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(LOS ANGELES) — “Fantastic Beasts: The Crimes of Grindelwald” crawled, slithered and flew its way to the top of the weekend box office with a $ 62.2 million opening in the U.S. and Canada, according to studio estimates Sunday.
The latest offering from the Harry Potter multiverse fell short of the opening of the first film in the Warner Bros. series, 2016’s “Fantastic Beasts and Where to Find Them,” which debuted with $ 74 million in a similar November release and went on to earn $ 234 million in the U.S. and Canada.
But all the Harry Potter films have had a broad international reach, and “Fantastic Beasts” had a hearty worldwide weekend gross of $ 253 million, according to the studio’s estimates.
“Clearly it’s a huge phenomenon globally,” said Jeff Goldstein, president of domestic distribution for Warner Bros.
Last week’s top film, “Dr. Seuss’ The Grinch,” was second with $ 38.1 million, bringing its domestic tally to $ 126 million for Universal Pictures after two weekends.
“Bohemian Rhapsody,” 20th Century Fox’s Freddie Mercury biopic, is still rocking, taking third place with $ 15.7 million for a total of $ 127 million.
“Fantastic Beasts,” the second film in the series of Potter prequels written by J.K. Rowling and starring Eddie Redmayne, Johnny Depp and Jude Law, had a budget of $ 200 million. Its reviews were largely lackluster, with critics saying Rowling’s magical world is wearing thin after 10 films.
Globally the first nine films have earned $ 8.5 billion, a total that this one’s worldwide take will inflate.
“This is yet another example of a movie whose opening weekend skewed heavily into the international territories,” said Paul Dergarabedian, senior media analyst for Comscore. “This happens a lot with bigger franchise movies. For many of these blockbusters, it’s the international component that comes in and saves the day.”
In the U.S., Warner Bros. is hoping young devotees who are out of school will keep “Fantastic Beasts” in flight through Thanksgiving.
“It’s a big week coming up,” Goldstein said. “Friday is one of the biggest movie days of the year.”
It will have a major challenger in Disney’s “Ralph Breaks The Internet,” which opens Wednesday, as does “Creed II.”
“Fantastic Beasts” continues a year of high points and hits for Warner from a diverse string of movies, including “The Meg,” ”Crazy Rich Asians,” ”The Nun” and “A Star is Born.”
“Warner Bros. is on a roll that every studio would envy,” Dergarabedian said.
In this weekend’s smaller-budget openings, “Instant Family” starring Mark Wahlberg brought in $ 14.7 million for Paramount Pictures, and “Widows,” the latest from “12 Years a Slave” director Steve McQueen, earned $ 12.3 million for 20th Century Fox.
Overall, the weekend was down 14.5 percent from the same timeframe a year earlier, when “Justice League” made for a major pre-Thanksgiving weekend.
Here are estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Where available, the latest international numbers for Friday through Sunday also are included. Final domestic figures will be released Monday.
1. “Fantastic Beasts: The Crimes of Grindelwald,” $ 62.2 million.
2. “Dr Seuss’ The Grinch,” $ 38.1 million.
3. “Bohemian Rhapsody,” $ 15.7 million.
4. “Instant Family,” $ 14.7 million.
5. “Widows,” $ 12.3 million.
6. “The Nutcracker and the Four Realms,” $ 4.7 million.
7. “A Star Is Born,” $ 4.3 million.
8. “Overlord,” $ 3.8 million.
9. “The Girl in the Spider’s Web,” $ 2.5 million.
10. “Burn The Stage: The Movie,” $ 2.3 million.
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After multiple rounds of film festivals from Venice to Telluride to Toronto to New York that all occur in the span of a little more than a month, the AFI Film Festival is where the almanac of festival movies comes to a close. The Hollywood-set film festival, curated by the American Film Institute, gets a few splashy world premieres (this year On The Basis of Sex, Mary Queen of Scots and Netflix’s Bird Box) but it's also the last theatrical release for many titles before Oscar voters…
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Witty and warm as cashmere, ‘Green Book’ is a two-hander in which the stars soar with humor and heart.
