All proceeds made from the movie will be donated to charity.”We certainly hoped for a better box office result,” said Open Road’s president of marketing Jonathan Helfgot, adding that the film’s mission was not purely box office-related. it’s undeniable that there’s been more focus and attention in the past two weeks than the past hundred years since the atrocity took place.”Disney’s latest animal documentary “Born in China,” a co-production between Disneynature and Shanghai Media Group, is making $5.1 million from 1,508 theaters. “And looking at the amount of conversation … Oscar Isaac, Charlotte Le Bon and Christian Bale make up the central love triangle in the movie directed by Terry George (“Hotel Rwanda”). This time around looks to tell mostly the same story — while domestic grosses slipped 61% from its first to second weekend, the movie is still easily topping the box office with $38.7 million from 4,329 locations.But slipping domestic earnings (and lower U.S. “It was about bring the world’s attention to this issue,” he said. A24’s “Free Fire” raked in only $1 million from 1,070 spots in its first weekend.In its fourth frame, Fox’s “The Boss Baby” will bottle up $12.8 million from 3,697 locations, putting it in second place behind “Fate.” Disney’s “Beauty and the Beast” should hold onto third with $10 million from 3,315 theaters.Warner Bros.’ “Going in Style” should slide into fourth with $5 million from 3,038 spots. “Born in China” looks to round out the top five. The movie, from Open Road Films on behalf of Survival Pictures, looks to round out the weekend with about $4.1 million from 2,251 locations — barely cracking the top ten for the weekend.While “The Promise” could be considered a massive disappointment for its $90 million price tag, the film’s backers hoped it would raise awareness more than earn money. A bankable, diverse cast including Dwayne Johnson, Vin Diesel and Charlize Theron is leading the film, directed by F. The heist comedy starring Morgan Freeman, Michael Caine and Alan Arkin is targeting an older demo, and saw only a 20% decline in ticket sales from its second to third weekend. Warner Bros.’ “Unforgettable” seems to have slipped audiences’ minds, earning $4.8 million in its first weekend from 2,417 theaters.”It just didn’t resonate with the intended audience,” said Jeff Goldstein, the president of domestic distribution at Warner Bros. Posted April 23, 2017 by Drew TaylorLOS ANGELES ( – “The Fate of the Furious” is racing to defend its title at the top of the box office, while a number of new releases including “The Promise” and “Unforgettable” are being left in the dust.Universal’s eighth installment in the Fast and Furious franchise proved to be a global box office titan when it opened last weekend to a record-shattering $532.5 million. grosses than “Furious 7,” which pulled over $250 million in its first two weekends versus “Fate’s” current sum of $163.6 million) are majorly overshadowed by the movie’s international appeal. Narrated by John Krasinski, the docu earned more than previous films “Monkey Kingdom” ($4.6 Million) and “Bears” ($4.8 Million), and is the highest grossing Disneynature opening since 2012’s Chimpanzee ($10.7 million).Cinelou’s “Phoenix Forgotten” opened at 1,592 theaters to an estimated $2 million this weekend. Goldstein stressed that the movie was made for a moderate price, and the marketing was “targeted and appropriate” for the audience.The directorial debut of Denise Di Novi stars Katherine Heigl as a scorned ex-wife, and Rosario Dawson as a woman who is newly engaged to the same man. In his review for Variety, critic Peter Debruge lauded Heigl’s “terrific” performance, and wrote that her casting “savvily exploits the actress’s prickly reputation within the industry.””Unforgettable” joins a string of so-so to disappointing releases from Warner Bros. so far this year, including “Chips” and “Fist Fight.” At least the Heigl movie had a low production budget ( about $12 million) to minimize losses.”The Promise,” too, couldn’t follow through, despite a social media push from stars including Leonardo DiCaprio, the Kardashian sisters and Cher. The film is set during the Armenian Genocide, and bankrolled by the late businessman Kirk Kerkorian who wanted to bring visibility to the systematic extermination to 1.5 million Armenians at the order of the Ottoman empire in 1915 — a politically fraught subject that Turkey continues to deny happened. Gary Gray, to a two-frame global total of $744.8 million and worldwide sum of $908.4 million.While studios wait for summer season to commence, there are no surprise hits to come of this weekend’s releases.

I remember I was playing Tosca, a piece from Tosca, it was a very grand thing. That whole day, which was shot the same day as the scene in the room with the compass, and her work was magnificent that day. Posted April 23, 2017 by Drew TaylorIf you saw director James Gray’s thrilling “The Lost City of Z” this weekend, then you were undoubtedly blown away by the film’s true-life story of obsession and Amazonian exploration and the finely calibrated performances of the cast (led by an impeccable Charlie Hunnam and Sienna Miller). It’s a staggering shot, as subtle as it is complex, and when we sat down with Gray a few weeks ago to talk about the film, a large majority of that conversation was centered on this incredible shot.You’ve had two movies back-to-back with amazing final shots. But then I think she realized what it was. She had that widow’s catastrophe about her. I thought, Well that’s interesting. And the inspiration came from a weird source. Then there was a visual effect at the end with the mountain and the sky because otherwise it looked too much like a greenhouse.It was all about coming up, if I can use a pretentious term, a visual objective correlative for the narrative idea that the obsession was going to swallow her up. It’s harder than you’d think. It was a weirdly difficult shot to do because it involved correctly placing her in the mirror and getting the camera move right. It’s very weird. It was a very strange day.”The Lost City of Z” is now playing everywhere. You can’t just cut in the Royal Geographic Society with the compass and all that. I thought about how we’re going to deal with this. I quite like the way it came out. Can you talk about the shot and how you did it and the reasoning behind it?In the case of “The Immigrant,” that final shot, which I quite like, was always in the script. She was so uncertain and wary and troubled, and I loved that it was a trance that she had to be in. It was the literal visual correlative to that idea. I can’t imagine what the neighbors thought. But I couldn’t figure out a way to express that his obsession became her tragedy. Music, it’s an old quote of Stanislavski’s, is the most direct path to the human heart. I knew I wanted to end it on her. It was very funny to see these greens people coming in with huge palm trees and you’re in the middle of Northern Ireland. I think that’s take 24 that’s in the movie.Did it take some explaining?I think, at first, she thought I was insane. So I struggled. But what might be the most dazzling thing about a movie almost exclusively filled with dazzling things is the final shot of the film.(Spoiler warning, obviously.)In the final moments of the film, Miller, who plays the wife of presumed-dead explorer Percy Fawcett, walks down the stairs of the stuffy Royal Geographic Society, and, as we glimpse in a hallway mirror, we’re staring into the Amazonian jungle that took the life of her husband and child. So how do you put two people in the same frame walking away from each other?But this ending I struggled with. So right before filming I had scouted this Victorian house and there was this mirror so I thought she could walk off into the jungle, literally.It was a very strange set because we had this Victorian house in Belfast and we created this long corridor. I was watching an excellent movie, “The Boston Strangler,” with Tony Curtis. And there’s all this stuff at the end with Henry Fonda, and it’s a psychoanalysis and he’s talking about, “I don’t know what I was doing, I was in a house.” And it cuts to him in the house with Henry Fonda. It’s a love story that’s never consummated thankfully and the worst people ever connecting but not connecting and I thought there you couldn’t kill one of them off. Because she comes down and the camera booms down and there’s something very counter-intuitive for the camera operator, because the camera has to move away from her and at a speed she isn’t walking. He’s combining two different spaces and all that. So you play that, and she got it. Weirdly, the motion of the person always dictates the motion of the camera. It was there from the beginning because it was a story about codependence.