I am providing the brief review.
The Hollar family: Sally (Margo Martindale), Don (Richard Jenkins), Rebecca (Anna Kendrick), John (John Krasinski), and Ron (Sharlto Copley) reunite prior to and following Sally’s brain surgery.
“The Hollars” provides the ace talent yet the underwhelming and standard delightful narrative. It’s devastating to witness the undeniable cast confronting a tale that does not match the drawing power. Conclusively, do not summon the Hollar family to rescue your woes. C
The Milwaukee Chamber Theater is presenting Tennessee Williams’ “A Lovely Sunday For Creve Coeur”.
“A Lovely Sunday For Creve Coeur” chronicles the civics teacher Dorothea (Kay Allmand) fantasizing the future spouse T. Ralph Ellis; however, the roommate Bodey (Kelly Doherty) conceals the news that Ellis is engaged to someone else (discovered in the newspaper's society section). Dorothea intends to relocate to friend Helena's (Molly Rhode) apartment. The German immigrant neighbor Sophie Gluck (Karen Estrada) is recovering the mother’s death amid the commotion. The events transpire precedent the scheduled Creve Coeur Park picnic during the 1930s St. Louis.
The Milwaukee Chamber Theater is an elegant and quaint theater. Nonetheless, “A Lovely Sunday For Creve Coeur” is authentic brilliance from start to finish. Astonishing performances and set design. Poignant, heartbreaking, and genuine, “A Lovely Sunday For Creve Coeur” caused me sob during the conclusion. I craved to hug the characters (never mind and dang it, the actors are portraying the characters).
One cannot deny live performances no matter the venue. Live performances arguably enrich your arts and cultural appreciation. I may be acclimated to musicals; however, I desire to witness additional plays in the near future. I’ve set my mind to witness another Milwaukee Chamber Theater production during 2017.
“A Lovely Sunday For Creve Coeur”: A Milwaukee Chamber Theater (MCT) Production. Directed by Leda Hoffmann. Tennessee Williams, playwright; Courtney O’Neill, scene designer; Andrea Bouck, costume designer; Noele Stollmack, lighting designer; Madelyn Yee, properties master; Megan B. Henninger, sound designer; Michelle Lopez-Rios, dialect coach; C. Michael Wright, MCT Producing Artistic Director. Kay Allmand (Dorothea); Kelly Doherty (Bodey); Molly Rhode (Helena); Karen Estrada (Sophie Gluck).
September 21, 2016 to October 16, 2016 at the Milwaukee Chamber Theater’ Studio Theater. 158 North Broadway, Milwaukee 53202 (Historic Third Ward).
I am providing the brief review.
The storks Junior (voiced by Andy Samberg) and Jasper (Danny Trejo) routinely delivered babies; however, Nate Gardner (Anton Starkman) dispatched the letter to the Storks requesting the Ninja toddler. This event initiates the following incidents: Sarah and Henry Gardner (Jennifer Aniston and Ty Burrell) bonds with the son and Jasper’s orphan Tulip (Katie Crown) discovers the family. The Storks currently deliver Cornerstone.com (consider Amazon.com) packages.
“Storks” is heartfelt, cute, and humorous. The potent voices and banter enrich the formulaic narrative. The Lego Ninjago short film “The Master” is superior to the precedent feature film (usually the opposite occurs). C+
The magnificent seven are not really magnificent: Just mediocre Wild West men collaborating to destroy a thief. Yes, handsome men – but ignore the fact.
Based on the film of the same name by Akira Kurosawa, the fugitives Sam Chisolm (Denzel Washington), Josh Faraday (Chris Pratt), Goodnight Robicheaux (Ethan Hawke), Jack Horne (Vincent D’Onofrio), Billy Rocks (Byung-hun Lee), Vasquez (Manuel Garcia-Rulfo), and Red Harvest (Martin Sensmeier) collaborate to destroy the industrialist Bartholomew Bogue (Peter Sarsgaard) in Rose Creek during the 1870s.
“The Magnificent Seven” is an underwhelming neo Western film. It required Quentin Tarantino’s (the guy is a Western master, consider the brilliant “The Hateful Eight”) supervision and the R rating to produce the zing.
