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Hidden Figures - Friday, January 6 A Monster Calls - Friday, January 6 Underworld: Blood Wars - Friday, January 6. The Bye Bye Man - Friday, January 1. Monster Trucks - Friday, January 1. Mumbai, India is hit with tornadoes spawned by out-of-control climate-manipulating satellites in a teaser for Gerard Butler's Geostorm. Satellites launched from the International Space Station help humans control the weather in the new movie "Geostorm.". 2017 has a solid lineup of movies. From Dunkirk, Wonder Woman, The Fate of the Furious and IT to a bevy of blockbuster movies, all the way to the next Star Wars movie. Below is a full list of upcoming 2017 movies, both nationwide and limited releases. The 2017 movie release schedule includes movies in theaters, monthly and week by. Sleepless - Friday, January 1. Split - Friday, January 2. The Founder - Friday, January 2. Live By Night - Friday, January 2. Patriots Day - Friday, January 2. The Resurrection Of Gavin Stone - Friday, January 2. 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Strangely, South Korea wasn’t far behind with $8. On the other hand, the film struggled somewhat in France with $4. This isn’t a bad opening, but I was expecting more. Overall, it is doing about as well as Christopher Nolan’s previous film, Interstellar. If Dunkirk can merely match that movie's worldwide figure, then it will break even before it reaches the home market. Even if it doesn’t quite manage that total, anything above $5. It pulled in $1. 40. Its biggest market was South Korea, where it earned $1. It also cracked $1. U. K. The film did amazing business in Asia, including earning $6. Indonesia and $6. India. The film has yet to open in a number of major markets, including France, Germany, China, and Japan and should top $8. The real challenge is surpassing Wonder Woman and Guardians of the Galaxy Vol 2 for top spot on the worldwide chart for the summer. It is too soon to tell if it will get there for sure, but this is a great start. Every film in the top five was close to our predictions, while the top two films were a little stronger. This includes Spider- Man: Homecoming, which pulled in $1. Overall, the box office rose by 2. Unfortunately, this is still 5. Before the summer began, 2. That lead is now down to just $1. This lead could be completely gone by the weekend. In fact, it should have the biggest opening since Guardians of the Galaxy Vol 2. The competition will put a dent in Despicable Me 3’s box office during the weekend, but even so, it will likely break even sometime over the weekend. This weekend last year had The Secret Life of Pets at the top with just over $1. Spider- Man: Homecoming should top The Secret Life of Pets, but the depth this year won’t be as good. If 2. 01. 7 does lose the year- over- year competition, then its lead over 2. Its biggest opening came from the U. K., where it earned $1. Mexico wasn’t far behind with $1. However, arguably its most impressive opening came in Brazil where it earned $7. The film has already made enough to pay for its $7. However, its decline from Minions means Universal is more likely to make a second and third Minions movie rather than a fourth Despicable Me. As someone who prefers the Despicable Me movies, this is disappointing. On the other hand, I recognize I’m not in the target demographic for these films, so I really shouldn’t have a say in these things. Most of the new releases / top five had weaker openings / sharper declines. Despicable Me 3 still led the way, but with a more subdued $7. Baby Driver is hoping to earn that much in total after a $2. This is almost as much as it cost to make. The House, on the other hand, was DOA with just $8. On the positive side, Monday and Tuesday were much stronger than usual, so rather than looking at the weekend box office and saying it is weaker than anticipated, we could instead say the weekend box office was stretched out over five days. Overall, the box office grew 2. This is down 1. 1% from the same weekend last year, but again, one could argue this is due to a misalignment in the Independence Day holiday. Year- to- date, 2. Some even point to Transformers: The Last Knight as proof that the site can ruin a film’s box office chances. Besides that charge, the other two main complaints I’m hearing over and over again are A.) Rotten Tomatoes is a very shallow site, especially the Tomatometer. And B.) It is killing in- depth critical examination of movies. I’ll tackle those claims below. Some are releasing final numbers, some have updated Sunday’s estimates, while others are just waiting until Wednesday for final results. Despicable Me 3 is in the middle category, as Universal revised its estimate downwards to $7. This is still a great opening, but it is also a troubling trajectory, as it has fallen a lot from Friday’s Estimates, when it looked like it was going to hit $8. Granted, this is still the sixth- biggest opening of the year, so Universal has reason to celebrate, but its internal multiplier suggests short legs for a family film. I think this is a case of franchise fatigue, as its reviews were good, even if they were not as good as the previous Despicable Me films. This is the best single day for an animated film this year. To emphasize, this isn’t just the best opening day, but the best single day, and it should top that on Saturday. The previous record was $2. The Lego Batman Movie. This film’s reviews are not as good as The Lego Batman Movie’s reviews are (they both earned A minuses from Cinema. Score) so it won’t have the same legs. That said, an $8. Despicable Me 2. In fact, we haven’t had a monster hit since Wonder Woman started the month off with