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Weekend box office results: DC Joker returns to the weekend box office champion!

By:Shark News  Posted:October. 29,2019
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Last week, there were several new films on the market, but the strength was not strong. The weekend championship battle was unfolded in two old films. The DC's Jacker movie Joker was released for the fourth weekend and received nearly $19 million. It was followed by Maleficent: Mistress of Evil, which returned to the weekend. The cumulative box office of the film has reached 277 million US dollars, the global box office has reached nearly 850 million US dollars, has already refreshed the R-class movie global box office record.

Disney's live-action fairy tales Maleficent: Mistress of Evil received more than $18.5 million over the weekend and retired to the weekend. The film fell 50% over the weekend of the opening of the painting, and the cumulative box office in the two weeks has exceeded $65 million.

The energy of the new film replenishment is not in place, and some of the old films have also collapsed, and the market fever has dropped significantly. In the 19th weekend of the 23rd weekend, the top ten films in the box office were only reported at $9,990,000, and the weekend's market plunged 31%. The market was down 1% from the same period last year (the market was $91 million).

This weekend is the Halloween weekend. The new film headed by Terminator: Dark Fate will reshuffle the market. After the market has almost created a historical record in October, the market is expected to open the door in November.

The Addams Family

The Anime new film The Addams Family released in the United States received another $11.7 million over the weekend, which beat Zombieland: Double Tap and rose to the third place at the weekend box office. The film was only less than 30% lower than last week, and the cumulative box office has exceeded $70 million.


Sony's horror comedy sequel Zombieland: Double Tap received another $11.6 million the following week, showing two new films that were leading the way in large-scale paintings and retiring to the fourth place at the weekend box office.

STX Entertainment's horror film Countdown opened its first week of more than $900 million and squeezed into the top five of the weekend box office; while the crime action film Black and Blue was released for the first three days of the week, it only received more than $8.3 million. Sixth at the weekend box office.

Countdown

The Current War, a film released by Studio 101, started in 1022 theaters on Friday and harvested $2.73 million at the box office on the weekend, ranking ninth on the weekend. Directed by Alfonso Gomez-Rejon, director of Me and Earl and the Dying Girl, starring Benedict Cumberbatch and Tom Holland, the inventor of DC, Edison and Westinghouse's founder, George Westinghouse, Jr. The story of the largest power supplier in the United States.

The Current War was premiered at the Toronto Film Festival in September 2017. It was originally scheduled to be released in 2018. It was put on hold after Harvey Weinstein was involved in the scandal. After the replacement of the issuing company, it was finally last week. Open the picture. The film has been released in many overseas markets. At present, it has only received less than 5 million US dollars. With its performance, it is basically hopeless to recover the production cost of 30 million US dollars. The Current War is a director's cut version. Although the plot is more complete than the overseas version, it still only gets 58% media rating.

The Current War

Joon-ho Bong's Korean film Parasite was added to 129 theaters and won $1.82 million on the weekend, still ranked 11th on the weekend. In the case of a three-fold increase in the number of theaters, the box office is still as high as $14,000.

Three weeks after the filming, the total box office of the film has reached 4.11 million US dollars, which has become one of the highest-profile Korean movies. The film will also represent South Korea in the selection of the "Best International Film" in this Oscar. With the assist of the award season, its box office may be expected to hit the $10 million mark. Up to now, the global box office of the film has exceeded 100 million US dollars.

The Jojo Rabbit released by Flowserve Searchlight will continue to be shown at 55 theaters in the weekend. It will receive another $1.04 million in the three days of the weekend and squeeze into the top 15 of the weekend box office. The new film directed by Thor: Ragnarok director Takaka Waititi has soared nearly 200% from the previous weekend, and the box office has also maintained a high of $19,000, which is ideal for expansion. Although the media evaluation by Scarlett Johansson and Sam Rockwell is not top-notch, the audience's reputation is very good, and the subsequent expansion is also worth looking forward to.

Pedro Almodovar's new work Dolor y Gloria expanded to 117 theaters, and received $430,000 over the weekend. The cumulative box office has reached $1.68 million.

