Movies

After debuting early last weekend, Universal’s The Fall Guy expanded to 78 overseas markets during its sophomore session, adding $25.4M for a running total of $36.9M at the international box office. That’s in line with Bullet Train and above The Lost City at the same point in release. Globally, the David Leitch-directed action romance is
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Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
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EXCLUSIVE: DreamWorks Animation/Universal’s Kung Fu Panda 4 crossed the $500M mark globally this past weekend, reaching the milestone on a staggered release pattern that has worked well for the partners in the past (think Puss in Boots: The Last Wish). Through Wednesday, it’s at $324M international box office and $509M worldwide. Directed by Mike Mitchell
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Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
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It’s been a rough few weeks for indies but May is here with a handful of hopefuls looking to rev up the market — from A24’s buzzy I Saw The TV Glow to Ryusuke Hamaguchi’s Venice award-winning Evil Does Not Exist. A documentary about Anita Pallenberg featuring Scarlett Johansson hits theaters, with a French animated
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Moviegoing remains in a sling, evident in Universal’s The Fall Guy currently coming in lower than expected with $28M this weekend. Perhaps Furiosa and Garfield can bring some zing over Memorial Day weekend at the end of the month. Both hit three-week tracking Thursday, with the Warner Bros/Village Roadshow Mad Max prequel eyeing a $40M-$50M
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Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
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Wildcat, directed and co-written by Ethan Hawke and starring Maya Hawke (Stranger Things, Little Women) as Flannery O’Connor, opens this weekend in New York and LA. One of nation’s most evocative, brilliant and ambitious writers, O’Connor was diagnosed with Lupus at 24 and reluctantly settled in with her mother, played by Laura Linney, at a
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Olivia Cooke (Sound of Metal) and BAFTA Award winner Jamie Bell (All of Us Strangers) have signed on to lead Italian filmmaker Nathalie Biancheri’s latest pic Takes One To Know One.  Cornerstone has international rights to the pic and will co-rep the US with CAA Media Finance. The pair will launch sales at Cannes. Billed
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Producer Patrick Sobelman and Ariane Toscan du Plantier, director of Cinema Distribution France and International at film and TV company Gaumont, have been voted in as president and vice-president of France’s César Academy. Their mandate begins on July 16 for two years. Sobelman was previously vice-president of the César Academy alongside outgoing president Véronique Cayla.
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Matteo Garrone‘s Oscar-nominated drama Io Capitano triumphed in Italy‘s David di Donatello film awards on Friday evening, winning best film and best director. The film about the trials and tribulations of two Senegalese teenagers as they try to make it to Europe via the Sahara desert and the Mediterranean Sea, also won best producer for
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There was a time when seeing iconic horror movie villains such as Michael Myers or Jason Voorhees slashing up young, defenseless civilians was the genre’s main draw. However, these days, audiences have come to better appreciate the Scream Queens and Scream Kings who know how to hold their own against the likes of masked killers,
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On Saturday night, when Martin Scorsese collected a gold medallion—the honor given by the DGA to all five of its Feature Film nominees—he thanked his cast and crew and Apple for their support in making Killers of the Flower Moon, but he emphasized his thanks to the Osage Nation for their intrinsic role in the
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