‘Hunger Games’ Fights Off Newcomers to Win Thanksgiving Box Office

1 Dec 2015 | Author: | No comments yet »

‘The Hunger Games: Mockingjay — Part 2’ Tops ‘Good Dinosaur,’ ‘Creed’ at Box Office.

The Hunger Games: Mockingjay – Part 2 held on to the top spot at the US box office at the weekend after posting a spectacular $75.8m (£50.5m) over the long Thanksgiving holiday week. Black Friday sales have been declining over the past few years, so it’s only natural that some of the money that remains in consumer pockets has gone on movie tickets. The final Hunger Games movie has now posted $198.3m in North America in just two weeks, and is running ahead of its predecessor (final total $337.1m) at the world’s largest box office.

Disney and Pixar’s animated dinosaur movie took second place, bringing in $39.2 million Friday through Sunday, while “Creed,” a new entry into the Rocky Balboa canon, came in third with $30.1 million. While most in the US were probably stuffed from Thursday’s festivities, the movie box office was dominated by The Hunger Games, with Mockingjay — Part 2 occupying first place for the second week.

The $40 million revival of Mary Shelley’s monster classic, starring James McAvoy and Daniel Radcliffe, proved lifeless in theaters, earning just $2.35 million from Friday to Sunday. (©2015 CBS Local Media, a division of CBS Radio Inc. In second place was Pixar’s The Good Dinosaur, opening over the weekend to a big if not truly spectacular box office, followed by the hard-hitting Creed in the third spot. The film, which cost a reported $175 million to $200 million to produce, grossed $55.6 million in its first five days in theaters. “This Pixar group has just been so consistent with high-quality storytelling that appeals to all audiences.

This weekend’s result is another testament to the way they do things,” said Dave Hollis, executive vice president of distribution for Disney. “We are off and running in a great way and also set up for a very, very long run.” “Creed,” meanwhile, came out swinging. Disgust with, and hatred of femininity is often linked to hatred of women – as in the uber-masculine James Bond novels, with their casual disdain for the disposable sex objects who cross the hero’s path. While reviews have been reasonable – the film has a 77% “fresh” rating on the critical aggregator Rotten Tomatoes, the consensus is that Peter Sohn’s film is not a Pixar classic. “I found it desperately disappointing, unoriginal and twee, exactly the kind of creative cul-de-sac that we’d been afraid of before Inside Out,” wrote the Guardian’s Peter Bradshaw. “The story is unsubtly borrowed from The Lion King and The Jungle Book, with bits of Ice Age and The Croods. The monstrous success of Jurassic World ensured it remained in the top slot on June 21st, gobbling up $106.6 million on its second weekend in theaters.

Both movies were critically well received, and both posted impressive box office results, but neither feels like the knockout hits the studio is known for. You could certainly say her feelings for her sister are maternal, but she expresses them most dramatically through being iconically paternal – by going into battle to protect her family. 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. But, while Katniss admires these dresses (and shares a bond of deep affection with designer Cinna), she’s wearing them because she has to, not because she wants to. She and Peeta pretend to be in love for the cameras to, again, woo sponsors and to assure President Snow that their main interest is true love, not rebellion.

Just as writers like Dickens present their pure female characters as paragons, so Peeta, filling the feminine role, becomes a kind of touchstone of purity and self-sacrifice. It’s significant that this sequence is juxtaposed with Finnick, a Hunger Games survivor, describing his sexual abuse at the hands of the upper-class elites; love and sex in the corrupt, feminised Capitol, are synonymous with perversion and violence.

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