Tag: first-man

  • New Trailer and Photos From Damien Chazelle’s ‘Babylon’

    Kth9u9mk

    Damien Chazelle is no stranger to either star power or turning back the clock to look at historical figures. He’s made Los Angeles, Ryan Gosling and Emma Stone sing and dance in ‘La La Land’ and chronicled some of legendary astronaut Neil Armstrong’s life in ‘First Man’.

    But for ‘Babylon’, Chazelle is thinking even bigger. He’s got Hollywood on his mind, and more specifically the 1920s, a pivotal time for both the movie industry and the city most identified with it.

    At this point, Los Angeles is expanding rapidly, an infusion of money and people arriving, the latter on the hunt for wealth and fame.

    Movies, and the performers who star in them, are making the difficult transition from the silent era to talkies, with some careers on the rise and some on the wane. It’s an idea that Chazelle – who won the Best Director Oscar for ‘La La Land’, but saw Best Picture go instead to ‘Moonlight’ during one of the biggest Oscar night surprise moments back in 2017 – has been percolating in his head for at least 15 years, ever since he moved to Los Angeles with his own dreams of success.

    “The basic idea was just to do a big, epic, multi-character movie, set in these early days of Los Angeles and Hollywood, when both of these things were coming into what we now think of them as,” he tells Vanity Fair. “I kept putting it off, because it was just a little too massive.”

    But with the likes of ‘Whiplash’, ‘La La Land’ and ‘First Man’ under his belt, he finally felt ready to tackle the giant movie he’d been making in his brain for years.

    Brad Pitt plays Jack Conrad in 'Babylon' from Paramount Pictures.
    Brad Pitt plays Jack Conrad in ‘Babylon’ from Paramount Pictures.

    And he’s recruited quite the star cast, with Brad Pitt, Margot Robbie, and relative newcomer Diego Calva, leading a sprawling ensemble that also includes Jean Smart, Jovan Adepo, Li Jun Li, P.J. Byrne, Lukas Haas, Olivia Hamilton, Tobey Maguire, Max Minghella, Rory Scovel, Katherine Waterston, Flea, Jeff Garlin, Eric Roberts, Ethan Suplee, Samara Weaving and Olivia Wilde.

    For the most part, the cast are playing fictional folk, albeit based on real movie stars of the time. Minghella is one of the exceptions, playing powerhouse producer Irving Thalberg.

    Pitt’s hard-partying Jack Conrad, for example, has echoes of Clark Gable, and Douglas Fairbanks. “He’s reaching a point in his life in his career where he’s starting to look back and starting to wonder what’s ahead,” says Chazelle of the character.

    Robbie, meanwhile, is Nellie LaRoy, burning with ambition and energy, who is the Clara Bow or Joan Crawford of the story. And Chazelle sees her as a good fit for the person playing her: “Margot as a person has this— it’s a very Australian sort of thing—brash, bold, hungry kind of edge to her that she was really able to tap into and do a lot of really fun things with.”

    And then there’s Calva, playing Manny Torres, a Mexican immigrant who is a wide-eyed newcomer to the world and serves as the audience’s POV.

    We’re promised wild, lavish parties, scandals and more when ‘Babylon’ opens in theaters on December 25th.

