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Fast & Furious DVD takes UK box-office chequered flag
The cars-and-crime franchise reboot scored its most successful British opening ever during a stonking Easter weekend at the UK box office
When Fast & Furious opened in the US a week ago with $71m (?7.6m), the pressure was on Universal's international territories to deliver stonking results. But few seriously thought the UK, which had never produced an opening weekend above ?m for a film in this cars-and-crime franchise, would come close to matching the American success. The result ??.93m over the three-day weekend, and ?.01m including takings on Easter Monday ?is far in excess of industry expectations.
The original The Fast and the Furious took the market by surprise when it opened in the US in June 2001 with $40m. The film's UK debut figure, ?.76m, was significantly less potent, possibly because it was released three days after the 9/11 terror attacks. Despite losing Vin Diesel, sequel 2 Fast 2 Furious opened strongly with $50.5m in the US and ?.75m in the UK, both in June 2003. Three years later the third film, Tokyo Drift, which jettisoned Paul Walker but welcomed back an unbilled Diesel in cameo, was less commercially persuasive: launching with $24m and ?.81m respectively. Both Walker and Diesel are back for Fast & Furious and so, it seems, are the fans of the earlier films, as well as a whole new audience that was probably still at primary school in 2001.
The result restores good cheer to a studio that just the week before was rocked by the commercial disappointment of its hugely-hyped Richard Curtis comedy. The Boat That Rocked shed a relatively slim 28% to slide two rungs to fourth place this weekend, no doubt boosted by a relative lack of Easter sunshine. After 13 days on release, Universal's pirate-radio tale has grossed ?.21m but is clearly not destined to match Love Actually's total UK haul of over ?6m.
In the US, Zac Efron comedy 17 Again is being steered clear of Hannah Montana: The Movie and will instead release this Friday (17 April). Here in the UK, with the Miley Cyrus flick not scheduled for release until 1 May, local distributor Entertainment took advantage of the school holidays, positioning its body-swap flick as the top choice for tween and teen girls. The result ??.56m over three days, and ?.3m including Easter Monday ?is marginally ahead of the debut achieved by Step Up 2 the Streets last Easter. That urban-inflected dance sequel benefited from brand loyalty but lacked an equivalent star, with Channing Tatum in just an extended cameo. From Good Friday to Easter Sunday 2008, it notched up ?.36m, and ?.11m over the four days. 17 Again's Efron enjoyed a much bigger opening (?.41m, including previews) last October with Disney's High School Musical 3: Senior Year, but a comparison with that tween phenomenon is hardly fair.
17 Again was beaten into third place by Monsters Vs Aliens, which rose slightly from its debut the previous weekend, and has now grossed ?2.43m after 11 days of release plus two days of previews. This compares with Bolt, which had achieved ?3.65m after its second weekend, although its complex preview platform was more extensive. Bolt released in the February half-term and had fewer holiday days to grab its cash; Monsters Vs Aliens should benefit from the current longer school break and has plenty more gas in the tank.
Facing off against the DreamWorks Animation hit, Race to Witch Mountain and especially Dragonball: Evolution struggled to engage families' attention. Disney's Race took ?81,000 in three days and ?84,000 over four. This compares with Dwayne "The Rock" Johnson's previous family comedy The Game Plan, which overcame the significant local handicap of a storyline involving American football to debut in March 2008 with ?67,000. Race may pick up more viewers as the school holiday nears its end and families start mopping up the weaker titles. Dragonball, which opened last Wednesday and has managed a weak ?36,000 in six days, does not look destined for box-office glory.
Top specialist release is Swedish vampire flick Let the Right One In, which picked up ?03,000 in three days and ?70,000 over the four, from 68 screens, plus ?1,000 in previews. The critical favourite won a score of 98% Fresh at Rotten Tomatoes ?appropriately so, since the film was awarded the website's Critical Consensus prize, voted by critics at last June's Edinburgh film festival. Comparisons are tricky, but arthouse chiller The Orphanage opened at Easter 2008 on 74 screens with ?20,000 in three days, and ?41,000 including Monday and some previews. That Spanish-language film benefited from producer Guillermo del Toro's name in the marketing. Another comparison might be Spanish horror [Rec], which debuted exactly a year ago with ?00,000 from 70 screens, including previews.
Given the Easter boost, the top 15 films were predictably up on the equivalent mid-April 2008 period, which did not coincide with Easter. But the surprise is by how much: a whopping 99%. A year ago, top new releases were blackjack drama 21 and period screwball comedy Leatherheads.
