Why is the baby in ‘American Sniper’ fake? | News Entertainment

Why is the baby in ‘American Sniper’ fake?

20 Jan 2015 | Author: | No comments yet »

‘American Sniper’ movie sparks hateful reaction toward Arabs on Twitter.

NEW YORK — Clint Eastwood’s R-rated Iraq War drama “American Sniper” opened in January like a superhero movie in July, taking in a record $105.3 million over the Martin Luther King Jr. four-day weekend.Variety reports that the fact-based military drama starring Bradley Cooper pulled in a jaw-dropping $90.2-million (U.S.) for its debut weekend in wide release throughout the U.S. and Canada.

The new film “American Sniper” has been slammed by critics as pro-war propaganda, but as far as some hateful Twitter users go, the movie is right on target.HOUSTON (CBS HOUSTON) – Hollywood celebrities have taken to social media outlets to express their differing reactions to the Clint Eastwood film “American Sniper.” The war drama raked in 6 Oscar nomination, including Best Picture, and more than $90 million at the box office in its record-setting January opening weekend. But for the moment, we’re going to discuss the $10.6 million it will have made in IMAX alone by today, crushing the record for a January IMAX weekend (Avatar‘s fourth weekend) and an R-rated IMAX debut record (Prometheus) and giving the large-screen-format and giving the company a major shot in the arm during what is traditionally a very down period. However actor Seth Rogen saw another side to the film, comparing it to a “heroic” scene in Quentin Tarantino’s film “Inglorious Basterds” in which a German sniper is seen killing hundreds of Allied soldiers. “My uncle killed by sniper in WW2. The unexpected release, in terms of the speed in which it took place, the nature of the film, and the massive success of this launch, may-well be a game-changer for the company.

The resounding wide-release opening is also tops for the 84-year-old Eastwood, whose previous best weekend was the $29.5 million wide release of 2009’s “Gran Torino. And it, in one weekend, gives the Oscar best-picture race something it was lacking: a big ol’ box-office hit. “American Sniper, nominated for six Academy Awards, immediately becomes the top grosser of the best-picture nominees. The movie’s success is a huge boost for the actor-turned-director, whose biggest debut as a filmmaker was previously $29.5 million for Gran Torino in 2008. And although some theatre chains are likely still counting last weekend’s box-office receipts, some movie-industry analysts are already likening Sniper’s remarkable kickoff to that of Guardians of the Galaxy, last summer’s box-office blockbuster that became one of the year’s highest-grossing films primarily through word-of-mouth endorsements on social media. Josh Gad and Kevin Hart’s R-rated comedy The Wedding Ringer has opened in second place with $21 million and another new U.S. release, Paddington, debuts at three with a $19.3 million first-weekend haul.

That slow release pattern helped stoke demand for the film, in which Bradley Cooper stars as Navy SEAL marksman Chris Kyle. “It’s become a cultural phenomenon,” said Dan Fellman, head of domestic distribution for Warner Bros. “The movie reached an audience that’s very hard to tap into. In both red and blue states, small and large cities, tiny towns — everywhere we went — it broke records.” Going into the weekend, optimistic predictions for “American Sniper” were closer to $50 million, which still would have been an enormous success, particularly considering how little appetite audiences have had for movies about the wars in Iraq and Afghanistan. “This was maybe the most underestimated film of all time, considering that it did about twice what estimates predicted,” said Paul Dergarabedian, senior media analyst for box-office firm Rentrak. “This just doesn’t happen.” But the film was warmly embraced by conservatives, which Fellman said was a “huge” factor. Anyway, the turnaround was lightning fast, and I cannot speak to the usual timeframe for these kind of conversions (since the films that we all assume are going to be in IMAX are slotted years in advance at this point), but I can vouch for the results. Dergarabedian said “American Sniper” resonated with audiences craving a celebration of valor, courage and patriotism. “American Sniper,” once pegged for release in late 2015, was moved up to qualify for this year’s Oscars. At the recent TV Critics Tour in Los Angeles, Fox chairman Dana Walden said that the ratings success of last year’s 24: Live Another Day has the network considering it, but admitted those plans might not include Kiefer Sutherland’s indestructible spy-guy Jack Bauer. “We have discussed it with him,” said Walden. “We talk to Kiefer all the time.

Since I had passed on the press screenings due to conflicts and had decided to forgo the “only at the Arclight” run over the past three weeks, I was pleasantly surprised when IMAX announced the intended release just over a week ago. After Eastwood’s other 2014 release, “Jersey Boys,” struggled in its June release, totaling $47 million, “American Sniper” — a $58 million co-production between Warner Bros. and Village Roadshow — was tossed into this year’s Christmas mix. I did see American Sniper in IMAX at the AMC Promenade 16 in Woodland Hills last Friday morning, which until very recently was my local theater (cue a recent Elton John song).

Seal Kyle was gunned down at a shooting range in his native Texas by Eddie Ray Routh, a Marine veteran allegedly suffering from PTSD in February 2013. The pair were greeted at the Cleveland soundstage by a solitary hula dancer, which quickly became a large lei-wearing flash mob showcasing the dance talents of her co-stars Jane Leeves, Wendie Malick and Valerie Bertinelli. An emotional White clapped hands along to the music and broke out laughing when someone held up a sign stating, “At 93, you shouldn’t be doing this!”

We have seen IMAX offer the majority of the young-adult franchise films at some point in their lifespan (six of the Harry Potter films, two of the Hunger Games pictures, one Twilight, and at least one Divergent thus far) along with the stereotypical superhero pictures and the films of directors who have favored nation status (Brad Bird, Chris Nolan, Michael Bay, James Cameron, and J.J. What we saw this year was IMAX booking films like The Equalizer and John Wick, which were visually polished to be sure, but still basically real-world, guns-and-ammo B-movie action pictures. The Hobbit: The Battle of the Five Armies is winding down and they had nothing else debuting until the highly unusual split-bill (more on that next month) of Warner’s Jupiter Ascending and Universal/Comcast Corp.’s Seventh Son which both open on February 6th.

What may have just been something to fill a hole has become, offhand, probably a far more successful release than anything else coming down the pike between now and (presumably) Furious 7 for the large-format company. Make what you will of the fact that the PLF screens slightly out-grossed the IMAX screens (even if IMAX had a larger per-screen-average), but that’s for another day. IMAX has yet to deny the blatantly false rumor started by me that Fifty Shades of Grey will be getting an IMAX conversion, although in all seriousness I hope the PLF companies take the bait accordingly because that would be a fascinating statistic to track next month. Point being, as someone thinks that most theatrical movies benefit from the best and biggest theatrical screens, and as someone who (subjectively speaking of course) thinks IMAX offers the best theatrical movie screens, I’m hopeful that we’ll see more and more diverse content.

Speaking of which, IMAX will play American Sniper until January 29th when it will replace it with the last two episodes of Game of Thrones season which will include a preview of season five. There is absolutely an untapped market for paid theatrical screenings of certain fan-friendly television shows, such as the $4.7 million earned in one night by that Dr.

The smashing success of the IMAX version of American Sniper, a film that up until around a month ago was going to go out as plain-old 35mm/DLP/PLF, may be a sign of things to come. Oh, and for the record, I and plenty of my ilk would pay $20 to see 48-hours before televised airing screenings in IMAX of the season finales of Arrow and The Flash with some kind of Batman v Superman: Dawn of Justice preview thrown in for good measure.

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