestically on November 23 last year with $82M over five days to become the No. 2 biggest Thanksgiving holiday opening of all time behind only Frozen. Internationally, it had a staggered release with France leading at $35.4M through last Sunday, followed by China with $32.7M, the UK at $24.6M, Brazil’s $22.3M and Australia’s $18.9M.

(Moana has also made $5M in New Zealand. That’s as much as Rogue One.)

[source]

2016 Korean Box Office

2016 Korean Box Office Top 15 (Admissions)

1. Train to Busan 부산행 11,565,479
2. A Violent Prosecutor 검사외전 9,707,581
3. Captain America : Civil War 캡틴 아메리카: 시빌워 8,677,249
4. The Age of Shadows 밀정 7,500,422
5. Tunnel 터널 7,120,508
6. Operation Chromite 인천상륙작전 7,049,643
7. LUCK-KEY 럭키 6,975,295
8. The Wailing 곡성 6,879,908
9. The Last Princess 덕혜옹주 5,599,229
10. Doctor Strange 닥터 스트레인지 5,446,192
11. Zootopia 주토피아 4,706,158
12. Fantastic Beasts and Where to Find Them 신비한 동물사전 4,652,898
13. The Handmaiden 아가씨 4,287,839
14. Kung Fu Panda 3 쿵푸팬더3  3,984,812
15. Pandora 판도라  3,935,743

Yes, the running Zombies on the train to Busan ruled this year’s box office.


All Time Korean Box Office Top 15 (Admissions)

1. Roaring Currents 명량 (2014) CJ E&M / 17,615,057
2. Ode to My Father 국제시장 (2014) CJ E&M / 14,262,199
3. Veteran 베테랑 (2015) CJ E&M / 13,414,200
4. Avatar 아바타 (2009) 20th century Fox / 13,302,637
5. The Host 괴물 (2006) Show Box / 13,019,740
6. The Thieves 도둑들 (2012) Show Box / 12,983,841
7. Miracle in Cell No.7  7번방의 선물 (2013) NEW / 12,811,213
8. Assassination 암살 (2015) Show Box / 12,706,360
9. Masquerade 광해, 왕이 된 남자 (2012) CJ E&M / 12,323,555
10. King and the Clown 왕의 남자 (2005) Cinema Service / 12,302,831
11. TaeGukGi: Brotherhood Of War 태극기 휘날리며 (2004) Show Box / 11,746,135
12. Train to Busan 부산행 (2016) NEW / 11,565,479
13. The Attorney 변호인 (2013) NEW / 11,374,861
14. Haeundae 해운대 (2009) CJ E&M / 11,324,545
15. Silmido 실미도 (2003) Cinema Service / 11,081,000


2016 was a really interesting year for a Korean movie / drama fan.

Some US companies like 20th century Fox and Warner Bros started to invest in local Korean films like The Wailing (곡성) and The Age of Shadows (밀정).

Meanwhile, Korean film companies jumped into the Korean TV drama industry. Descendents of the Sun (태양의 후예) was produced by NEW (Next Entertainemnt World which produced Train to Busan) and Dokkaebi / Goblin (도깨비) was produced by Studio Dragon, one of the affiliated companies of CJ E&M Group.

Most of all, Studio Dragon (CJ E&M) took over the TV drama company established by the writers of Six Flying Dragons. It means their new Sageuk drama (the sequel to Six Flying Dragons and Tree with Deep Roots) may be broadcasted by tvN channel which is also an affiliated company of CJ group. But it remains to be seen.

[…] Overall Broadway sales held steady, with cumulative box office ringing in at $19.8 million for 23 shows now playing. Attendance, which totaled 177,044 or about 80% of the Street’s overall capacity, was also about on par with the prior week.


Settling into its new pricing, “Hamilton” ($2,903,693) downshifted by $300,000 but still easily outpaced every other show, including “The Lion King” ($1,553,274), “Wicked” ($1,306,187) and “The Book of Mormon” ($1,264,107). “Dear Evan Hansen” ($1,148,495) upticked, with the fall season’s other strong seller, “Natasha, Pierre and the Great Comet of 1812” ($961,038), holding about even with the previous week. […]