Category: Hollywood Movies
The stars’ new war thriller evokes the Hollywood classic – but can it compare? Whatever one might think of Allied, a glossy World War Two espionage thriller starring Brad Pitt and Marion Cotillard as secret agents who try to forge a viable family life in the midst of a world on fire, it’s worth celebrating that Robert Zemeckis is firmly dedicated to filming flesh-and-blood people again.
Zemeckis has always been a superb craftsman, with a particular gift for assimilating technical advances in the art of moviemaking, but he lost over a decade of his creative life pursuing the sterile art of motion-capture animation, nearly getting lost in the uncanny valley for good. It’s hard to think of a major filmmaker who came so close to being ruined by technology, just as it’s hard to believe that anyone except film historians will be watching Beowulf, The Polar Express or A Christmas Carol even a decade hence.
Rather than pushing towards the future, Alliedlooks to the past, and not only in terms of its plot. The movie begins with Pitt’s Canadian spy, Max Vatan, parachuting into the Moroccan desert, and within minutes we’re in Casablanca – and, perhaps more to the point, in the film Casablanca. Max and Cotillard’s Marianne Beauséjour are highly trained agents with a deadly, top-secret mission, but that doesn’t prevent them from looking fabulous while doing so.
Allied is a movie about loyalty and trust, about the bonds that hold people together and sometimes blind them, but it’s also a movie about how silken fabrics fall on Marion Cotillard’s frame, and how dashing Brad Pitt looks in a knitted v-neck. Joanna Johnston has been Zemeckis’s costume designer for nearly three decades – and is therefore partly responsible for the person who walked by me on Halloween when I was wearing a down vest and called out, “Hey! You look like Back to the Future!” – but between this and last year’s The Man From U.N.C.L.E., it feels like she’s abruptly risen to a new and dazzling level of accomplishment.
Although there’s no show-stopping set piece to rival Flight’s plane crash or The Walk’s Twin Towers tightrope act, Allied is technically immaculate from stem to stern. Every shot framed by Don Burgess feels purposeful, every one of Mick Audsley and Jeremiah O’Driscoll’s cuts precise. It’s a movie that ought to be studied in film schools, both for its technical achievements and as an example of how it’s possible to get every one of them right and still produce something that feels hollow inside.
Casablanca is driven, above all, by a call to self-sacrifice, the idea that next to the struggle against the threat of global fascism, whether one man and one woman end up together or not doesn’t amount to a hill of beans. Allied is about the hill of beans. It’s set against the same backdrop, and given the alarming resurgence of neo-Nazi ideology around the world, it stops you dead the first time a swastika armband swoops in front of the lens. But Allied’s Nazis are ultimately no more frightening than Top Secret’s.
Zemeckis has always styled himself as an apolitical filmmaker, claiming that the overtly right-wing Forrest Gump was intended to poke fun at both ends of the political spectrum, but here that disdain for taking sides robs the movie of what ought to be its core conflict. Once Max and Marianne tumble into each other’s arms we’re mainly worried about whether they’ll be found out, not whether their romantic entanglement might end up getting anyone else killed. The most inventive sequence in the movie doesn’t involve spy craft or the art of war but the two characters coupling in a car in the midst of a Moroccan sandstorm, the camera circling around their increasingly unclothed bodies as the wind whips ever-faster around them.
Its classical Hollywood reference points notwithstanding, the movie Allied most resembles is Zemeckis’s What Lies Beneath, which was also a Hitchcockian genre piece motivated at heart by questions of fidelity. (There’s an intriguing overlap, too, with Mr and Mrs Smith, in which Pitt and Angelina Jolie played professional liars who could never quite be sure if their love for each other was a deep-cover con, and last year’s Jolie-directed By the Sea, which was similarly animated by the pleasures of gazing at Pitt’s body and a woman in negligees.) Here, war is hell not because good people die, but because it makes it impossible to trust even the people you think you know, and those suspicions don’t end simply because an assignment does. Allied spans countries and continents, but the world it’s concerned with feels awfully small.
The first official trailer for Fifty Shades Darker has been viewed online 114 million times in the past 24 hours, according to Universal.
The spot debuted on Sep. 14 at 8 a.m. PT, and racked up its multimillion view count across all digital platforms — YouTube, Facebook, Instagram etc. Within the first hour of the trailer’s debut, the trailer received more than 2.5 million views on Fifty Shades domestic Facebook page alone.
Darker was viewed 39.4 million times in North America but the majority of online views came from over 32 international markets like the U.K., Mexico and France, where the spot received 74.6 million official views.
Previously the highest performing full-length trailer was the preview for Star Wars: The Force Awakens, which racked up 112 million views online in 24 hours.
The Force Awakens broke the record set by its own teaser trailer, the second to debut for the movie, which screened in April 2015 at Star Wars Celebration and amassed 88 million views in the first 24 hours.