    Brad Pitt plays Jack Conrad and Diego Calva plays Manny Torres in 'Babylon' from Paramount Pictures.
    (L to R) Brad Pitt plays Jack Conrad and Diego Calva plays Manny Torres in ‘Babylon’ from Paramount Pictures.
    Diego Calva plays Manny Torres and Jean Smart plays Elinor St. John in 'Babylon' from Paramount Pictures.
    (L to R) Diego Calva plays Manny Torres and Jean Smart plays Elinor St. John in ‘Babylon’ from Paramount Pictures.
    Margot Robbie plays Nellie LaRoy in 'Babylon' from Paramount Pictures.
    Margot Robbie plays Nellie LaRoy in ‘Babylon’ from Paramount Pictures.
    Margot Robbie plays Nellie LaRoy in 'Babylon' from Paramount Pictures.
    Margot Robbie plays Nellie LaRoy in ‘Babylon’ from Paramount Pictures.
    Li Jun Li plays Lady Fay Zhu in 'Babylon' from Paramount Pictures.
    Li Jun Li plays Lady Fay Zhu in ‘Babylon’ from Paramount Pictures.
    Lukas Haas plays George Munn and Diego Calva plays Manny Torres in 'Babylon' from Paramount Pictures.
    (L to R) Lukas Haas plays George Munn and Diego Calva plays Manny Torres in ‘Babylon’ from Paramount Pictures.
    Tobey Maguire plays James McKay in 'Babylon' from Paramount Pictures.
    Tobey Maguire plays James McKay in ‘Babylon’ from Paramount Pictures.
    Director Damien Chazelle on the set of 'Babylon' from Paramount Pictures.
    Director Damien Chazelle on the set of ‘Babylon’ from Paramount Pictures.
    INbdFjETdVDtpMjNWNclT1
  • Five Times Movies Made Us Realize Being an Astronaut Sucks

    Five Times Movies Made Us Realize Being an Astronaut Sucks

    With ‘Ad Astra’ hitting theaters this weekend, all it took was staring into Brad Pitt’s lost little boy eyes as he dodges space debris to get us thinking about how we had it all wrong. When adults asked us what we wanted to be when we grew up, chances are we exclaimed “Astronaut!” more than once, but movies have actually spent a long time telling us why that’s a terrible idea. Alongside the bravery, intelligence, and pioneering spirit of everyone involved in a space program comes enormous risk.

     

    ‘Interstellar’ (2014)

    With Earth in serious trouble, humans are looking to the stars in this Christopher Nolan film starring Matthew McConaughey, Jessica Chastain, and Anne Hathaway. But with all the talk of relativity and “where did these marks on my floor come from?” there’s no time for lounging around and laughing like you’re in a soda commercial. McConaughey ends up spending what ends up being his family’s whole life trying to save the planet, so he ends up just having to go back to space to hang out with the closest thing he has to a lady love.

     

    ‘Gravity’ (2013)

    If you ever took gravity for granted, watching this Academy Award-winning Sandra Bullock film will quickly shift you into an attitude of gratitude. As her mission to upgrade the Hubble telescope goes horribly wrong thanks to a Russian missile strike, Bullock spends the entire movie figuring out how to drift away from certain things and towards others to get home. Heaven help you if you saw this movie in 3D. Audience members left the theaters and reportedly kissed the ground. Or…was that just us?

     

    ‘Moon’ (2009)

    It’s bad enough taking a job to go to space and hang out by yourself mining fuel, but it’s even worse when your communication signals get jammed except for video voicemails from your boo on Earth. It becomes incomprehensibly bad when you learn that the signals were blocked on purpose by your boss AND you’re a clone. Things swing back to being good when you realize that having clones means you have company, but then they get bad again when you realize those clones are jerks and you’re the dumbest one.

     

    ‘Apollo 13’ (1995)

    Humankind has always been fascinated by visiting that big rock in the sky. Humankind’s second thought should be how petrifying any trouble up there would be. Apollo 13, the mission led by Jim Lovell, and the movie led by Tom Hanks, exemplifies both the resourcefulness of our space program and why it’s best for most of us to stay grounded. Mechanical failures abound—explosions, leaks, transmission blackouts. And as if that weren’t enough, human mechanical failures make things even worse, with urinary infections and freezing temperatures. By the time these guys land you’ve stress eaten three days’ worth of calories.