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Apple will begin making independent, feature-length films through a multiyear partnership with the Oscar-winning studio A24, broadening the iPhone maker’s push into original content beyond TV programming and into movies.
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NETFLIX has released a new trailer to show what’s available to stream over the Christmas period.
Films on offer include The Princess Switch, The Christmas Chronicles and A Christmas Prince: A Royal Wedding.
There will also be a holiday special of Bake Off with Paul and Prue welcoming back their favourite bakers.
And for fans of the new Sabrina series that’s getting its own Christmas special called The Chilling Adventures of Sabrina: A Midwinters Tale.
Love Actually and How the Grinch Stole Christmas are both already available to watch on the site.
It comes days after The Sun Online revealed the easy way of tracking down the best Christmas films on Netflix.
What to watch
The Princess Switch – coming November 16
The Christmas Chronicles – coming November 22
The Great British Baking Show: Holidays and A Christmas Prince: A Royal Wedding – both coming November 30
Nailed it! Holiday – coming December 7
Chilling Adventures of Sabrina: A Midwinters Tale – coming December 14
Love Actually – already streaming
We tracked down the secret codes that unlock specific categories and have together a guide on how to get access the genres on ANY device.
You should also read our guide to the secret Netflix controls you never knew existed.
If you waste hours trying to find something to watch, you’ll definitely want to try Netflix Roulette.
And find out how to get new Netflix features first.
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"Outlander" returns for season four tonight.
ABC News: GMA
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Netflix has famously resisted traditional film distribution, where films hit the silver screen first.
It’s something that’s bothered the film establishment, most notably when Cannes Film Festival told the streaming giant in 2017 it would need to show in French cinemas if it wanted to be considered for future festivals.
Netflix fired back by pulling out of Cannes this year. But now, it’s releasing three of its films in select cinemas for a short run before people can watch them on the service. Why? Awards.
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No one told us life was gonna be this way.
There are two kinds of people. First, you have the kind of people who can’t wait for the newly announced Clueless reboot. And secondly, you have people like me: who honestly can’t think of anything worse. Not because I don’t like the film – in fact, I’m obsessed with it – but because it was just so perfect and of its time. Deadline broke the news earlier today that a Clueless remake is currently in ‘early development’ over at Paramount and it’s being helmed by two women whose projects you’ve probably seen recently. Tracy Oliver, who wrote Girls Trip, will be producing the project while Marquita Robinson, who’s behind Netflix’s Glow, will be in charge of the script.
Although the outlet revealed they were currently unsure ‘whether it’s a fresh new take for the millennium and if older characters will be reprising their roles’, I don’t think either option is a great shout. (I’ve learned that the long, hard way after Sex and the City 2 and Gilmore Girls: A Year in the Life.) Like it or not, it seems like it’s full steam ahead. Cher and Josh, I adore you but I don’t know if I can come with you on this journey.
After seeing the announcement come out, it got me thinking about which other classic movies and television shows that Hollywood should just leave the hell alone. By virtue of putting them on this list though, I’m also 150% certain that there are definitely talks behind the scenes about reboots and remakes happening RN. If there’s anything 2018 has taught me, it’s that nothing is sacred anymore. Here’s a few 90s classics and early 00s beauties that should never be rebooted…
Like Clueless, Friends was this bolt of lightning that just captured a specific cultural moment. Although people have started picking apart the show and exposing its un-PC 90s underbelly, the tale of six pals in New York remains one of the most beloved television shows and continues to spur debates on whether or not Ross and Rachel were really on a break. Nobody will ever be able to fill the shoes that Matthew Perry, Courteney Cox, Jennifer Aniston, Lisa Kudrow, David Scwhimmer and Matt LeBlanc have left behind and capture their chemistry IMO, so there’s no point in even trying to remake the entire series. The jury’s still out on whether or not a Friends movie is going to happen with them reprising their roles but I honestly don’t think that’s going to happen.
If you’re really keen on seeing what life was like for Monica and Chandler after Friends, an interior design company redesigned Monica’s iconic Friends apartment for the 21st century. It’s actually pretty cool and I’d move in if I could afford it.
