Box Office: ‘The Martian’ Retakes No. 1, While ‘Steve Jobs’ Disappoints and … | News Entertainment

Box Office: ‘The Martian’ Retakes No. 1, While ‘Steve Jobs’ Disappoints and …

26 Oct 2015 | Author: | No comments yet »

Weekend Box Office Winners & Losers: Bill Murray, Vin Diesel, Steve Jobs, and Jem All Go Down in Spectacular Flames.

The pack of new releases proved to be all out duds, some worse than others, leaving room for holdovers The Martian and Goosebumps to stay in the top spots with $15.9 million (Dh58. 3 million) and $15.5 million, respectively according to Rentrak estimates Sunday. Every single one of the new studio releases flopped and the overall box office suffered accordingly, down more than 10 percent from last year, with none of the newbies coming close to 2014’s pre-Halloween Ouija board or John Wick’s lucrative puppy vengeance. Hollywood somehow so perfectly synchronized its floppage that analysts looked to higher powers for an explanation: maybe the new Star Wars sucked all the extra money out of our wallets with its insane ticket presales? Or maybe all those fancy prestige pics steering clear of Halloween (when we’re too busy getting trashed in costume to watch movies) caused the carnage?

Frankly, there’s no need for supernatural explanations: This weekend’s new releases just managed to be madly, deeply, truly bad, each in their own special way. Bill Murray’s Rock the Kasbah barely did better in ticket sales, pulling in only $1.5 million from 2,012 theatres, but it also cost three times as much as Jem to produce. On a budget that Deadline pegs in the mid-teen millions and a decent marketing spend, that’s not the end of the world, but it’s possibly the end of the franchise.

Poor reviews might have sunk “Witch Hunter,” ”Jem” and “Kasbah,” but good reviews couldn’t propel Danny Boyle’s “Steve Jobs” to flashy heights. Ghost Dimension fell below already-low expectations of $10 million to $12 million domestic for the weekend, and didn’t make enough to break into the top five.

The catch here is that Paramount was attempting a new experiment, trying to shorten the sacred “window” between a film’s theatrical release and its availability on VOD from the traditional 90 days to only 17. Universal isn’t disappointed with the expansion numbers and anticipates that Steve Jobs will continue to be in the cultural conversation, especially as the awards season kicks off. Predictably, this pissed off a chunk of theater owners, and while Paramount got some folks onboard (such as AMC and Cineplex), no one else wanted to show it, so the film played in 1,656 theaters — about 1,000 fewer than the last installment, Paranormal Activity: The Marked Ones.

However, it’s hard to tear up for the dearly departed here; its sacrifice at least may teach Paramount something about what happens when you make a movie available on VOD two weeks after its multiplex release. In raw-dollar terms, this is undoubtedly the biggest bomb of the weekend, opening to $10.8 million for fourth place on a $75 million–to–$80 million budget, and presumably way too much on marketing.

AMC and Cineplex agreed to participate in the model, but others refused to play the movie. “It feels to us really clear that any issues that we had were not related to consumer behaviour,” said Megan Colligan, Paramount’s president of worldwide distribution and marketing. “There’re just too many films being released into the marketplace. Now, given its poor trailer, its execrable 14 percent rating on Rotten Tomatoes, and the fact it isn’t a Fast & Furious film, no one should drop dead of shock that Witch Hunter would fail. Over the past month we’ve had on average at least three new wide release films entering the marketplace every week,” Dergarabedian said. “Audiences, and particularly older audiences for whom these films have great appeal, they’re staying away. In fact, it’s probably the 95 million people liking Vin Diesel’s Facebook page who kept it from bombing even worse; although it’s still his lowest opening since Babylon A.D. ($9.5 million back in 2008). It’s easy to get lost if you’re a newcomer into such a crowded environment.” As audiences pick and choose where to spend their entertainment dollars, Dergarabedian also notes that there is a handful of probable blockbusters on the way with Spectre, The Hunger Games: Mockingjay — Part 2 and Star Wars: The Force Awakens.

Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC. Technically, the biopic about the Apple founder has been in limited release for two weekends, so it’s not “new.” However, this weekend marked its expansion into nationwide release in 2,493 theaters. Despite sterling reviews, Oscar buzz for Michael Fassbender’s performance, and Aaron Sorkin’s writing, Steve Jobs managed just $7.3 million in wide release, only slightly better than Ashton Kutcher’s much-derided Jobs ($6.7 million), giving it $10 million in its third week. With a budget of $30 million, and with marketing allegedly around $35 million to $40 million, that’s definitely a kernel panic for Universal.2 However, Steve Jobs is an Oscar contender, and if it can stick around until nomination time, it should claw back a little spare change.