     

    ‘First Man’ (2018)

    Damien Chazelle and his team conveyed a body-shaking version of what it was like to be a meat sack propelled into space in a tin can at the start of the space race. While movies about space have always had the deep bass of rocket boosters, First Man exponentially upped the ante by conveying just how precarious the structures were on top of that enormous power. Between launches, training scenes, and occasional crashes in fields, the movie never seems to stop shaking. Poor Baby Goose. 

  • What’s New on Digital, DVD/Blu-ray, TV, & Netflix This Week: January 21-27

    What’s New on Digital, DVD/Blu-ray, TV, & Netflix This Week: January 21-27

    Fox

    At a loss for what to watch this week? From new DVDs and Blu-rays, to what’s streaming on Netflix, we’ve got you covered.

    NEW VIDEO ON DIGITAL, DEMAND, AND STREAMING

    ‘Bohemian Rhapsody’ (January 22)

    The biopic about the rise of Freddie Mercury and Queen has already won a Golden Globe for Best Drama Film and Best Actor for Rami Malek. And Oscar trophies could come next. Malek has earned well-deserved praise for his searing performance as the brilliant, eccentric, often troubled lead singer who tragically died in 1991 due to complications from AIDS. And of course, the movie features the band’s incredible music, including their biggest hits. Available on Digital HD.

    ‘The Girl in the Spider’s Web’ (January 22)

    Claire Foy takes over the role of computer hacker Lisbeth Salandar, the striking character created by novelist Stieg Larsson in his “Dragon Tattoo” series. The convoluted plot finds Lisbeth stealing a nuclear missile program, with enemies hot on her trail. Available on Digital HD.

    Watch an exclusive clip from the Blu-Ray release below:

    ‘Widows’ (January 22)

    This riveting, criminally underwatched heist film comes from award-winning director Steve McQueen (“12 Years a Slave”) and boasts an all-star cast led by Viola Davis. When four thieves are killed during a robbery attempt, their widows are forced to fulfill the debts they owe. Filled with twists, turns, and stunning performances, this tale does more than entertain — there’s some excellent social commentary woven in, too. Available on Digital HD.

    ‘The Wife’ (January 22)

    Watch why Glenn Close has been nominated for a billion awards for this movie and others, and why she might finally (finally!) win an Oscar for her nuanced performance in a story about the compromises, secrets, and betrayals one makes in a long marriage. Available on Digital HD.

    ‘Dr. Seuss’ The Grinch’ (January 22)

    The latest animated adaptation of the classic holiday tale has Benedict Cumberbatch voicing the famous curmudgeon who hates Christmas. Available on Digital HD.

    NEW ON DVD AND BLU-RAY

    ‘First Man’ (January 22)

    Ryan Gosling stars as Neil Armstrong in this intense drama about NASA’s attempts to land a man on the moon. The special effects give you the hair-raising feel of being in a space craft, while the excellent cast (including the fiery Claire Foy as Armstrong’s wife) vividly portray the tension, fear, and hope of the astronauts, scientists, and families involved.

    The movie arrives on 4K Ultra HD, Blu-ray and DVD on January 22 (and is already available on Digital HD). Bonus features include deleted scenes, Gosling’s tour of spacecraft, and a featurette on astronaut training.

    ‘The Hate U Give’ (January 8)

    This stirring coming-of-age drama tackles race and police brutality, but from the viewpoint of a teen girl (Amandla Stenberg) who bounces between her predominantly black neighborhood and her prestigious private school. When she witnesses a shooting, she must find her voice and stand up for what’s right.

    The movie arrives on 4K Ultra HD, Blu-ray and DVD on January 22 (and is already available on Digital HD). Bonus features include extended scenes, audio commentary, and featurettes including “Starting a Conversation.”

    ’10 to Midnight’A special collector’s edition of the underrated Charles Bronson thriller has a 4K remaster and bonus cast interviews.

    ‘4 Months, 3 Weeks and 2 Days’Criterion’s edition of the Romanian New Wave classic has a 4K restoration and bonus features like deleted scenes.

