Audiences don’t turn their back on family. That’s the lesson to be learned from this past weekend, anyways, when The Fate of the Furious proved that this is one franchise showing no signs of slowing down. It was never a question of whether The Fate of the Furious would take the top spot this weekend, but even the most optimistic of projections couldn’t have expected the global domination that this movie undertook. Here’s the box office estimates as of Sunday afternoon:
In a parallel universe where Paramount Pictures doesn’t alienate its fanbase, we might be talking about Ghost in the Shell as the big winner of this weekend and the de facto start of a new wave of Japanese Hollywood adaptations. Instead, DreamWorks Animation and The Boss Baby blew up the box office, no doubt delighting a handful of DreamWorks executives who watched the Ghost in the Shell controversy unfold with glasses of champagne in hand. After all, nobody’s going to boycott a movie about a baby who wears a suit.
It might be a tale as old as time, but audiences have proven there’s still a few petals left on that old flower. Despite being projected to open at somewhere between $214–245 million worldwide, Beauty and the Beast knocked the pants off those projections, eclipsing $350 million at the international box office and setting a March record for domestic releases along the way. Let’s take a look at how things shook out this past weekend with some of the expected grosses.
With Hugh Jackman’s Logan opening in theaters this weekend, the top spot of this list was never in doubt. The questions were always whether audiences would respond well to the first major R-rated superhero movie. Was the big opening of Deadpool an abberation or a sign of things to come? If today’s numbers are any indication, the answer is, maybe a little bit of both.
As a teenager in the ’90s, no actor better represented blockbuster movies than Bill Paxton. Although Paxton wasn’t typically a leading man in those movies — he would often play the brother, the second-in-command, or the comic relief — he served as a kind of talisman of quality. If you saw Paxton’s name in the opening credits of a movie, you knew that the film was going to be better for it.
While it’s been a few years since we last saw Lindsay Lohan in a feature film, that doesn’t mean the former Disney wunderkind hasn’t been busy. Not only has Lohan popped in for a handful of guest appearances on shows like Two Broke Girls and Eastbound & Down, she’s also been hard at work on her big screen comeback, The Shadow Within, a supernatural thriller about a private investigator who is looking into the death of her werewolf father. It may not compare to her previous heights as a child actress, but it’s a living. Not everybody gets to be a movie star.
Even with a little bit of distance from their initial release, there’s not a lot to enjoy about the Star Wars prequels. They’re still poorly acted, overly reliant on CGI, and too bogged down in origin stories instead of developing new characters for us to care about. That being said, give credit to George Lucas for writing a powerful arc for Senator Palpatine. Palpatine’s methodical dissolution of the Old Republic — and our mounting horror as we watch him convince the galaxy to give up freedom in exchange for a false sense of safety — aren’t enough to save the Star Wars prequels entirely, but they do represent some of the smartest writing of Lucas’ career.
It seems like the only time that people talk about trailers is to complain about them in some fashion. They gave away too much, they gave away too little, they didn’t feature the right colors or characters or soundtrack. It’s tough to cut an enticing movie trailer in 2016, not least of all because of our culture’s increasing hand-wringing about what constitutes a spoiler. A good trailer — one that gives you just enough without giving you everything — should be celebrated as its own miniature art form.
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