Chu’s quixotic adaptation of the cult kiddie show Jem and the Holograms raced to the bottom for the title of worst opening for a major-studio wide release ever. At least Zac Efron isn’t lonely anymore: Both films leap-frogged his August bomb, We Are Your Friends ($1.8 million), coming in just above the notorious Delgo and Oogieloves in the Big Balloon Adventure as the third- and fourth-worst openings for any type of film, studio or otherwise, in more than 2,000 theaters.

The best thing that Universal can say about Jem’s ignominious new record low is that the film itself cost only $5 million because it came from budget-conscious megaproducer Jason Blum. So even though it made barely any money, it can’t lose all that much, and its red ink might as well be a rounding error in Universal sibling Jurassic World’s global gross. But suffice it to say, when your director receives death threats from the few fans who actually cared about this forgotten ’80s Hasbro cartoon/30-minute weekly commercial in the first place, you know you’ve failed on just about every level. The Martian is in its fourth week of release, so its taking no. 1 ($15.9 million) is less a mark in its favor than a commentary on everything else’s stunning failure. At the art house, Focus’s Suffragette made $77,000 in four theaters, not an overly auspicious start for an awards hopeful, but still better than either I Smile Back ($16,036 in two theaters) or Nasty Baby ($8,023 in two theaters) despite both being Sundance darlings.

The only thing that earns even the shadow of a smile is the fact Steven Spielberg’s excellent Bridge of Spies dropped only 26 percent in its second weekend, earning $11.4 million, which means it just might chug through awards season to a decent return.

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Finding the ‘Joy’ in Jennifer Lawrence

20 Jan 2016 | Author: | No comments yet »

‘Joy’ review: Jennifer Lawrence cleans up in enjoyable biopic.

Writer-director David O. Their latest collaboration — following in the footsteps of Silver Linings Playbook and American Hustle — is a biographical picture about the life and times of Joy Mangano.Jennifer Lawrence groans when she’s asked about singing the classic Nancy and Frank Sinatra duet Something Stupid with co-star Edgar Ramirez in her new film Joy. “David [O Russell, the movie’s director] texted me last night to ask if he could put it on the soundtrack and this is what I texted him back,” the actor says as she digs around for her mobile phone and reads out her response verbatim. “‘David, no!!!’ and it is three exclamation marks.In a very abbreviated nutshell, that actually happened to Joy Mangano, 59, the fabulously successful Long Island entrepreneur/inventor and HSN pitchwoman whose rags-to-riches journey started with the invention of a mop.

Russell has made three kinds of movies: offbeat romances (“Flirting With Disaster”), surreal comedies (“I Heart Huckabees”) and dramas about dysfunctional yet appealing families (“The Fighter”). In real life, Mangano is the Long Island housewife and inventor who became famous and eventually rich after bouts of near-bankruptcy, by creating and marketing her Miracle Mop. Out Boxing Day in Australia, the film stars Jennifer Lawrence in the fictionalised life story of Joy Mangano, a single mum from Long Island who made her fortune selling a mop. On Christmas Day, “Joy,” a movie inspired by her struggles as a divorced, single mother turned mogul by way of that mop, will open at movie theaters across America.

This was before she hooked up with the giant Home Shopping Network, becoming their most effective pitch person and eventually selling her parent company, Ingenious Designs, to HSN. Gross, I can’t listen to it; I have to go to bed.’ And I said yes, but it’s a groaning, reluctant yes.” It’s the kind of unfiltered moment you come to expect when interviewing Lawrence, who may now be one of the most famous actors on the planet but still blurts out whatever she’s thinking with such self-deprecating charm it’s impossible not to be, well, charmed.

Jennifer Lawrence’s performance as Miracle Mop inventor and QVC pitchwoman Joy Mangano glues the movie together, but it threatens to unravel at any time. Lawrence, 25, looks genuinely surprised when complimented about how unchanged she seems from our earlier interviews before the fame and Oscars. “But there would be no reason to change,” she says with a shrug. “I just have a job and I love my job. In the film, Lawrence’s Mangano is a colourful character, a single mom with a unique relationship and friendship with her ex-husband, and an enterprising woman who parlays her creativity into an incredibly successful business.

Mom (Virginia Madsen) stays in her bedroom and watches soap operas, until she falls for a Haitian plumber (Jimmy Jean-Louis) who fixes a hole in her bedroom floor. She landed minor roles on TV shows such as Monk, Cold Case and Medium before her 2010 indie film Winter’s Bone led to her becoming the second youngest best actress Oscar nominee in history. This is true even when the film tilts off its rocker with a bit of Russell-esque madness built into the screenplay, and with the director failing to always keep the energy going. That resulted in not only a string of critically acclaimed films, an Academy Award and another Oscar nomination, but also her very own mega-franchise as Katniss Everdeen in The Hunger Games.