    ‘Mikey and Nicky’: The Elaine May gangster movie that was lost to time has been restored with new features by the Criterion Collection.

    ‘Chicken Run’: The Aardman animated classic comes to Blu-ray for the first time.

    ‘Dirty Rotten Scoundrels’: The Frank Oz-directed con man comedy has a new 2K remaster and interview with screenwriter Dale Launer.

    ‘Waterworld’: This limited edition features a three-hour long documentary and the much ballyhooed extended European “Ulysses” cut.

    NEW ON NETFLIX

    ‘Black Earth Rising’ (January 25)

    This genocide drama, a co-production with BBC, stars John Goodman and Michaela Coel, whose lives are upended when an African militia leader is put on trial at the International Criminal Court.

    ‘Unbreakable Kimmy Schmidt’ Season 4B (January 25)

    The eternally optimistic Kimmy has risen from the ashes (and underground captivity) to make a new life for herself. In these final seven episodes of the series, she’ll also try to change the world for the next generation.

    For more, see what else is new on Netflix in January 2019.

    TV WORTH WATCHING

    ‘Celebrity Big Brother’ Season 2 Premiere, CBS (January 21, 8 p.m.)

    The all-“star” cast includes Olympian Ryan Lochte, actor Joey Lawrence, momager Dina Lohan, and former White House communications director Anthony Scaramucci.

    ‘The Magicians’ Season 4 Premiere, Syfy (January 23, 9 p.m.)

    The main characters have new identities and their memories have been wiped, but how long can they live magic-free lives?

    ‘Broad City’ Season 5 Premiere, Comedy Central (January 24, 10 p.m.)

    Abi and Ilana’s wacky adventures come to an end, hopefully with a a bang and a whimper.

    ‘Rent,’ Fox (January 27, 8 p.m.)

    The Tony Award-winning musical gets a live production, starring Kiersey Clemons, Brandon Victor Dixon, Jordan Fisher, and Vanessa Hudgens.

  • Every Movie You Need To See Before Oscar Night

    Every Movie You Need To See Before Oscar Night

  • ‘Roma,’ ‘A Star is Born,’ and ‘First Man’ Land Cinematography Guild Nominations

    ‘Roma,’ ‘A Star is Born,’ and ‘First Man’ Land Cinematography Guild Nominations

    Netflix

    Fresh off winning two Golden Globes, Alfonso Cuarón‘s “Roma” has landed an nomination from the American Society of Cinematographers.

    The black-and-white film set in 1970s Mexico City will vie with another gorgeously shot black-and-white period film, “Cold War,” which is Poland’s official selection for this year’s Oscars. (“Roma” is currently streaming on Netflix, but it also had an awards-qualifying theatrical run.)

    They’ll both compete against the cinematography of “The Favourite,” “A Star is Born,” and “First Man.”

    Here are all the film and TV ASC nominees:

    Theatrical Release
    Alfonso Cuarón, “Roma”
    Matthew Libatique, ASC, “A Star is Born”
    Robbie Ryan, BSC, ISC, “The Favourite”
    Linus Sandgren, ASC, FSF, ” First Man”
    Lukasz Zal, PSC, “Cold War”

    Episode of a Series for Non-Commercial Television
    Gonzalo Amat, “The Man in the High Castle,” Jahr Null
    Adriano Goldman, ASC, ABC, “The Crown, ” Beryl
    David Klein, ASC, “Homeland,” Paean to the People
    Colin Watkinson, ASC, “The Handmaid’s Tale,” The Word
    Cathal Watters, ISC, “Peaky Blinders,” The Company
    Zoë White, ACS for “The Handmaid’s Tale,” Holly

    Episode of a Series for Commercial Television
    Nathaniel Goodman, ASC, “Timeless,” The King of the Delta Blues
    Jon Joffin, ASC, “Beyond,” Two Zero One
    Ben Richardson, “Yellowstone,” Daybreak
    David Stockton, ASC , “Gotham,” A Dark Knight: Queen Takes Knight
    Thomas Yatsko, ASC , “Damnation,” A Different Species