“The Magnificent Seven” provides a traditional and tedious Western narrative. The violence necessitates bloodlust to generate irresistibility. You may modestly snooze if Westerns aren’t your thing. I slightly rested without pondering the notion due to the tedium. Nonetheless, Washington and the company deliver tolerable performances and rapport.
“The Magnificent Seven” demonstrates the remake of the remake – “Seven Samurai” (1956) and “The Magnificent Seven” (1960) is able to enjoy success once or twice, but not three times. The classic films should not be disturbed.
“The Magnificent Seven” did not achieve glory. The majestic life originates elsewhere. Goodbye to the Wild West. C-
I am providing the brief review.
The Australian based band Hillsong soars to the international church success. Senior pastors Bobbie and Brian Houston and worship leaders Taya Smith, Dylan Thomas, Michael Guy Chislett, Matt Crocker, Adam Crosariol, Jonathan Douglas (a.k.a. J.D.), Jad Gillies, Joel Houston, Simon Kobler, and Benjamin Tennikoff alter various lives through Jesus Christ.
God is awesome; however, “Hillsong – Let Hope Rise” is an underwhelming faith based film. The poignant tunes may remind you Jesus Christ is the savior. The live Hillsong concert (sermon) is superior to the members’ narration. “Hillsong – Let Hope Rise” demonstrates nothing surpasses attending the church. C
“La La Land” is my personal exceedingly anticipated Awards contender. I love Damien Chazelle’s “Whiplash” (2014) and therefore, my extreme expectations are a tad ridiculous. The teaser trailers tap into my soul and the following reflection occurs – I cannot wait to see this movie! When will the damn December arrive to mama? I admit “Manchester by the Sea” and “Arrival” are near alternatives.
Without further ado, the five reasons you should be excited to see the film.
1. Damien Chazelle. Most debut directors fail during the first feature film attempt. Chazelle precisely nailed it during the initial attempt. No errors and mishaps. Just dedication and laying his bare heart on the table for us to witness.
2. Emma Stone and Ryan Gosling. Based on the marketing campaign, one may argue Ms. Stone and Mr. Gosling are the hottest couple in Hollywood, alongside Alicia Vikander and Michael Fassbender (currently are able to be seen in “The Light Between Oceans”). The contagious affair constantly tingle my essence.
3. The Tunes. “City of Stars” and “Audition” are authentic brilliance. I am able to only imagine the complete soundtrack. Anticipate extensive awesomeness here. “Whiplash” is genius drumming; “La La Land” is presumably powerful crooning.
4. The Festival Buzz. While Nate Parker’s “The Birth of a Nation” Awards buzz slightly dwindled, “La La Land” is steadily arriving to the Awards forefront. It received rapturous applause at the Telluride Film Festival (TFF) and the Toronto International Film Festival (TIFF). The gut instinct is announcing this film will be huge during the theatrical release. The Awards discussion is occurring right now. I guess the buzz is only able to intensify henceforth.
5. The Genre – Musical. The musical is an acquired taste, just like Woody Allen movies. In my instance, I love musical films. “La La Land” is possibly the best contemporary musical; however, the time will eventually tell. Ultimately, Damien Chazelle’s latest film could revive and alter the musical genre.
Salute! Bridget Jones revisits the journal to discuss love triangles and motherhood.
Based on the story and characters by Helen Fielding, Bridget Jones (Renee Zellweger) enjoys sexual intercourse with ex husband Mark Darcy (Colin Firth) and friend Jack Qwant (Patrick Dempsey). Ms. Jones’ career is interrupted to determine the child’s father.
“Bridget Jones’s Baby” continues the “Bridget Jones’s Diary” (2001) series. The generic extension is female counterprogramming opposite “Snowden”, “Blair Witch”, and “Hillsong: Let Hope Rise”.
Women are an underserved audience; however, “Bridget Jones’s Baby” demonstrates robust narratives would tremendously help in various instances, including this occasion. The lackluster performances and artificial witticisms allow you to disregard “Bridget Jones’s Baby”. Nonetheless, I relished the narrative and sporadically chuckled.