Back to the Future
I swear, every film student I talked to when I was at uni waxed lyrical about this film. The adventures of Marty McFly and Doc hold a very special place in my heart and seeing anybody try to recreate that magic would hurt. Even though the Back to the Future series succeeded with one of their stellar sequels, it wasn’t magic every time. Please, I can’t do cowboys again.
Roald Dahl’s novel was one of the first books I ever really resonated with as a kid and unsurprisingly, the film was no different. This 1996 film captured the zany brilliance of the original story with a spectacular over-the-top approach to the story, bringing to life memorable scenes like the Chokey and Miss Trunchbull literally tossing a girl miles away by her braids. I can’t imagine a better Matilda than Mara Wilson TBH and if you haven’t checked in on her in years, go follow her on Twitter – she’s amazing.
The original Harry Potter series
I’ve resigned myself to the fact that whether I like it or not, this is probably going to happen in five years. Nobody, not even J.K. Rowling, can let this beloved franchise go and I think it’s time we all pull a Daniel Radcliffe: hold it in our hearts forever, make our peace with it and move onto other things. The sound of John Williams’ orchestral opening still sends shivers down my spine and we all remember that moment that the doors were thrown open and we saw the Great Hall for the first time; I don’t think anything’s ever going to top that. Plus, let’s be real – who else would really be able to play the original trio but Daniel Radcliffe, Emma Watson and Rupert Grint? (Side note: if a remake has to happen, I want it to be in decades and for Daniel Radcliffe to play Professor Dumbledore.)
My friend Conor once said to me on a night out, ‘If I had Bernard’s watch, I would f*** shit up.’ Bernard’s Watch was such a sweet, wholesome television show and after hearing my pal say that, I don’t trust the powers at be not to abuse the power a magical watch will give a gen Y kid. It probably won’t even be a watch, it’ll probably be an app on an unbranded smartphone and even just typing that out makes me furious that I’ve already thought about this.
This laugh out loud British comedy remains one of the funniest shows ever and even now, the tales of the chain-smoking, vodka-drinking and totally over it all duo remain some of my favourites. If there was to be a reboot or remake, the only way I’d come around to it would be if Jennifer Saunders was attached to write or direct since she was the one that brought the magic the first time round as one of the show’s main writers and playing Edina Monsoon. We’ve already gotten a sequel movie which wasn’t great, let’s not push our luck here.
The Fresh Prince of Bel-Air
Even though The Fresh Prince of Bel-Air was intended originally for American audiences, after it started airing on BBC 2 it became a British cult classic. People love this show (and the opening song which everybody seems to know backwards), so seeing it rebooted for a 21st century audience would be kind of devastating. Plus, the cast of Fresh Prince have since shut down any possibility of a revival since James Avery – who played Uncle Phil – sadly passed away.
Alfonso Ribeira, who played Carlton, told PEOPLE, ‘I think it’s impossible with James Avery being gone. Do we really want to see Will and Carlton in their, you know, 40s and 50s?’
He added, ‘James Avery, right, he’s actually the most important character on the show. … Without him, everything that Will and Carlton did would mean nothing.’
Buffy the Vampire Slayer
I’m still in denial that this reboot is happening. Buffy was one of the first real feminist television icons I ever came across and she’s stayed with me ever since: I’m literally going to a Buffy the Vampire Slayer-themed Halloween party this weekend. The butt-kicking adventures of the vampire slayer were my highlight growing up and seeing how much the Scooby gang cared for one another set the bar high for my own friendships, supernatural disasters and end-of-the-world crises aside. It was bold for its time and I literally can’t stop thinking about some of the show’s episodes, including the quiet, unexpected death of Buffy’s mother and Hush – the experimental completely silent episode.
According to the new showrunner Monica Owusu-Breen, the upcoming Buffy show won’t be a reboot and instead will centre on ‘a new Slayer’. I mean, I’m still not convinced but I’ll reserve judgement till we actually get to see it.