    Motion Picture, Miniseries, or Pilot Made for Television
    James Friend, BSC , “Patrick Melrose,” Bad News
    Mathias Herndl, AAC , “Genius: Picasso,” Chapter 1
    Florian Hoffmeister, BSC , “The Terror,” Go for Broke
    M. David Mullen, ASC , “The Marvelous Mrs. Maisel,” Pilot
    Brendan Steacy, CSC , “Alias Grace,” Part 1

    [Via Slashfilm]

  • What’s New on Digital, DVD/Blu-ray, TV, & Netflix This Week: January 7-13

    What’s New on Digital, DVD/Blu-ray, TV, & Netflix This Week: January 7-13

    Mid90s
    A24

    At a loss for what to watch this week? From new DVDs and Blu-rays, to what’s streaming on Netflix, we’ve got you covered.

    NEW ON DVD AND BLU-RAY

    ‘Mid90s’ (January 8)

    Jonah Hill’s directorial debut is a heartfelt, finely drawn coming-of-age tale about a teen from a dysfunctional family who spends his summer escaping his troubled home life and hanging out with a group of skaters. The film’s lo-fi visuals evoke a sense of time and place.

    The movie arrives on Blu-ray and DVD on January 8 (and is already available on Digital HD).

    ‘Hell Fest’ (January 8)

    There’s no hell quite like a carnival on Halloween. This low-budget slasher flick follows a group of teens who are stalked by a serial killer at a traveling amusement park.

    The movie arrives on 4K Ultra HD, Blu-ray and DVD on January 8 (and is already available on Digital HD).

    ‘Monsters and Men’ (January 8)

    This drama doesn’t blink as it takes on simmering current issues like police brutality, race, and complicity. When Manny Ortega (Anthony Ramos) films a deadly confrontation between police and a black man in Brooklyn, he must decide whether to release the video or keep quiet to avoid drawing attention to himself.

    The movie arrives on Blu-ray and DVD on January 8 (and is already available on Digital HD).

    NEW VIDEO ON DEMAND, STREAMING, AND DIGITAL

    ‘First Man’ (January 8)

    Ryan Gosling stars as Neil Armstrong in this intense drama about NASA’s attempts to land a man on the moon. The special effects give you the hair-raising feel of being in a space craft, while the excellent cast (including the fiery Claire Foy as Armstrong’s wife) vividly portray the tension, fear, and hope of the astronauts, scientists, and families involved. Available on Digital HD.

    ‘The Hate U Give’ (January 8)

    Much like “Monsters and Men” above, this drama tackles race and police brutality, but from the viewpoint of a teen girl (Amandla Stenberg) who witnesses a shooting. It’s not just a sensitive and emotional issues movie, but a stirring coming-of-age story. Available on Digital HD.

    NEW ON NETFLIX

    ‘Friends From College’ Season 2 (January 11)

    The group of friends, which fell apart after the revelation of the affair between Ethan (Keegan-Michael Key) and Sam (Annie Parisse), is forced to come back together for the wedding of Max (Fred Savage) and Felix (Billy Eichner). Sarah Chalke joins the cast for Season 2 as a former classmate who reconnects with ex-boyfriend Nick (Nat Faxon).

    ‘The Last Laugh’ (January 11)

    Chevy Chase and Richard Dreyfuss team up in this movie about a retired talent agent (Chase) who convinces his first client, a stand-up comedian (Dreyfuss), to leave his senior community and go on one more cross-country tour. And of course, jokes and hijinks ensue.