It’s time to complete the diary and report to us during the elderly years, Ms. Jones. C+
Edward Snowden leaked classified National Security Agency (NSA) information. Accordingly, Oliver Stone’s latest film “Snowden” sheds some light on the sensitive subject.
Based on the nonfiction accounts “The Snowden Files” (Luke Harding) and “The Time of the Octopus” (Anatoly Kucherena), Edward Snowden (Joseph Gordon Levitt) publishes the NSA illegal surveillance techniques and classified documents to the press. Snowden’s partner Lindsey Mills (Shailene Woodley) endures the stress and everything. Documentarian Laura Poitras (Melissa Leo) assist Snowden to reveal the secrets.
If you haven’t seen the Academy Award victor “Citizenfour” (2014), “Snowden” constantly reminds you – I must see that darn documentary. “Citizenfour” is the prerequisite to witness the dramatization.
“Snowden” is unbiased. It allows you to favor the hero perspective or the enemy position. Snowden disclosed shocking information to the world. Conversely, he did not protect the NSA’s intelligence. “Snowden” embraces various unexamined themes and therefore, it’s impossible to investigate in a two hour feature film. It could allow at least twelve feature films. Whereas the documentary structure would allow a thorough narrative, the dramatization narrowly touches the surface.
Woodley is superior here than the crappy “Divergent” series movies. Levitt deserves Awards attention; he never hesitates to provide the best. Leo is authentic brilliance; you may consider the real Ms. Poitras is onscreen.
“Snowden” is the Awards Season preparation exercise. It requires extensive discussion during the theatrical run to enter the Awards race. Based on my perspective, “Snowden” provides unlikely Awards potential. Nonetheless, the Academy is bound to deliver unforeseen revelations.
One may argue narrative filmmakers should delay to unfold the Snowden tale. “Snowden” demonstrates recent events do not naturally resonate with audiences. Allow it to simmer to preserve relevance. B-
For Your Consideration: Best Actress in a Supporting Role (Melissa Leo), Best Actor in a Leading Role (Joseph Gordon Levitt), and Best Adapted Screenplay
I am providing the brief review.
Naomi Bishop (Anna Gunn), Erin Manning (Sarah Megan Thomas), and Samantha (Alysia Reiner) must resolve corruption due to the financial scandal.
“Equity” provides a credible female perspective; however, the tedious narrative contains extensive office montages. Accordingly, it delivers extremely deliberate progression (snoozefest). I love female driven films; although, “Equity” demands a tenacious oomph to sympathize with the characters. “Equity” establishes the unreasonable ambitions and hence, fails to achieve the career advancement. C
“When the Bough Breaks” is the “No Good Deed” (2014) and “The Perfect Guy” (2015) combination.
Laura and John Taylor (Regina Hall and Morris Chestnut) recruit the surrogate Anna Walsh (Jaz Sinclair). Nevertheless, Ms. Walsh seduces the husband, demonstrates the insane behavior, and betrays the couple.
The bough evidently breaks: Monotonous performances, standard psychological thriller narrative, and uneventful twists and turns. Regardless, it is surprisingly tolerable. “When the Bough Breaks” does not achieve “it’s so awful that I cannot handle it anymore” magnitude.
“When the Bough Breaks” could avoid the theatrical release and broadcast on the Lifetime Movie Network (LMN). It still beguiles you to believe the film does not belong to LMN. “When the Bough Breaks” hates to admit it’s a natural Lifetime movie if Sony’s Screen Gems did not own the distribution rights.
Accordingly, “When the Bough Breaks” indicates everything could fail with a psycho surrogate. Remain selective no matter the circumstances. C-
I am providing the brief review.
Based on “Robinson Crusoe” by Daniel Defoe, parrot Tuesday (voiced by David Howard Thornton) and friends assist Robinson Crusoe (Yuri Lowenthal) construct shelter and collect food near a stranded island.
“The Wild Life” attains the “Norm of the North” (2016) atrocity. Children will like “The Wild Life”; however, adults may be able to snooze during the film. The substandard narrative and voices allow the film to remain deserted. Nothing really compels you here. Ultimately, “The Wild Life” is a significant cartoon hiccup. F
Side Note: “The Wild Life” is internationally titled “Robinson Crusoe”.