a bang. The House is an R- rated comedy, but since the last such film to come out bombed, I’m a little worried about its chances. Baby Driver opened on Wednesday and its early numbers are promising. It won’t be a $1. Sony. This weekend last year, there were no monster hits at the box office, but there was solid depth. This weekend, we should be much stronger on top, while the depth won’t be that much weaker, leading to 2. There’s good news and bad news. Good news, this is slightly ahead of Age of Extinction’s combined opening in these markets. Bad news, most of it came from China, where studios only get 2. The Chinese debut was impressive, $1. It also did well in South Korea with $9. It was nearly as potent in Russia with $8. On the other hand, its openings in the U. K. The film has yet to open in several major markets, including France, where it opens this weekend, so it should remain active on the international chart for a while. The Big Sick earned an average of $8. The Beguiled was next with an average of $5. Both of these are well ahead of the $4. Beauty and the Beast earned during its opening weekend. The only other film in the $1. Transformers: The Last Knight, which earned an average of $1. It earned less over five days than last year’s winner, Finding Dory, earned over three days. Wonder Woman remained in second place becoming just the third film released in 2. This explains why the overall box office fell 2. More importantly, this is 2. This is a little distressing. The studio is in desperate need of a hit, and the Transformers franchise is by far their biggest property. Even including the film’s grosses from Wednesday and Thursday, its $6. B+ Cinema. Score mean that it won’t have significant legs, even with a bit of help from the upcoming July 4 weekend. So all eyes are going to be on its overseas performance. If we again compare this to Dark of the Moon, which is the last film in the franchise to open on a Wednesday, we get mixed messages. The Last Knight fell faster on Thursday (4. Friday (6. 8% to 5. If we assume The Last Knight will continue to outperform Dark of the Moon over the rest of the weekend, then it will earn about $4. This is the worst opening in the franchise by a wide margin, but there is good news for Paramount, as the film earned $4. China, and $4. 7. The international numbers will save this film and justify more sequels. That’s not a great start. Fortunately, Cars 3 and Wonder Woman should have strong holds this weekend and that will help the overall box office numbers. They probably won’t help enough to top this weekend last year in the year- over- year comparison, but it should be close. This is the worst in the franchise, not counting the first film, which opened before previews like this were commonplace. As for more recent comparisons, Pirates of the Caribbean: Dead Men Tell No Tales earned an identical amount, but that opened on a Friday, so it is not a great comparison. Perhaps Dark of the Moon is a better comparison, as it was also a Wednesday release. It earned $1. 3. 5 million in 2. Tuesday and another $8 million after midnight. Unfortunately, its reviews are simply awful at just 1. Furthermore, early reports suggest the audience reaction won’t be much better. It’s too soon to tell if this film is going to underperform already low expectations, but this is not a good sign. The last time they had a $2. Transformer movie to hit theaters. The last time they had more than a 1. MCU movies. Speaking of combined universes, The Last Knight is supposed to be the creation of a new Hasbro Combined Universe with this franchise and G. I. Joe being the heart of the new universe. This could fail for the same reasons The Mummy failed to jump start the Dark Universe franchise. Namely, the reviews are terrible and audiences are tired of combined universes being forced instead of growing organically. On the other hand, Wonder Woman remains one of the most impressive wide releases of 2. Even if it didn’t earn another dollar, it would still have above average legs. All Eyez on Me went off to a fast start, but has a troubling internal multiplier, which doesn’t bode well for its future. Overall, the box office rose 3. Unfortunately, it fell 1. Fortunately, 2. 01. However, it is coming out on the Wednesday, so that complicates our weekend Box Office Prediction Contest, because we will have at least one full day of numbers before the contest ends. Since it is the only wide wide release next week, it is the only choice for the target film in this week’s box office prediction contest. 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Get the latest release dates, watch , see photos, and discuss upcoming movies all on IMDb. Lists descriptions of forthcoming horror movie releases as well as reviews and for the films. Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecture. Requires free registration. The Hollywood Reporter is your source for breaking news about Hollywood and entertainment, including movies, TV, reviews and industry blogs. We can pretty much assume that Avengers: Infinity War and the fourth Avengers film will kill off one or more superheroes. Obviously Joe Russo, who co-directs both. Score gives film music an overdue spotlight, then talks over it. CAvailability. Select theaters June 1. The role of film composer is a crucial yet relatively uncelebrated one—this despite a movie’s score often doing 9. And so first- time director Matt Schrader aims to rescue this often overlooked world of film music from the background, primarily by yakking over it. Part history lesson, part educational film, part time- killer for tourists at Universal Studios (right down to the requisite filler blather from Leonard Maltin), Score