    ‘Sex Education’ (January 11)

    Talking about sex with your parents is mortifying enough. Imagine the horror you’d feel if your mom told you one day, “I’ve noticed you’re pretending to masturbate.” That’s the unlucky lot of Otis (Asa Butterfield), whose mother (Gillian Anderson) is a sex therapist. But he also uses her expertise to open a sex therapy clinic at his school, advising fellow students on everything from an addiction to wanking to out-of-control pubes.

    https://www.youtube.com/watch?v=o308rJlWKUc

    For more, see what else is new on Netflix in January 2019.

    TV WORTH WATCHING

    ‘The Bachelor’ Season 23 Premiere, ABC (January 7, 8 p.m.)

    Colton Underwood, the former football player and virgin, begins his journey of handing out roses, breaking hearts, and possibly finding true love and getting it on.

    ‘You’re the Worst’ Season 5 Premiere, FXX (January 9, 10 p.m.)

    The final season winds down the story of the dysfunctional romance between Jimmy (Chris Geere) and Gretchen (Aya Cash), who are planning their wedding.

    https://www.youtube.com/watch?v=yunwnR0cK30

    ‘The 24th Annual Critics Choice Awards,’ The CW (January 13, 7 p.m.)

    “The Favourite” and “Black Panther” vie for the top movie prize, while “The Americans” and “Killing Eve” duke it out on the TV side. See a full list of the nominations here.

    ‘True Detective’ Season 3, HBO (January 13, 9 p.m.)

    The crime drama returns with a brand-new story and a brand-new cast, led by Oscar winner Mahershala Ali as a detective in the Ozarks investigating the case of two missing kids.

    https://www.youtube.com/watch?v=btoZfxs0pE0

  • The 10 Biggest Box Office Flops Of 2018

    The 10 Biggest Box Office Flops Of 2018

    Audiences can be a fickle bunch, but it’s not always their fault.

    Sometimes the timing of a film’s release is wrong, or lands at a moment where people fail to see it. Sometimes the marketing of a movie misses its mark and fails to connect. Sometimes reviews reinforce moviegoer skepticism and they decide to stay away. But sometimes, a movie is just bad, and no silk hat is going to make that pig any prettier. But that doesn’t mean those movies aren’t good — or even great. In many cases, it merely means that their time to shine is yet to come – be it internationally, on home video, or on streaming services.

    As we assemble a list of the year’s biggest box office flops,  look at the titles below as a reminder to support the films and filmmakers you love so they get to make more of them and continue to explore the cinematic universes that become indelible parts of popular culture now and in the future.

    A Wrinkle in Time

    Domestic Gross: $100,478,608

    Worldwide Gross: $132,675,864

    Action Point

    Domestic/ Worldwide Gross: $5,059,608

    Early Man

    Domestic Gross: $8,267,544

    Worldwide Gross: $54,622,814

    First Man

    Domestic Gross: $44,790,010

    Worldwide Gross: $100,490,010

    The Girl in the Spider’s Web

    Domestic Gross: $14,777,868

    Worldwide Gross: $33,891,747

    The Happytime Murders

    Domestic Gross: $20,706,452

    Worldwide Gross: $27,506,452

    Life Itself

    Domestic Gross: $4,102,648

    Worldwide Gross: $5,634,912

    Disney

    The Nutcracker and the Four Realms

    Domestic Gross: $52,909,258

    Worldwide Gross: $140,357,413

    Robin Hood

    Domestic Gross: $28,052,736

    Worldwide Gross: $65,789,193

    Solo: A Star Wars Story

    Domestic Gross: $213,767,512

    Worldwide Gross: $392,924,807

  • Box Office: Tom Hardy Is the Real ‘First Man’ as ‘Venom’ Dominates Again

    Box Office: Tom Hardy Is the Real ‘First Man’ as ‘Venom’ Dominates Again

    Ryan Gosling in First Man
    Universal Pictures

    The tag-team of Tom Hardy and Lady Gaga did it again. They defeated both Ryan Gosling and Chris Hemsworth in the battle of the October 12-14 box office.

    Sorry, Thor.