It's difficult to believe the Miracle on the Hudson really occurred.
Clint Eastwood's latest film chronicles Captain Chesley Sullenberger (Tom Hanks) and First Officer Jeff Skiles (Aaron Eckhart) landing along the Hudson River following a bird strike during January 15, 2009. Various assistance rescues one hundred and fifty five crew and passengers. Despite the National Transportation Safety Board (NTSB) investigation, Sullenberger is a hero.
"Sully" promptly commences the Awards Season. It's the additional biopic; based on the memoir "The Highest Duty" by Sullenberger and Jeffrey Zaslow. From the brilliant performances to the poignant narrative, you cannot misfire with Eastwood & Company.
"Sully" utilized the IMAX cameras. Holy shit, every frame is crisp and clear. It almost transports the viewer to the unbelievable past. "Sully" may be mostly transcendent; however, it works best as a short film. All we demand to witness is the breathtaking plane sequences; we recognize the conclusion. The extensive padding does not deliver the powerful oomph.
"Florence Foster Jenkins" was the rehearsal (literally) and "Sully" is the proper introduction to the Awards Season. The Eastwood and Hanks collaboration results to onscreen bravery at the finest standard. B
For Your Consideration: Best Director, Best Actor in a Leading Role (Tom Hanks), Best Cinematography, and Best Editing
Have a blessed Labor Day, my readers. I did not attend the 43rd Telluride Film Festival; however, I've read various social media reactions.
The 43rd Telluride Film Festival commenced during Friday, September 2, 2016 and concluded during Monday, September 5, 2016 in the Colorado mountains.
Damien Chazelle's "La La Land" received rapturous applause and confirmed the definite Awards contender status. Some folks are announcing "La La Land" the Best Picture victor; although, it's extremely early to announce the top prize winner.
The German Foreign Language submission "Toni Erdmann" established the frontrunner status to win the aforementioned category. Kenneth Lonergan's "Manchester By The Sea" still remains in the Awards race.
Denis Villeneuve's "Arrival" received euphoric acclaim. The attendees vocalized Villeneuve's latest is a groundbreaking science-fiction film and endure difficult Awards chances ahead.
On the one hand, the adored "Moonlight", a film about the African-American man confronting childhood and adulthood is the best film to emerge at the festival. On the other hand, "Una" is an uncomfortable film. The few attendees walked out of the screening.
Clint Eastwood's "Sully" claimed mix reception. The attendees declared the plane sequence is excellent and the rest lacks emotional resonance.
The Telluride-Toronto-Venice Film Festivals commences the festival and Awards Season. One two three punch and we are set.
Capsule Box Office Report
The horror-thriller "Don't Breathe" is still dominant during the second frame. It earned $15.8 million during the calm Labor Day weekend.
The newcomers "Morgan" ($1.9 million) and "The Light Between Oceans" ($4.6 million) are considered the worst Summer debuts. "Morgan" and "The Light Between Oceans" received the C+ and B+ CinemaScore, respectively. Most holdovers garnered under $10 million. The holdovers remain predominant during the Labor Day weekend.
The Awards Season is underway. The following weekend will witness the likes of "Sully" and "The Wild Life" (signals the intensifying box office).
Capsule Box Office Report
Early Friday estimates demonstrated the horror-thriller "Don't Breathe" will dominate the calm Labor Day weekend. The newcomers -- the sci-fi thriller "Morgan" and the maudlin romance "The Light Between Oceans" are expected to earn under $10 million during the four day holiday weekend.
"Don't Breathe" will obtain $15 million during the weekend. Meanwhile, "The Light Between Oceans" will earn approximately $6 million and "Morgan" will secure $2 million.
Studios usually do not release major films during Labor Day weekend due to students commence school and family commitments. The holdovers dominate this particular weekend. The Summer Movie Season will conclude with the anticipated whimper.
The light flickers. Derek Cianfrance’s latest film invites us to inquire: What is its representation? Does the singular coincidence matter?