Any Amanda Bynes romcom
What a Girl Wants? She’s the Man? Honestly, we were #blessed to grow up with a bounty of Amanda Bynes’ films and TV shows. People aren’t going to be poring over any of these flicks at film school or championing them as a bastion of romance genre excellence, but I still don’t want anybody to touch them. Although Amanda Bynes has faded from the spotlight and gone pretty quiet recently, she was the funny, sassy girl that I desperately wanted to be. Nobody will ever hold a candle to her.
Live-action Studio Ghibli films
Disney’s currently on the live-action remake hype train and if Studio Ghibli hops on it, I’m going to lose my shit. These Japanese animated films are untouchable with the likes of Spirited Away, Princess Mononoke, Howl’s Moving Castle and Kiki’s Delivery Services beloved globally. They were brought over to English audiences pretty respectfully (a rare feat) and even attracted voice acting talent like Christian Bale, Lauren Bacall, Joseph Gordon Levitt and Emily Blunt.
That said, my skin actually crawls at the thought of Hollywood making a live-action Spirited Away – mostly because I’m terrified they would white-wash it and cast Scarlett Johansson as Chihiro. Never forgive, never forget Ghost in the Shell.
I’m sure there’s a ton of films and shows I’ve missed, but I’d be here all day if I listed them all. Off the top of my head, I wouldn’t be able to bear reboots of Fight Club, Die Hard, Who Framed Roger Rabbit? and Saved by the Bell.
Are there any films or shows you actually want to see rebooted?
The post Clueless is being rebooted, so here’s a few other sacred TV shows and films we need to protect appeared first on Marie Claire.
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Twenty years ago, Carolyn Butts founded the Reel Sisters Film Festival to showcase films directed, produced, and written by women of color. Now, the Brooklyn-based film festival is celebrating two decades of job creation and access for women of color behind the camera. “We have played a pivotal role in creating spaces for us to share our stories,” said Butts. Over the last 21 years, the festival has screened over 3,000 films, distributed more than $ 25,000 in scholarship money to women of color filmmakers and helped filmmakers get their films distributed to institutions like Third World Newsreel, Black Public Media, and Centric/BET TV.”
The Reel Sisters of the Diaspora Film Festival & Lecture Series is an annual two-day film festival founded by African Voices magazine and Long Island University’s Media Arts Dept. The Reel Sisters 21st-anniversary event will take place from Oct. 20-21, 2018, in Brooklyn, New York. “After 21 years, we’re very proud to be among a select group of film festivals that can recommend short narratives for Oscar consideration,” said Butts. “Our new status means Black, Latino, Asian, Indian, African and Caribbean women now have another path to earning an Oscar, which can open the doors for getting paid producing and directing jobs.”
Although we’re making strides in representation and film, Butts wants to make it clear: “We still need to see Hollywood hiring more women directors in general,” she said. The door is cracked open but our job is to keep fighting until the top of the credit line reflects the ticketholders that made Black Panther a $ 1.344 billion box office success this summer. We need more women and people of color producing and directing films. According to a study on diversity in film conducted by the USC Annenberg School for Communication and Journalism, 28 women have worked as directors across the 700 top films from 2007 to 2014. Only three were African American. We still have work to do despite the PR campaign for equity and the success of films like Black Panther, Mudbound, Get Out and A Wrinkle In Time. I’m working on a project similar to Sundance TV where the films from Reel Sisters can connect with a global audience via a streaming platform like Netflix or Hulu. The Reel Sisters Tea & Cinema TV would give women of color a chance to get paid for creating, developing, and distributing their stories.”
The theme for this year’s festival is #time4self which will showcase films dedicated to self-care, wellness, and healing. When asked about a simple way we can exercise self-care daily, Butts responded, “Breathing. We’re so busy pushing that we rarely slow down a moment to deeply inhale and appreciate the beauty that surrounds us. I have to remind myself to breathe deeply and release. My personal self-care practices are yoga, writing, meditation, and prayer,” she said.
The post Reel Sisters Dedicates Film Festival to Self-Care and Spotlights Films by Women of Color appeared first on Black Enterprise.