Joy’s grandma (endearing Diane Ladd) delivers messages of empowerment and smooths over constant fights, but she’s opposed by the money-grubbing rich woman (Isabella Rossellini) who dates Joy’s dad and sends negative messages about her. Lawrence’s endearing habit of speaking her mind resulted in a controversial essay she penned on Lena Dunham’s website about her discovery during the Sony hacks that she was being paid less “than the lucky people with dicks” on her recent films, including American Hustle. “I completely understand when people say actors shouldn’t talk about politics and things they don’t know about, but this was my gender at stake and it was being threatened with unfairness and I thought, ‘What is the point of having this voice if it’s not to speak out for myself and for everyone else who can’t?’,” she says unapologetically.

Upon learning that Lawrence would be playing her mom, Miranne says, “I braced myself so I wouldn’t fall on the floor.” As for Mangano, she says Lawrence playing her “made me feel old, number one. Lawrence hangs out with a posse of celebrity girlfriends, including Amy Schumer and singer Adele, but the reason is simple. “The friendship gets expedited a lot when you meet someone you know beyond a shadow of a doubt has no agenda,” she says. Draining her savings and taking out loans, she started off small, selling her mops to local boat owners. “She persuaded QVC to take a thousand, but sales were poor and they tried to send them back,” says Mason. “She suggested letting her demonstrate it herself, and the channel agreed.” Sales skyrocketed and Mangano’s career as a QVC pitch woman was launched. That’s so amazing there aren’t even words.” Mangano and her three children didn’t view “Joy” until the Dec. 13 premiere in Manhattan, though a family outing to see “Trainwreck” included a trailer.

This is, after all, the self-confessed reality-show junkie who confessed in a recent Vogue interview that on the night of her 25th birthday party, friends surprised her with a visit from reality queen Kris Jenner, who presented her with a cake inscribed, ‘Happy Birthday, you piece of shit!’ The only time she seems tongue-tied is when asked about her relationship status, after a four-year stint with X-Men: First Class co-star Nicholas Hoult and a year with Coldplay singer Chris Martin before their breakup earlier this year. “Next!” Lawrence says in a no-nonsense voice, pausing as she decides if she’ll continue that thought. For one thing, Mangano’s childhood is not that interesting for a film, despite some flashbacks to her as a youngster (when she is played by 10-year-old Isabella Cramp, who does actually look like we imagine Lawrence could have at the same age). A satire on the acquisitiveness of the public? (Here, QVC foists unnecessary things on gullible viewers who could better save their money.) Russell doesn’t seem to know. And, of course, the grave ending would be a lie: Mangano is very much alive at the age of 59, still inventing, still pitching products, still a superstar of the American home shopping universe. There’s the Clothes It All luggage system, essentially a rolling suitcase with a removable garment bag, and the Super Chic vacuum, which releases fragrance into the air.

If I even casually say something to a reporter, that quote haunts me for the rest of my life,” she says, “so I am never, ever, ever talking about boys again!” I don’t think any of us brought enough tissues!” A good portion of the film was shot last winter in Boston, and though the always-busy Mangano was twice scheduled to visit the set, snowstorms made travel impossible. He has mixed genres successfully before, as in the anti-war comedy-drama “Three Kings,” but the blender often grinds to a halt in “Joy.” Just as we’re getting used to the realism of Mangano’s fight for respect, Russell photographs Rossellini as if she were a gargoyle.

One of her creations, the thin and velvet-covered Huggable Hanger, remains a bestseller for HSN, at more than 300 million sold, and was endorsed by Oprah Winfrey. Yet in “Silver Linings Playbook,” Cooper, De Niro and Russell all supported her with fine work; here they lay back and make the movie a one-ring circus where she has to be acrobat, bareback rider and clown.

He had a presence all of his own.” At one point, Miranne says, “Jennifer grabbed Joy’s hand and said to David, ‘Look at the nails, a French manicure.’ ” (That manicure is a Mangano signature.) Lawrence revealed that in studying for her part as Joy, she watched recordings of the inventor’s early pitches on HSN, including ones for “Huggable Hangers” and found her so compelling that she wanted to buy them on the spot. There is something special when creative people get together.” Mangano’s take on Lawrence? “She’s beyond her years, so brilliant, hysterical and so talented.

Critically, Russell’s sense of wonder and beauty turns elegiac moments — especially when Joy Mangano becomes fully realized as a woman and as a business executive — into scenes of great beauty. Lawrence recently said on “The Tonight Show With Jimmy Fallon” that the movie was “half Joy Mangano’s story and half [Russell’s] imagination and other powerful, strong women who inspired him.” The director mined much of his Mangano material by phone.

The cast includes Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Susan Lucci (in a mock TV soap opera that gives Joy some of its silliness) and even Melissa Rivers as her late mother Joan Rivers. There’s no situation Joy cannot overcome or circumvent.” At a Newsday photo shoot at Mangano’s luxurious but serene 42,000-square-foot mansion on 11 acres in St. As for parting advice for the ambitious? “If this movie inspires even just one more person to believe in themselves and to go after their dreams, then it’s made a very special impact in this world.

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