    Venom” and “A Star Is Born” took first and second this weekend, just like they did last week. And just like last week, their tallies were much higher than the rest of the domestic box office releases.

    “Venom” earned $35.7 million in its second weekend. That’s a drop of 55.5 percent from its opening, but still more than enough to stay number one. So far, Sony’s Marvel Universe film has earned $378,102,151 worldwide.

    Director/star Bradley Cooper‘s “A Star Is Born” added 22 theaters — still leaving it with about 500 fewer than “Venom” — and picked up $28 million. That’s a drop of 34.7 percent from last week.

    Sony

    Ryan Gosling was actually the third man with “First Man,” which earned $16.5 million in its opening weekend. It barely got third place, too, just squeaking by “Goosebumps 2: Haunted Halloween,” which earned $16,225,000. That family sequel actually had a higher per-screen average than “First Man,” since it opened in about 100 fewer theaters.

    “First Man” came in slightly below the $17M-$20M forecasts, Variety noted; this is Gosling’s fifth best opening, behind “Gangster Squad” in 2013, which opened to $17.07 million.

    Do you think this will hurt the Oscar chances for “First Man”? Guess we’ll see.

    The other wide release opening this week was “Bad Times at the El Royale,” which had — wait for it — a bad time at the box office with a seventh place opening. The star-studded R-rated thriller only picked up $7,225,000. That’s less than “Night School,” which took sixth place even though it actually played in fewer theaters than “El Royale.”

    Fox

    “First Man” got a B+ CinemaScore from polled moviegoers; “Goosebumps 2: Haunted Halloween” got a B; and “Bad Times at the El Royale” got a B-.

    In better news, “Beautiful Boy” had its very limited release this weekend — picking up $221,437 from only four theaters, placing it at No. 18 on the box office chart. That may not sound great, but it gave the Steve Carell/Timothée Chalamet film a per-screen average of $55,359. (Contrast that to the $8,400 per-screen average for “Venom” at No. 1).

    Here are the top 10 weekend estimates for October 12-14:

    1. “Venom” – $35,700,000
    2. “A Star Is Born” – $28,000,000
    3. “First Man” – $16,500,000
    4. “Goosebumps 2: Haunted Halloween” – $16,225,000
    5. “Smallfoot” – $9,300,000
    6. “Night School” – $8,035,000
    7. “Bad Times At The El Royale” – $7,225,000
    8. “The House With a Clock in Its Walls” – $3,975,000
    9. “The Hate U Give” – $1,765,000
    10. “A Simple Favor” – $1,380,000 (“The Nun” just missed the cut by $5,000)

    Sony

    According to Deadline, this week’s combined box office numbers for “Venom” and “Goosebumps 2” just pushed Sony past $1 billion at the domestic box office. They hit $1 billion earlier in the year than they did in 2017, and the last time they hit $1B before that was in 2014. Disney, Warner Bros., and Universal already hit $1 billion earlier this year — Disney is gliding past $2.75 billion. Show-offs!

    What’s next?

    Halloween” reunites Laurie Strode and Michael Myers next Friday, October 19. Will you be watching?

    [Via: Deadline, Box Office Mojo, Variety]

    Want more stuff like this? Like us on Facebook.

  • ‘First Man’ Review: Ryan Gosling’s Latest Oscar Contender Is a Ride Worth Taking

    ‘First Man’ Review: Ryan Gosling’s Latest Oscar Contender Is a Ride Worth Taking

    There have been many movies about the space race, from “The Right Stuff” to “Apollo 13,” but none have felt as visceral, and intimate, as “First Man.”

    Director Damien Chazelle puts audiences inside each capsule, and eventually (spoiler alert) on the face of the moon like no one has done before, and it is a ride worth taking — and not just because you’re sitting next to Ryan Gosling. Rather, it’s because Chazelle’s follow-up to “La La Land” is, like its predecessors, more than the sum of its parts — in this case, the film is a celebration of the ambition and unity of mankind built on a foundation of individual sacrifice, and in recovery from unimaginable loss.