Darker will see the return of Jamie Dornan and Dakota Johnson as Christian Grey and Anastasia Steele in the adaptation of the second installment in E.L. James’ best-selling book series. The first film in the series, Fifty Shades of Grey, grossed over $571 million at the global box office.
In the fifth instalment of Danny Leigh’s series about modern cinema, he examines the shift in film-making brought about by digital. The Dogme 95 movie Festen, made at the tail-end of the 20th century, revealed the unavoidable future. But it still cost over a million dollars to produce.
The real revolution, beyond the liberation offered by digital cameras, was ushered in by Tarnation, which foretold society’s obsessive fascination with self-curation on a budget of $218. On another scale, Alfonso Cuarón’s beautiful and terrifying rendition of the vastness of space, Gravity, was made possible with massive processing power. Back on earth, the great Iranian director Jafar Panahi avoided the gaze of the regime that had banned him by shooting Taxi Tehran on tiny dashboard cameras. Catch up on earlier episodes Sex, Money, Death and Film, below.
Episode 1 / Film
The first episode examines how film itself is referenced in contemporary movies: beginning with Mulholland Drive, David Lynch’s sensuous, distorted dissection of Hollywood and of film itself then continuing with Leos Carax’s Holy Motors, where an actor criss-crosses Paris where each location in his odyssey becomes a strange, anarchic movie. Finally, in Joshua Oppenheimer’s extraordinary documentary The Act of Killing, Danny considers how the director relives the 1965 massacres in Indonesia. Here, the unrepentant gangsters who formed the death squads also happen to love films, so the director convinces them to restage their crimes for a ‘movie’ in order to set the record straight.
Episode 2 / Money
In the second episode, Danny looks at movie portrayals of money – and the people making it. Margin Call, starring Kevin Spacey and Jeremy Irons, takes an insistently authentic look at the rarefied world of investment bankers in 2008, just as Wall Street is about to open up beneath them. In The Wolf of Wall Street, audiences loved Leonardo DiCaprio’s gangster-as-banker Jordan Belfort, who was “at least honest about his dishonesty”, making it Martin Scorsese’s biggest box office success. Spring Breakers features four girls desperate to head to the Florida sun, who land with James Franco’s character Alien, a “svengali, drug dealer, rapper and enthusiastic capitalist”. Is this the good life?
Episode 3 / Sex
The third episode of Film Now takes a look at sex and gender. The Hollywood sex scene’s heyday was rendered obsolete by the internet’s arrival. Away from the mainstream, arthouse auteurs reacted to online porn’s challenge – or perhaps took advantage of it. As well as being explicit, and sometimes brilliant, films like Lars von Trier’s Nymphomaniac were about women as seen by men, and directed by men. But, slowly, women have started to get their visions seen on-screen, and they see women differently – soaringly so in Celine Sciamma’s Paris-set Girlhood. And gender, sexuality and relationships are central to Tangerine, which portrayed trans street culture in Los Angeles and smashed conventions with both its casting choices and filming techniques.
Episode 4 / Death
The fourth episode of Film Now, Danny Leigh’s exploration of modern cinema, takes a look at approaches to death in three key 21st-century films. Directed by Paul Greengrass, United 93 was the tragic story of the only flight of the four hijacked on the morning of September 11th 2001 not to reach its intended target.
Only God Forgives was directed by Nicolas Winding Refn, his follow-up to the much-loved Drive, and again starring Ryan Gosling. This time, the response was what we would politely call divided, to a movie slick with Refn’s stylised bloodshed. And at first glance, David Robert Mitchell’s It Follows looks like that most mundane of things, the American suburban teenage horror movie, with a cast destined to be sliced, diced and forgotten. But it messes with every expectation.
Danny Leigh introduces the series
In film the urge is always to look ahead or behind us. In one direction there’s the giddy rush of new releases, the endless Willy Wonka conveyor belt of colourful forthcoming treats, often better in anticipation than reality. In the other there’s the weight of history, that glorious movie past, a gorgeous panorama of black-and-white filled with Monroe and Brando, Hitchcock and Citizen Kane.
What we do less is look at the moment. So I wanted to dedicate six short videos to the century of cinema so far. The 21st, sixteen years in. As well as enthralling us, movies can be a mirror. On the surface there are headlines, beneath it the stories we tell ourselves on screen, a collective subconscious bubbling up into characters and plots.
So what’s been on our minds, I wondered, in the era that began with a sigh of relief that the Millennium Bug hadn’t snuffed out civilization, and which brought us to right here. Wherever this is.
Some of the videos we’ve made are about film itself – reshaped by the rise of digital technology and filled with thrilling new talents, but still with room for Scorsese, Lynch, Lars von Trier, Kathryn Bigelow.
Most are about the place where it meets the real world. Not film as it was, or might be in the future. But about film and money, love and sex, fear and death, how we see ourselves and each other. In other words: about film now.