Saturday, 18 April, 2009 - 10:22
18th April 2009 - Dragonball is a Japanese anime series that ran from 1986 to 1997 in three different incarnations; Dragonball, Dragonball Z and Dragonball GT. The rest of the world picked up on the phenomenon near the end of its Japanese run when, in 1995, the USA started airing an English dubbed and heavily censored version of the show. Since then, Dragonball, in its dubbed form, has screened almost continuously somewhere in the world.
I was introduced to the show in 2001 when the younger brother of my then girlfriend kept suggesting that I watch it. When I did finally sit down to watch the show I was quickly hooked. So my expectations for seeing this live action film were pretty high, even though the trailers I had seen for it were pretty average.
The film follows the young Goku, Justin Chatwin, who is raised and mentored by his grandfather, Gohan, in the ways of martial arts and the focusing of his Ki, which can be used for powerful attacks. On Goku's 18th birthday, Gohan imparts a gift to him of a 4-starred Dragonball and is told to guard it with his life. Goku's Dragonball is one of 7 in existence. If all 7 Dragonballs were to come together into the hands of one person it would give the holder of the balls a perfect wish. This means that powerful people are after them, including the alien Lord Piccolo, James Maters.
After Gohan's death at the hands of Lord Piccolo, Goku and his rag tag group of friends go on a journey to find the remaining Dragonballs and to stop Piccolo from gaining his one perfect wish, to enslave the world.
There's a long, and I mean long, list of things I could say about why this film just didn't work but, to be honest, it would frustrate me even more just thinking about it! It's one thing to be disappointed by a film and another altogether for a film to pretty much destroy great source material and make a mockery of everything you thought it should have been.
Suffice to say, I was really disappointed by this film and the fact I give it 6 out of 10 is only because I love the Dragonball dvd series so much. If I had seen this film not knowing anything about that series it would have been lucky to get 4 or 5 out of 10 from me.
By June L. Apr 28, 2009, 12:50 GMT
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Thanks to Activision Blizzard, gamers will soon be able to get their claws into the official adaptation of X-Men Origins: Wolverine?/P>
The summer has always been a key time for the movie industry, with the biggest blockbusters enticing the public away from the bright weather and into the darkness of the cinema. Video games usually follows suit, with a range of movie-inspired heavy hitters releases in the season to keep gamers firmly rooted to the couch.
The first in a wave of big name movie adaptations rolling out in 2009, X-Men Origins: Wolverine follows the course of its silver screen namesake. Players get the chance to wield the claws of popular superhero Wolverine as they walk the same path trodden by Hugh Jackman in the film, taking on a variety of missions as the self-healing hero comes to terms with his powers.
"Wolverine is at heart a grown-up hardcore game, but it's still very accessible to everyone,?says Activision's marketing director David Tyler. "It really brings alive the frightening nature of Wolverine's character and the abilities he has.
"We think that consumers will be surprised by how much of a departure this is from previous Marvel character-based games. It's not what they would expect.
"The team at Raven Software has worked on the title for over two years and produced a game that utilises the Unreal Engine. It really breaks the mould as far as superhero games are concerned. Retailers who have seen the game have all been pleasantly surprised and impressed at the same time. Those who may have dismissed Wolverine as 'yet another movie title?should take a closer look.?/P>
WOLF?AT?THE?DOOR
As you would expect from both the screenshots and the movie trailer, Wolverine focuses on combat. Gamers will be able to unleash Logan's adamantium claws against waves of enemies, taking revenge on those who created him as well as clashing with a few recognisable super-villains. They can even tune into Wolverine's feral instincts to find their enemies?weaknesses and use his regenerative abilities to heal themselves.
"Gamers will be really impressed by the quality of gameplay and the appeal that this game will have across a broad consumer base, regardless of whether
or not they are Marvel movie fans,?adds Tyler.
"This is ultimately about using the strength of Wolverine's character and skills in a relatively brutal yet simple and rewarding way.
"It will not only excite Marvel fans but also appeal to fans of good quality games in general. This title is all about gameplay with the added bonus of the movie and franchise support.?/P>
The movie is already one of the most anticipated blockbusters of the upcoming summer season, so it is safe to assume that the Great British public will be expecting an accompanying video game.
As wel as promoting the title to cinema-going consumers, Activision is determined to see it recognised as a major entertainment product in its own right.