    Gosling plays real-life astronaut Neil Armstrong, a pilot who, in screenwriter Josh Singer’s retelling, turned to the space program as an escape after the loss of his daughter, Karen, to a brain tumor. Joining a team of the best pilots and engineers in the country — including Elliot See (Patrick Fugit, “Gone Girl”), Ed White (Jason Clarke), David Scott (Christopher Abbott), and Buzz Aldrin (Corey Stoll) — Armstrong embarks on a long journey to prepare himself for the scientific and physical challenges of space travel.

    Meanwhile, Armstrong’s wife, Janet (Claire Foy), tends to their two boys while confronting the ongoing prospect of losing her husband in the same way some of her fellow housewives have. Sadly, she is unable to talk directly with Neil about that possibility.

    Despite a life-threatening malfunction during Gemini 8, Neil’s first mission into space is considered a success, and NASA makes plans to initiate a new program to land men on the Moon. But after a routine test during Apollo 1 ends in the tragic loss of life for three of his colleagues, Armstrong finds himself in a unique position as he’s exhilarated to be chosen for the mission, but confronted ever more vividly with the mortal dangers of this monumental voyage.

    Particularly in the wake of those previous films that have covered these events, you’d be forgiven for entering “First Man” expecting a seemingly never-ending series of flat top haircuts, hand-wringing housewives, Walter Cronkite cutaways, and some great space footage. And, to be fair, there is some of that, albeit in more of an effort to set a tone than luxuriate in period detail. But Chazelle’s camera peers mercilessly at his characters, in particular Gosling’s Armstrong, who we see break down after his daughter’s death, but who seems to vow never to succumb to that vulnerability again, no matter how many of his colleagues and friends he may lose.

    This is a movie about risk, and especially loss, and the filmmaker never lets the mechanics of space flight — no matter how detailed or tedious — overshadow the feelings of the men who made the incremental, precarious progress that eventually took us to the stars, nor the family and friends who watched them, excited and concerned, from the ground.

    To call this an all-star cast is an understatement, but it feels like the material, and the era in which it’s set, obliterates the sort of star-wattage flashiness that might otherwise make this a revolving door of famous faces. Gosling is the film’s anchor; he makes Armstrong’s real-life reticence feel palpable — both when he’s flipping switches and solving problems inside a Gemini capsule and when he’s coming to terms with another program setback that cost him a colleague he’s spent years beside.

    Stoll gives Buzz Aldrin a delightfully clumsy sort of honesty that registers as perhaps the most charismatic performance of the astronauts, but it’s a necessary juxtaposition next to the compassionate resolve of Clarke’s Ed White, or the reluctant diplomacy of Kyle Chandler’s Deke Slayton, a former astronaut juggling the practicalities of each mission, the expectations and ambitions of his successors, and the anxieties of the families they leave behind.

    Chazelle really is such an invigorating talent, not just because of his own ambition in tackling material like this, but in his restraint in executing it; he explores this history soberly, and allows theatrical flourishes only occasionally, and to great effect — such as when the claustrophobic capsule opens to the panoramic IMAX frame of the lunar surface.

    What he recognizes is that these events changed the way that we look at our world, but they are seldom viewed as an iterative process, and more specifically, one in which triumph occurred in immediate relief with tragedy, and vice versa. What is ultimately most impressive is how a filmmaker could take an achievement so big and make it seem so relatable and small.

    “First Man” certainly makes you understand, and experience, each step forward in the Space Race, but the reason it resonates so strongly is because it’s really about the lengths a person will go to get as far as possible from their pain.

    xfW5Ji6OuWfzyBOesnUbg2
  • ‘A Star Is Born’ and 7 More Possible Best Picture Contenders You Need to See This Year

    ‘A Star Is Born’ and 7 More Possible Best Picture Contenders You Need to See This Year