Based on the novel of the same name by M.L. Stedman, lighthouse keeper Tom Sherbourne (Michael Fassbender) and wife Isabel Graysmark-Sherbourne (Alicia Vikander) nurtures Lucy-Grace (Florence Clery). The Sherbourne couple discovers Lucy-Grace upon the drifted rowboat and they eventually understand the biological mother Hannah Roennfeldt (Rachel Weisz).
“The Light Between Oceans” alternates between the Lifetime movie and the Nicholas Sparks adaptation. The introductory sequences establish the standard romance film and the progression demonstrates melancholy and heartbreak. Its frequent tonal shifts reveal an identity crisis. Thus, “The Light Between Oceans” is a maudlin hybrid.
The lighthouse represents a half baked metaphor: Love endures everything. Blessed daughters. Mourning mothers and fathers. God forgive sins. The spouse is a moral influence. Cianfrance touches the surface to various concepts and forgets to examine the notions.
Vikander and Fassbender are the most fashionable couple as of late. The ferocious and sexy Isabel transcends the quiet and casual Tom. The individuals collide due to grief and loss.
The metaphorical light and coincidences eventually signify gravitas. Humans survive through advantages and obstacles. “The Light Between Oceans” offers intriguing contexts.
While the light continues to flicker, attempt to investigate the unknown. B
Based on the memoir “Highest Duty: My Search for What Really Matters” by Chesley Sullenberger and Jeffrey Zaslow, Mr. Sullenberger is a hero following the plane’s drift along the Hudson River rescuing one hundred and fifty five crew and passengers.
Awards Potential: Clint Eastwood + Tom Hanks + biopic = Awards contender. The Academy adores “based on true events” narratives; however, the Awards Season is crowded with biopics. “Sully” may fall victim to the “overlooked pile”. However, the film could receive the Best Actor in a Leading Role, Best Adapted Screenplay, Best Cinematography, and Best Director nominations.
“Sully” is one of the definite Awards contenders; although, the Awards potential is up in the air right now. The Awards conversation usually commences during the theatrical release and simply, we must wait and see in this scenario. I will inform you about the Awards potential in my review.
Theatrical Release Date: Friday, September 9, 2016
ABC extended its contract with the Academy Motion Picture Arts and Sciences (AMPAS). The television network will broadcast the Academy Awards (also known as the Oscars) through 2028.
The Academy Awards is Hollywood's most prestigious and glamorous evening. The ceremony honors the given year films and the industry.
The Academy’s President Cheryl Boone Isaacs and CEO Dawn Hudson are currently implementing and championing diversity and inclusion. The Academy recently invited additional six hundred or so new members. Furthermore, precursor awards assist prognosticators (including yours truly) to predict the Academy Awards.
The 89th Academy Awards will be held during Sunday, February 26, 2017 evening at the Dolby Theater and televised by the aforementioned network. The Oscars will be televised live in more than two hundred and twenty five countries and territories worldwide.
Goodbye to August. Welcome to September. Hollywood and film critics’ translation: Goodbye to the Summer Blockbuster Season. Welcome to the Awards Season.
The Awards Season technically commenced when “Florence Foster Jenkins” debuted in cinemas. The Weinstein Company is currently hounding us with the boxing biopic “Hands of Stone”. “The Light Between Oceans” will debut on Friday, September 2, 2016 (review is forthcoming during debut day). And then, “Sully”, “Snowden”, “Deepwater Horizon”, “The Birth of a Nation”, “The Girl On The Train”, “The Accountant”, “Hacksaw Ridge”, and so forth. The listed films are known as “Awards bait” or in simple terms, “prestige films”. The motion pictures frequently shout to the Awards voters and film critics (including yours truly).
Okay, we’ve repeatedly discussed how and why 2016 is an extremely underwhelming year in a critical perspective. In a personal stance, “Midnight Special”, “Hell or High Water”, and “Finding Dory” are the only films to receive the perfect grade thus far. I am a strict movie critic. Yet, we are able to dig through the nitty gritty – some gems will eventually reveal themselves!
Based on my expertise, the Awards Season categorizes the films in two divisions: “Awards bait” – Provides the necessary Awards contender ingredients; however, the films are just decent and/or considerable disappointments. “Awards contenders” – Provides the necessary Awards contender ingredients, enter the Awards Season with or without some setbacks, and the films are consistently brilliant.