THE FULL TOP 10: OCTOBER 25-27

1.Joker (2019)  – $18.9 million ($277.58 million total)

2.Maleficent: Mistress of Evil (2019)  – $18.54 million ($65.41 million total)

3.The Addams Family (2019) – $11.71 million ($72.8 million total)

4.Zombieland: Double Tap (2019)  – $11.6 million ($47 million total)

5.Countdown (2019)  – $9.01 million ($9.01 million total)

6.Black and Blue (2019)  – $8.33 million ($8.33 million total)

7.Gemini Man (2019) – $4 million ($43.34 million total)

8.The Lighthouse (2019) – $3.08 million ($3.66 million total)

9.The Current War (2019) – $2.73 million ($2.73 million total)

10.Abominable (2019) – $2 million ($56.82 million total)




Tags:Weekend box office, Joker, Maleficent: Mistress of Evil
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JUSTICE LEAGUE WAS INITIALLY TWO FILMS

   But does it really exist in a form the company can share? And why would a major release like Justice League have two completely different edits? Let’s go back a few years to uncover the reality of the Snyder Cut and what would make its release possible  That cause: The release of director Zack Snyder’s original cut of Justice League    When it was first announced, Justice League was intended to be a two-part film with Snyder and stars Henry Cavill, Gadot, Affleck, Jason Momoa, Fisher, and Ezra Miller convening to film the bulk of the first film and portions of the second at Leavesden Studios in London. Much like the efforts of Warner Bros. Pictures’ cross-town superhero competition, the plan was for these two films to serve as a culmination of storylines began in Man of Steel and through Batman v Superman: Dawn of Justice, Wonder Woman, and Suicide Squad. Although, once the scripts were developed, Snyder said the two films would tell distinct stories. Then, as filming commenced on Justice League in April of 2016, Batman v Superman was released to the derision of critics (it is at 27% on the Tomatometer) and, seemingly, the industry deciding en mass that the film was a creative disaster. In London, this meant the quiet cancellation of the second Justice League film and a hasty rewrite of the first film’s script to bring its story to a true conclusion. As we now understand it, the first Justice League movie was meant to end with the resurrection of Superman with the second film seeing the League assembling to fight cosmic-level bad guy Darkseid. In the years since it dissolved, Snyder offered fans glimpses of design art and storyboards from the abandoned second film thanks to his social media accounts. But even as the film soldiered on in production, it was clear to Snyder and his partners at the studio that a period of reshoots would be required. Most big-budget tentpole releases schedule some additional photography these days, but the high-profile nature of Justice League – and the growing bad buzz around Warners’ attempts to bring the DC Comics heroes to the screen – meant the work was regarded with suspicion. Of course, no one would know just how extensive these reshoots would be until Snyder delivered his first cut. As with the myth of the six-hour version of David Lynch’s Dune, the notion of the Snyder Cut begins with an assembly of the film – a compilation of the best takes chosen by editors David Brenner, Richard Pearson, Martin Walsh, and Snyder himself representing the scenes as written in the script. This version of the film definitely exists, but it is not meant for public consumption. Lacking complete special effects, utilizing a temporary soundtrack, and featuring the background studio noise of the scenes as they were filmed, an assembly is meant more to reveal what to cut from the script once the actors, technicians, and filmmakers fill in the gutters left behind by the screenplay. An actor’s expression may more effectively convey a piece of written dialogue, for example. But an assembly will give a director of a multi-million-dollar film the first inkling of what he may need to reshoot to massage the story into shape. For Dune, Lynch went back and reshot the scene in which Paul Atreides (Kyle MacLachlan) drinks the Water of Life to unite ideas and clarify ideas from a number of scenes in the assembly which were ultimately cut from the theatrical release. And while assemblies are not typically released to the public, 20th Century Fox Home Video did release an “assembly cut” of Alien3 in its Alien Quadrilogy DVD box set and the subsequent Alien Anthology Blu-ray set. Roughly 30 minutes longer than the release version, it is a surprisingly finished product which more closely reflects director David Fincher’s vision of the film before the studio took it out of his hands and removed the religious overtones and an entire chase sequence. In fact, we’re inclined to believe it is more a fine assembly or early director’s cut than a true early assemblage of material. It is the hope of those looking for a Snyder Cut that they will eventually receive something like this: a mostly completed version of the film taken from Snyder. But in reality, the film was never taken from Snyder. Instead, something far more devastating happened. Even before Snyder announced his departure from the film in May of 2017, rumors around town indicated footage from London had failed to wow Warner executives. At this point, reshoots were scheduled and Joss Whedon entered the story. At the time, he was reportedly working on a Batgirl film, but was also assisting Snyder and Warner Bros. with writing new Justice League material. Around this time, February of 2016, rumors circulated indicating Snyder had been fired, but both he and the studio quickly shot this down. But then Snyder’s family experienced an unimaginable tragedy when his daughter Autumn took her own life on March 20, 2017. Snyder subsequently said he continued to work on the film for nearly six weeks after her death in the hopes it would mitigate his grief, but it proved to be no comfort at all. He willingly handed the reins off to Whedon for the reshoots and the post-production phase. In that moment, Snyder’s cut was characterized as unfinished – and