is a loving tribute that approaches its subject with a hooray- for- Hollywood reverence that people who’ve never heard of John Williams may find illuminating, but will likely disappoint even casual fans of the form. To his credit, Schrader has excellent taste. The many, many talking heads here offer a diverse array of composers like Hans Zimmer, Bear Mc. Creary, Tom Holkenborg (a. Junkie XL), Mark Mothersbaugh, Rachel Portman, Quincy Jones, Alexandre Desplat, and Christophe Beck, plus a dozen more. Each of them, somewhat redundantly, takes turns offering testimony to the importance and unique challenges of their work. Within these interviews, we do get the occasional glimmer of insight. Mc. Creary discusses the psychology of scoring as a means of ferreting out a filmmaker’s “insecurities,” supported by Cameron’s characterization of the composer as therapist, tasked with inferring the emotions a director is subconsciously trying to express. The flamboyant Zimmer very German- ly conveys the perpetual angst of never knowing where the music will come from next—or if it will at all. Hearing these industry giants fret over having to create an entirely separate artistic work after a film has been completed, their names already ominously hanging over them on subway posters and billboards along Sunset Boulevard, fosters some new appreciation for the incredible pressures they operate under, which only makes their successes more astounding. Had Score narrowed its focus and delved more deeply into that process, it might feel more substantive. Unfortunately, it aims to be as comprehensive as possible about a subject as old as cinema itself, and as a result ends up feeling both breezy and overlong. The role of film composer is a crucial yet relatively uncelebrated one—this despite a movie’s score often doing 90 percent of the emotional lifting. Too much of the film is spent paying glancing tribute to acknowledged masters and their contributions to the form—Max Steiner’s standard- setting work on King Kong; Alex North’s standard- upending score for A Streetcar Named Desire; Bernard Herrmann’s embrace of mystery and discordance in his collaborations with Alfred Hitchcock, etc. But aside from some overdue recognition for the brilliance of Jerry Goldsmith, there’s not much here in the way of revelation. Similarly, while it’s always a thrill to watch archival footage of John Williams working out the scores for Jaws, E. T, Star Wars, etc. Score does make a compelling argument for the unsung greatness of Thomas Newman’s oft- imitated spare, emotive scores for American Beauty and the like, but the lumpy pacing ends up giving short shrift to him and other modern composers like Danny Elfman and the late James Horner (relegated to a “Remembrance” over the credits). In between, there’s some attempt to explain the science of music from Moby, of all people, in Mr. Our film critics on blockbusters, independents and everything in between. Wizard mode, as well as some discussion of the nitty- gritty technical details of how a score actually makes its way from “spotting session” to recording studio—all of which hint at the multiple directions a documentary about film composing could have gone. But by attempting to cover it all in just over 9. Score ends up feeling slightly shallow, and its omissions even more glaring. As it’s almost uniformly about classic Hollywood orchestral scores, there’s no mention of foreign composers like Nino Rota, Eduard Artemyev, or Fumio Hayasaka; no discussion of the durable influence of Tangerine Dream, John Carpenter, or Goblin; nothing at all on the unique musical worlds of Blaxploitation or horror. There’s only a quickly glossed- over allusion to the fallow periods in the ’6. Trent Reznor and Atticus Ross. Oddest of all for a doc ostensibly targeted at obsessives, there’s not even a hint toward film music’s intense fandom, a thriving culture that’s helped keep the form alive through decades of collecting and who would arguably be most interested in watching a movie about it—as evidenced by the fact that Schrader completed the film through crowd- sourcing campaigns. Where Score proves its value to those fans is when it simply allows them to watch these composers at work, enjoying the simple pleasures of seeing Holkenborg bang out the titanic drums for Mad Max: Fury Road on his MIDI keyboard, watching Dario Martinelli make a virtuosic run at the harpsichord or Mark Mothersbaugh tinkle away at a toy piano, talking about how he wrote the Rugrats theme. There are similar, vicarious thrills in watching Joe Kraemer inside the legendary Abbey Road, conducting an orchestra of talented musicians as they nail a sight- read of his Mission: Impossible—Rogue Nation score on first attempt, or Logan’s Marco Beltrami recording a piano as it decomposes out on a windswept hill. Those moments do far more to argue for the oft- overlooked artistry of film scoring than a dozen talky testimonials. It leaves you wishing Score had taken its own advice and just shut up and listened. Get exclusive film and movie reviews from THR, the leading source of film reviews online. We take an honest look at the best and worst movies Hollywood has to offer. What makes a film score unforgettable? SCORE: A FILM MUSIC DOCUMENTARY brings Hollywood's elite composers together to give viewers a privileged look inside the. Boyhood movie reviews & Metacritic score: Filmed over 12 years with the same cast, Richard Linklater's Boyhood is a groundbreaking story of growing up as see. Dunkirk is a 2017 war film written, co-produced, and directed by Christopher Nolan. It features an ensemble cast starring Fionn Whitehead, Tom Glynn-Carney, Jack.
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