"As Wolverine is aiming to break the mould for a superhero game, we are keen to promote the title ahead of launch so we've been working with retail to secure a number of support programmes,?says Tyler.
"We've focused our messaging on driving home the fact that Wolverine is a high quality game that does not solely rely on having a movie to support it.
"This messaging is really resonating and is being carried through with impact to our in-store and online launch initiatives.?/P>
Media expectations are for the film to finish 2009 as one of the largest-grossing box office hits of the year, so Activision will be upping the ante of its marketing as the movie launch gets closer in order to fully capitalise.
The media campaign will consist of a heavyweight pre-awareness and launch digital media drive timed to be most prominent around the launch window, and will be supported by a print campaign.
CLAW?AND?ORDER
Both the print and online campaigns will be integrated with PR activity in order to increase the game's exposure. Of course, this being a movie game, the big screen will also play an important part in promoting the release.
"Our cinema media buy was a must have for this launch to maximise the Wolverine theatrical launch,?explains Tyler. "We have extended our cinema media buy to also deliver audiences going to see a number of the summer hits, including the new Star Trek film.?/P>
?A href="http://www.leuboo.com/shop/x-men-origins-wolverine.htm">Wolverine's consumer media programme is a two-pronged approach; firstly bringing awareness to the hardcore gamers pre-release and during launch by establishing strong gaming credentials ?and secondly maximising the movie's release and broadening the franchise's appeal.?/P>
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By Prairie Miller
Becoming a parent can certainly take the edge off your darker or wilder side, out of sheer embarrassment lest your kids get a clue, and recent dad Adam Sandler is no exception. The problem is that Sandler seems to be parting ways with his goofy and eccentric persona, along with those gross-out tendencies, that defined him individuality as a comic, however crude or lewd those impulses might be.
So what we're left with is, well, Bedtime Stories, an undercooked, formulaic kid's tale that seems to have been put together on the fly, and with no-frills production values. In this basically Cinderfella type of yarn directed by Adam Shankman (Hairspray), Sandler is Skeeter, son of a late motel owner (Jonathan Pryce) bought out by a greedy developer (Richard Griffiths) who promised to make the kid a manager when he grows up. But he instead assigns Skeeter janitorial duties in what has now been transformed into a lavish luxury hotel.
When Skeeter's sister, single mom Wendy (Courtney Cox), leaves town to look for work, he's stuck with babysitting her two far from easy to please preteen kids, Patrick (Jonathan Morgan Heit) and Bobbi (Laura Ann Kesling). Since they've been raised in a strictly organic living environment, on wheat germ, rice cakes, and no television or popular culture references to speak of, Skeeter must invent his own bedtime stories to amuse them, which is no easy task. Wendy's friend Jill (Keri Russell) stops by occasionally to look in on the situation, but her equally glum attitude is no help in conjuring up some chuckles for the small fry. buy dvd buy cheap dvd cheap dvd movie
At some point, the endings provided by the kids to an assortment of wacky stories Skeeter contrives, including jaunts to the old Wild West, outer space and Ancient Rome, start coming true for the baffled handyman in real life. But these bargain basement, on the cheap fantasy interludes are even less funny for the audience than for these underwhelmed kids. And some frantic to please business about Skeeter's rival at the hotel, played by Guy Pearce, along with his best buddy Mickey (Russell Brand), feels simply embarrassing for all concerned.
You just know a movie is in really serious trouble when the characters you can relate to most, are the ones scratching their heads in hopeless confusion at the on-screen jokes. In addition to a saucer-eyed anatromic pet guinea pig upstaging Sandler, and coming off as the main attraction in the movie. Bedtime Stories movie Bedtime Stories film Bedtime Stories free
There is one great Sandler moment, when he makes a desperate bid to evoke laughs from the unamused kids (and viewers), by eating a toothpaste sandwich that comes with the automatic added bonus of not having to brush your teeth afterward. But I'll pass on the Cinderfella part, where in place of those magical shoes, Skeeter seems to be promising to keep lovingly sticking around 'like the stink on your feet.' Nose clips, please.
Valkyrie DVD,Valkyrie movie,cheap Valkyrie
24th March 2009 - If there's something I always love when it comes to films, it's documentaries or movies based on real life events. Nothing gets to me more than after the last scene in the movie when they describe what went on to happen to everyone. In fact even fictional stories in films and on TV that do this will pull at my heartstrings. For example, in the final of 'The Wonder Years?when at the end it said that the father passed away years later, I couldn't help but shed a tear then!