August, September, and October tend to deliver the Awards bait. November, December, and early January deliver the Awards contenders. However, this varies depending on the given film.
Without further ado, welcome to the Awards Season. Let’s dig into it, shall we?
The mainstream film offerings allowed us to repeatedly ponder the following: Do movies still matter? Why do the films continue to disappoint?
2016 is arguably Hollywood’s lowest point. Remakes, reboots, sequels, and superheroes are predominant, which vacates no room for original content. A “Free State of Jones” here and “Bad Moms” there will not rescue the unfortunate box office revenues. And yet, excellent adult fare was nonexistent (outside the likes of “Hell or High Water”, “Indignation”, and “Swiss Army Man”).
Two consistent patterns transpired during this year: While mainstream movies are severely lacking, independent films saved the day. While the kiddie flicks deliver brilliance, the adult oriented narratives are upsets.
Hollywood is excessively focused on franchise material and thus, forgetting the motion picture purpose: to allow the two hour escape and to provide meaningful narratives. The Summer movies didn’t deliver escape and meaning.
Films still matter due to they play a significant role within our culture. If movies didn’t exist today, we would witness traveling Broadway shows and depend on television and radio. While television is arguably in its primetime right now, film still boasts plenty of power to prove us wrong.
Contemplation occurred several times during the Summer Blockbuster Season. 2016 is underwhelming; however, we must remain hopeful throughout the Awards Season. The Awards Season may indicate an optimistic future ahead.
So, it’s time to prepare and demonstrate your importance, Hollywood. Several eyes are watching.
I am providing the brief review.
Ray Arcel (Robert DeNiro) and Carlos Eleta (Ruben Blades) instruct Panamanian boxer Roberto Duran (Edgar Ramirez). Sugar Ray Leonard (Usher Raymond) is Duran’s frequent opponent. Duran’s spouse Felicidad Iglesias (Ana de Armas) and Arcel’s wife Stephanie (Ellen Barkin) support the respective men.
Akin to “Southpaw” (2015) and “Creed” (2015), “Hands of Stone” delivers the conventional boxing narrative. Nothing innovative and consequently, causes tedium. DeNiro’s charisma does not rescue the mediocre performances and bothersome progression. It’s simultaneously tolerable and forgettable. “Hands of Stone” is determined to win; however, misses the gut and technique. C-
Gene Wilder, aged eighty three passed away today. He suffered Alzheimer’s complications. Jerome Silberman was born in Milwaukee, Wisconsin.
Wilder starred in “Willy Wonka and the Chocolate Factory” (1971), “Young Frankenstein” (1974), and “Blazing Saddles” (1974). He was one of the legendary comedians, alongside Robin Williams.
Wilder’s legacy will survive through the films. Rest in Peace.
“Time is a precious thing. Never waste it.” ~Willy Wonka
“There's so many Hollywood people, and I'm not one of them. I'm not from Hollywood, and I'm also not one of the people who wants to do a tell-all, and I hate tell-alls. I didn't want to tell all.” ~Gene Wilder
Sony’s horror flick “Don’t Breathe” dethroned “Suicide Squad” during the second to final Summer weekend. The DC tentpole held the Number One spot for three consecutive weeks at the domestic box office.
“Don’t Breathe” reinforces the successful line of horror films during 2016. The horror triumphs include “The Conjuring 2” ($102.4 million domestic cume), “The Shallows” ($54.7 million), “The Purge: Election Year” ($79 million), and “Lights Out” ($65.5 million). Horror films are successful due to the movies boast the modest production budget (including the marketing costs) and they’re able to recoup the budget within several days.
Whereas franchise movies (e.g. “Star Trek Beyond”) and superheroes continue to fall short of expectations, animated flicks (the likes of “The Secret Life of Pets” and “Finding Dory”) and horror films are embraced by audiences. The kiddie flicks are arguably superior to the adult mainstream fare during this underwhelming Summer. The box office shows the adult audience deserves top notch mainstream films as well. Sure, “Bad Moms” is a surprise hit – but that doesn’t mean adults must attend kiddie flicks to receive excellent narratives.