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You could never accuse Nicolas Cage’s hair of being boring. It fluctuates as constantly as the quality of his movies — and it’s starting to look like there might be a link between the two. The theory goes: the longer the hair, the worse the film. Does this hold any weight or is it a hair-brained idea? Let’s take a look.
Face/Off is surely one of Cage’s best films, and the face-swapping crime thriller sees him sporting a tidy short back and sides, with only a bit of length on top when the wind picks up. This correlates perfectly with the finesse of this critically-acclaimed feature, which also happens to be one of John Travolta’s finest.
The smart, darkly funny romance Leaving Las Vegas is a terrific showcase of Cage’s talents in the right context, and sure enough his barnet is about as short as an alcoholic character can sport: unkempt but under control with no attempt to disguise the thinning.
John Dahl’s neo-noir Red Rock West is one of Cage’s most highly-rated films ever, and he keeps his sideburns as short and tidy and the back of his hair, even shaving on camera in one scene. There is a daring amount of flick on top, however, which falls down onto his face from time to time, threatening to ruin the movie.
Bad Lieutenant: Port of Call New Orleans sees Cage do one of his best bonkers acts as a drug-addicted cop, but his hair is kept relatively in check, slicked back in all but his most crazy scenes. In terms of body, there’s a reassuring bounce that’s in keeping with the film’s generally offbeat vibe.
Not only is Cage’s hair quite short in the excellent Adaptation but it is also unusually curly, not just in homage to the writer Charlie Kaufman, but surely in a nod to the film’s quirky and frequently baffling story which includes Cage also playing Charlie’s fictional twin brother, Donald.
That said, there are anomalies in the short camp: The Wicker Man is a woeful remake with a surprisingly curt cut, while the very average Gone In 60 Seconds sees Cage opting for an equally average ‘do.
Cage’s new film Mandy is getting rave reviews but the occult horror is seriously weird and disturbing — and not only does he have an unkempt mid-length mane, but he has the rare addition of a beard. Approach with caution.
Kick-Ass has many fans but it’s not universally acclaimed, with many critics reeling at the extreme violence in the superhero story. Accordingly, Nic not only sports a hint of length in this film, but a controversial moustache.
Wild At Heart is another cult classic but it only scores 65% on aggregator sites — accordingly, Cage’s jet black hair is a little longer at the back and has the habit of going, well, wild.
The Weather Man is an unusually forgettable Cage film that’s bland but watchable. The same can be said of his locks: longer on top with a brushed-forward fringe — quite the broadcaster’s combover.
While Nic’s back hair is cropped reasonably short in Ghost Rider, the top cut is unusually choppy and spiky, making this another audience-dividing comic book movie that only scores 26% from critics.
The misfire Drive Angry also has a highly unfortunate hair situation for our hero: a thinning, bedraggled longish sun-bleached mop with scraggy stubble. Avoid the look, avoid the movie.
A classic case of taking yourself too seriously, Season of the Witch is a terrible film with a mane to match. Cage’s windswept hair is almost long enough to get tangled in his chainmail. Look the other way.
Cage’s thick, flowing locks in the The Sorcerer’s Apprentice are far more spellbinding than the film’s perfunctory plot. Though the film is marginally better than other long-locked Cage specials, it confirms that he should be cautious of both family fare and longer hair.
Con Air should by rights be a mid-length Cage film, but his hair in this actioner is defiantly long and bouffant at the bottom, even giving a mullet effect when blowing in the wind. Most of us see Con Air as a guilty pleasure, but the guilty party here might be the hair and make up department.
So, there you have it. There are exceptions to every rule, but it seems that the Cage hair theory might just wash — much like how the quality of a Matthew McConaughey movie depends on how quickly he takes his shirt off. But that’s another story…
The post Does the Quality of Nic Cage Films Depend on the Length of His Hair? appeared first on FANDOM.
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The screenwriter behind the brand new film, “The Hate U Give” died following a years-long battle with cancer a day before the movie’s release. She was 58.
Audrey Wells succumbed to her illness on Thursday, according to The Hollywood Reporter.
“Over the last five and half years, Audrey fought valiantly…
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