To me though, the pinnacle of this type of fictional story-telling was the final episode of ?A href="http://www.leuboo.com/shop/valkyrie-2008.htm">Six Feet Under?where the main characters, from all 5 seasons, had a montage death scene from far into their futures. I still rank that episode as one of the best bits of TV ever made as it wrapped up the whole story of every character to the very end of their lives. So with the film I'm reviewing today, ?A href="http://www.leuboo.com/shop/valkyrie-2008.htm">Valkyrie? being based on a true story, I already knew I was in for a film that, good or bad, would find a place in my heart as I just can't help myself when it comes to true stories.
?A href="http://www.leuboo.com/shop/valkyrie-2008.htm">Valkyrie?stars Tom Cruise, as a German officer during World War 2. He plays the ring leader in the last of 15 failed assassination attempts on Hitler, by his own people, during his reign as Fuhrer. The film is a 'who's who?of the English acting fraternity with greats such as Kenneth Branagh, Bill Nighy, Tom Wilkinson, Terence Stamp and Eddie Izzard, plus many other smaller supporting roles by other lesser known but great actors . All of these 'greats?play historical characters who were involved in the plot to kill Hitler in his secure bunker called the 'Wolfs Lair? The story follows the journey from the beginning of conspiracy talks against Hitler to the arranging of plans to deal with Germany after his death, which of course, all ended in the failed attempt on Hitler's life. I'm not giving anything away in saying this was a failed attempt on his life, as it's public knowledge that Hitler died by his own hands at the end of the war and not at the hands of a group of conspirators.
This brings me to the one sour point of the film...the fact I always knew the ending! It was a lot like how I felt when watching the ?A href="http://www.leuboo.com/shop/valkyrie-2008.htm">King Kong?remake. I mean, I knew the big guy was going to die, so when he did, it wasn't a shock. This is not to say though that if I know the ending of a film that I still won't like it. I've seen many films where I've already known the outcome but they were made so well that by the end I was almost surprised at what happened. A good example of this is the Japanese anime film (a style of animated cartoon) 'Graveyard of the Fireflies? The ending is shown at the start of the film yet I was still in tears by the end even though I knew what was coming!
?A href="http://www.leuboo.com/shop/valkyrie-2008.htm">Valkyrie?never made me forget that this wasn't going to work out in the end and, because of that, I just couldn't get caught up in the story as much as I would have liked. That's not to say it isn't a great film, because it is. Some excellent performances, and fairly good directing by Bryan Singer, did amount to a compelling story. In the end, however, it felt more like a good history lesson of an interesting period in the world rather than a stand-alone film. Ultimately, it just didn't resonate as much as I hoped it would.
So, for me, even though it was a good film, it never made it up there to being great. It's 7 out of 10 from me.
Mamma Mia! DVD becomes Amazon's record seller
Every great age has its Richard. Shakespeare's had the Hunchback King; ours has Tricky Dick. Richard Milhous Nixon, America's anxious daddy as we lurched from Norman Rockwell to rock 'n?roll, is so rich a subject he's become fictional. Portrayed in film and opera by powerhouse actors such as Anthony Hopkins, Frank Langella and Philip Baker Hall, the bootstrap-Quaker-turned-Machiavel disturbs our cherished certainties about this country's moral might. Even Stacy Keach, now appearing in the smartly entertaining "Frost/Nixon?at the Ahmanson Theatre, doesn't quite get a hold on this elusive figure.
Peter Morgan's adroit account of David Frost's 1977 interviews with the disgraced former president recently received the big-screen treatment. But this touring production, helmed by the play's original director, Michael Grandage, makes the case that this televised showdown belongs on stage.
"Frost/Nixon?is about two men fighting to control the content of Nixon's close-up ?who can seduce the camera more successfully ?and there is something irreducibly captivating about seeing that contest live. This production won't make you forget why Langella got an Oscar nomination, but it will remind you that theater is a more elegant medium for ideas than film.
Christopher Oram's set is a corridor of power ?a wood-paneled playing space dwarfed by a bank of television screens overhead. Displaying live footage during the interview sequences, the screens convey the irrevocable sense of being on the record. Arrangements of people ?the press, the respective entourages ?become the scenery. "Frost/Nixon?rightly looks like a history play, with Frost (Alan Cox) as a playboy Brutus ready to turn the knife.