considering the realities of major Hollywood filmmaking, that is reasonable to believe. Any extensive visual effects would still be in process for months to come. Color grading, sound mixing, and other stages of the final post-production efforts would not occur until the reshoots were completed. Nonetheless, members of the production like storyboard artist Jay Oliva (who also directed many of the DC Universe Animated direct-to-video titles), Momoa, and composer Junkie XL (who was replaced by Danny Elfman for the theatrical version) all claim the film was in a much more finished state than was suggested at the moment Snyder walked away. Earlier this year, Snyder finally admitted a cut exists, but it is still unclear how finished his version might be. That ambiguity may present the biggest hurdle in getting the Snyder Cut into release. Turning the Snyder Cut from a file on a hard drive somewhere to a marketable product is a specialty of the home video market. The business may be in an era of change, but the Snyder Cut faithful hope there is enough life in home video to make this the venue in which Snyder’s version of the film can thrive. A 2006 DVD release of Dune offered fans a widescreen version of the film’s television cut, supervised by the same Universal employees who prepared the infamous “Love Conquers All” version of Brazil. Both cuts of that film emerged on a celebrated Criterion Collection laserdisc set which was later released on DVD and Blu-ray. Like Alien3, Alien and Aliens also came to DVD and Blu-ray with alternate director’s cuts representing versions of the films those directors felt more aligned with their original visions. And it was out of this ethos that Alien director Ridley Scott and Warner Bros. Home Entertainment assembled its fabulous DVD and Blu-ray releases of Blade Runner. Its high-end collector’s edition came complete with five cuts of the film and a 45-minute deleted scene compilation which almost counts as a sixth cut. As with Alien, Scott wanted fans to experience every extant version in addition to his preferred “Final Cut.” It was the sort of philosophy perfect from home video at the time and one we wish more directors would subscribe to. But in all of these cases, the films are in finished states. Has there ever been a case in which a director walked away from a film, saw it completed by someone else, only to find his vision restored many years later? As it happens, yes – and in an odd twist of fate, it is a film featuring Superman. In 1979, Richard Donner was fired from the two-part Superman production after butting heads with producers Ilya Salkind and Pierre Spengler throughout an arduous 18-month shoot. According to multiple sources, Donner managed to shoot around 70% of Superman II before it was decided to concentrate on making Superman the best it could be – which included moving Superman II’s intended ending to the first film. The suggestion may have come from A Hard Day’s Night director Richard Lester, who was on set as a consultant and would go on to finish Superman II after Donner’s departure. As Director’s Guild rules require the credited director shoot over 50% of a finished film, Lester remounted a number of scenes completed by Donner. And like Whedon’s changes to Justice League, Lester infused Superman II with a broader sense of humor. An off-screen voice shouts “I know some judo!” when the citizens of Metropolis threaten the Kryptonian criminals. A minute later, sight gags dominate while Ursa (Sarah Douglas) “blows them a kiss.” But unlike the theatrical release of Justice League, Superman II was considered the more creatively and financially successful of the two original Superman films until a critical reappraisal some years later. In 2001, editor Michal Thau approached Warner Home Video and Donner about reassembling his version of Superman II from extant material. A few years later, footage of Marlon Brando shot for the film but later deleted became available, making the Donner Cut a possibility. Working with Donner, Thau produced “The Donner Cut,” which accurately depicts the director’s plans for the film – right down to the original ending he later co-opted for Superman. It is a noble effort which cuts down on the broad humor and ups the drama, but also underscores the missed opportunity. Donner never had the chance to find a new ending for Superman II, leaving his “cut” of the film feeling strangely repetitive. Nevertheless, it proves a Snyder Cut could be finished and released. Presuming Snyder’s Justice League is in relatively the same shape as Donner’s Superman II – 70-to-80% of a complete film – then there is still a rough road ahead for the Snyder Cut. Even if it used effects shots from the theatrical version, it would still require a new post-production phase for its own final grading and mixing, parts of the process Thau undertook for the Donner Cut. At that time, Warner Bros. Home Entertainment saw it could make a profit – if even a modest one – from allowing Thau to produce an alternate Superman II. Unfortunately, the market forces allowing Warner to take a chance on the Donner Cut do not exist today. Nevertheless, Gadot, Affleck, Momoa, various members of the production, and thousands of fans all calling for the cut’s release proves there is a market for an alternate Justice League. At this point, it would just take a profit calculation to move the Snyder Cut from that hard drive to an active home video project or even a special HBO Max release sometime in 2020. In fact, this is part of why Gadot and Affleck’s endorsement of the hashtag feels so pivotal. Both still have working relationships with the studio – Gadot is still playing a character featured in Justice League – and a certain clout to make someone look at the books and see if those thousands of fans will translate into HBO Max subscribers or enough of base to release it on traditional home video. For all we know, the numbers may be crunching at the moment and The Snyder Cut may soon be an active project.

 November. 19,2019

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