The fellow newcomer Lionsgate’s “Mechanic: Resurrection” launched with $7.45 million, the fifth slot on the charts. Roadside Attractions-Miramax’s speculative fiction picture “Southside with You” quietly debuted to $2.8 million and The Weinstein Company’s boxing biopic “Hands of Stone” launched with $1.7 million, representing the fourteenth and sixteenth positions on the charts, respectively. “Southside with You” and “Hands of Stone” will modestly expand and launch on at least 1,200 screens, respectively during Labor Day weekend.
Focus Features-Laika’s “Kubo and the Two Strings” ($7.8 million) and Sony’s “Sausage Party” ($7.5 million) followed in the third and fourth slots, respectively. Disney’s “Pete’s Dragon” ($7.4 million), Warner Bros.’ arms dealers pic “War Dogs” ($7 million), STX Entertainment’s sleeper hit “Bad Moms” ($5.5 million), Universal’s “Jason Bourne” ($5.1 million), and Paramount’s costly failure “Ben-Hur” ($4.5 million) completed the Top Ten.
The Weekend Box Office Results
1. “Don’t Breathe” / Screen Gems / $26.4 million / 3,051 venues / B+ CinemaScore
2. “Suicide Squad” / Warner Bros. Pictures / $12.2 million
3. “Kubo and the Two Strings” / Focus Features / $7.8 million
4. “Sausage Party” / Sony Pictures / $7.5 million
5. “Mechanic: Resurrection” / Lionsgate Entertainment / $7.45 million / 2,258 venues / B+ CinemaScore
6. “Pete’s Dragon” / Buena Vista / $7.4 million
7. “War Dogs” / Warner Bros. Pictures / $7 million
8. “Bad Moms” / STX Entertainment / $5.5 million
9. “Jason Bourne” / Universal Pictures / $5.1 million
10. “Ben-Hur” (2016) / Paramount Pictures / $4.5 million
“E.T. The Extra Terrestrial” (1982) is the final film to the Marcus Theatres’ Spielberg Film Series. The film exhibitor saved best for last here.
I vividly remember my late Grandma Jane forcing me to witness “E.T.” via home video during the adolescence. I loved it at a young age. “Monsters, Inc.” (2001) is arguably the introductory cinematic love of my life. The Pixar animated feature introduced me to motion pictures. Furthermore, I swear “Monsters, Inc.” defines my film passion. Anyway, the same could be stated for “E.T.”. Film remains essential to my existence. Thank you to Mom, Dad, Grandma, Robin, and Karen. My film criticism emerged during 2009. I will never look back. (I understand movie reviews must be written in the third person; however, “E.T.” occupies a special spot in my heart. I felt obligated to report you one of the stories that commenced my film obsession.)
Young boy Elliott (Henry Thomas) and siblings Gertie (Drew Barrymore) and Michael (Robert MacNaughton) befriend alien E.T. (voiced by Pat Welsh). The children assist E.T. escape Earth and return home. “E.T. phone home” (nostalgia to the maximum, the heart tingles with joy).
“E.T. The Extra Terrestrial” is the definitive Spielberg classic film. No mandatory analysis here. It requires admiration and appreciation. “E.T.” represents childhood innocence, curiosity, friendship, and so much more. In simple terms, it’s the Spielbergian masterpiece. E.T.” still stands the test of time. You could revisit the movie several years later and it still touches the heart (e.g. my instance).
“E.T. The Extra Terrestrial” is undeniable and irresistible perfection. Check out this movie, the Millennial Generation. Resist superheroes for once and witness one of the best modern classic films. A
I am providing the brief review.
Based on the characters by Lewis John Carlino, Arthur Bishop (Jason Statham) must accomplish three murders to rescue the girlfriend Gina (Jessica Alba). Mr. Bishop travels to various continents to execute the assassinations.
“Mechanic: Resurrection” is the additional underwhelming sequel. From the nonexistent narrative to the substandard performances, the film may feel like the unofficial “The Transporter” (2002) continuation. Ultimately, Mr. Bishop should retire. D
Review Structure Key
Regular reviews ~ Word count varies.
Mini reviews ~ Positives and negatives (+/-) analysis.
Brief reviews ~ One hundred words, more or less.