Grandage has a fluid sense of storytelling and stage composition. Yet the show can feel squirrely; a little ingratiating, it sometimes lacks a sense of stakes. Our guide through Morgan's compressed version of events is Jim Reston (Brian Sgambati), a journalist who spent years methodically documenting Nixon's crimes. Here the character comes off a bit breezy, reacting to the man he held accountable for bringing down America as if he were merely a querulous relative. (Only Stephen Rowe, delicious as Swifty Lazar, Nixon's publicist, never puts a foot wrong.)
As Frost, Cox drives the evening with bright charm and intelligence, most interesting when he's toughest. He appears to be on rather good behavior here ?the role keeps him on a tight leash.
Looking more Brezhnev than Nixon, Keach displays power but not mystery. With his frontier jaw and linebacker build, the actor always has brought a natural physical assurance to his roles. Audiences feel comfortable with Keach ?he's accessible. But the event of the play is Getting Nixon; if he's too close to us already, the journey isn't as satisfying. Keach's strength is a veteran's sense of language and timing. He nails Nixon's left-field humor, and when he lets loose in the (invented) telephone call the night before the all-important final interview, you see the Keach who has commanded the stage over four decades. He roars through Morgan's monologue like a star athlete on an obstacle course.
It's a superb setup for the climactic last scene. Own your actions out loud, Frost tells the cornered Nixon, "or you're going to be haunted for the rest of your life.?Sitting in the audience, you can feel a hush. We know from history what Nixon will say, yet in the moment we don't believe he'll actually confess. Because we need him to confess. Morgan's sleek play zeroes in on that raw communal moment with startling accuracy.
For all the show-biz aspects of politics ?the glad-handing, the deal-making, the sponsorships ?there remains a primal need for integrity. "Frost/Nixon?doesn't stop to plumb the depths of that truth, but it stages a broken leader's crucible with nimble, ruthless insight.
--Charlotte Stoudt
?A href="http://www.leuboo.com/shop/frost-nixon.htm">Frost/Nixon,?/STRONG> Ahmanson Theatre, 135 N. Grand Ave., Los Angeles. 8 p.m. Tuesday through Friday, 2 and 8 p.m. Saturday, 1 and 6:30 p.m. Sunday. Dark March 25 and 26. Ends March 29. $20 to $100. (213) 628-2772. Running time: 1 hour, 45 minutes.
Reel Alternatives?special weekly schedule continues with Frost/Nixon at 7 p.m. on Monday, March 30 at the newly renovated Capitol Theatre.
With Frost/Nixon, director Ron Howard brings to the screen Peter Morgan's play about the electrifying battle between disgraced president Richard Nixon and David Frost, a jet-setting television personality with a name to make, and their historic encounter that changed the relationship of politics and journalism forever.
Reprising their roles from the play are Frank Langella, who won a Tony for his portrayal of Nixon in the stage production and was nominated for an Oscar for the film role, and Michael Sheen, who fully inhabited the part of Frost on stage both in London and New York.
After being forced from office, Nixon remained silent for three years. But in the summer of 1977, the steely, cunning former commander-in-chief agreed to sit for one all-inclusive interview to confront the questions of his time in office and the Watergate scandal that ended his presidency.
Nixon surprised everyone in selecting Frost as his televised confessor, intending to easily outfox the breezy British showman and secure a place in the hearts and minds of Americans.
Likewise, Frost's team harboured doubts about their boss's ability to hold his own. But as cameras rolled, a charged battle of wits resulted. Over the course of their encounter, each man would reveal his own insecurities, ego and reserves of dignity ?ultimately setting aside posturing in a stunning display of unvarnished truth.
Frost/Nixon not only recreates the on-air interview, but the weeks of around-the-world, behind-the-scenes manoeuvring between the two men and their camps as negotiations were struck, deals were made and secrets revealed, all leading to the moment when they would sit facing one another in the court of public opinion.
Joining Langella and Sheen as the colourful, real-life personalities who provide the men counsel is a formidable roster of actors including Kevin Bacon, Oliver Platt, Sam Rockwell, Toby James and Matthew Macfadyen.
Frost/Nixon is sponsored by Dr. Anissa Boosamra of Able Chiropractic and Massage Therapy Centre. Advance tickets are $7 at Muskoka Country Furniture and Gifts on Main Street, or $8 at the door.