Training Day writer David Ayer directs this feature based on the DC Comics anti-heroes, following a secret government agency that recruits imprisoned supervillains to carry out black ops missions. An all-star cast play the rogues gallery of inmates, with Will Smith as the assassin Deadshot, Jared Leto as The Joker and Margot Robbie as his clown-faced partner Harley Quinn.
Taking its cue from Deadpool, Suicide Squad marks a change of pace from the usual comic book blockbuster, as Ayer told The New York Times. “Instead of this Soviet-style series of apartment-block movies that are all built to the same blueprints, there’s room for some Craftsman homes and a little more elegance.” After a critical panning for the most recent DC blockbuster, Batman v Superman: Dawn of Justice, Ayer is hoping for an adaptation in the spirit of The Magnificent Seven or The Dirty Dozen. “It’s a little morally challenged, but we know we can get away with it.” On general release from 3 August.
Southside with You
As Obama nostalgia already sets in, this take on the soon-to-be-former president’s first date with Michelle will warm the cockles of anyone fearing what might lie ahead. Writer-director Richard Tanner’s debut feature has drawn praise for its casting, with Tika Sumpter and Parker Sawyers going “beyond impression to deliver something real and human-sized” as the First Couple back in 1989.
According to Variety, the film “stands as something unique, even audacious in American independent movies: a fact-based presidential ‘prequel’ that seeks to present two iconic world figures as convincing and relatable romantic leads… Whether taken as storytelling, propaganda or an artful hybrid of both, it’s a movie that unabashedly wraps its real-life subjects in a humanising embrace.” Released 26 August in the US and 31 August in France.
Spanish auteur Pedro Almodóvar’s twentieth film is a more muted affair than melodramas like Talk to Her or Volver: according to Time Out, “the emotions are more buttoned-up, the twists more maudlin”. Nevertheless, it’s “a sombre, ravishing study of grief, guilt and burden… only a master of his art could make it look so easy”.
Based on three short stories by Alice Munro, it follows a mother and daughter as they struggle to cope with the death of a loved one. Almodóvar has said that “maternity inspires me more than paternity,” and The Evening Standard praises Julieta as “a harrowing examination of broken maternity and ever-present mortality”. Released 4 August in Germany and Russia and 12 August in Finland.
Matt Damon and Paul Greengrass reunite for the first time in nearly a decade: and, according to BBC Culture’s Nicholas Barber, still have viewers on the edge of their seats: “Greengrass stages the action with bone-jarring immediacy, using wobbly handheld cameras and rat-a-tat editing to make the viewer feel as if they could be hit by a stray fist or bullet at any moment.”
The fifth installment of the spy-thriller weaves in an Edward Snowdon-esque storyline a year after Bond, but avoids looking jaded by virtue of its star. Time magazine praises Damon for lifting Bourne beyond generic action, claiming that “Watching Damon, in motion or in a rare moment of rest, is the movie’s purest pleasure… Damon, his eternal boyishness finally settling into the inevitability of middle age, brings the personal touch this movie needs. Its action is generic, but he’s always special.” Released 4 August in Argentina, 5 August in India and 11 August in Germany.
Cillian Murphy and Jamie Dornan co-star in this drama based on a true story, playing two soldiers from the Czechoslovakian army-in-exile sent on a mission to assassinate SS officer Reinhard Heydrich. Parachuted into their occupied homeland in December 1941, they seek to eliminate the man behind the Final Solution, the Reich’s third in command behind Hitler and Himmler.
The UK-French-Czech historical thriller is directed by Sean Ellis, nominated for an Academy Award for his short film Cashback; according to Variety, “if Ellis’ intention was to remind what these real soldiers actually accomplished, as opposed to selling some revisionist Hollywood fantasy of Nazi opposition… mission accomplished”. Released 12 August in the US and 9 September in Ireland.
The latest adaptation of Edgar Rice Burroughs’ colonialist story proves it cannot be given a modern overhaul, writes critic Sam Adams.
The Legend of Tarzan, the latest big-screen version of Edgar Rice Burroughs’ vine-swinging he-man, is a sincere and well-intentioned attempt to wrestle with the legacy of European colonialism in Africa. It is also a movie in which a man punches a gorilla. You could say it’s at war with itself, but it’s a war involving soldiers who are never quite sure who they’re fighting, and who are as likely to slip in the mud and break their own necks as they are to get off a clean shot.
Directed by David Yates and written by Adam Cozad and Craig Brewer, Legend would more accurately, if less economically, be called The Legend of the Legend of Tarzan. When we pick up the story in the late 19th Century, John Clayton (Alexander Skarsgård) is already an international folk hero, an English nobleman raised by apes and returned to his native land. As George Williams (Samuel L Jackson), an American soldier of fortune who’s come to persuade John to return to the Belgian Congo, puts it, he is “Africa’s favorite son”.
The irony of that epithet being bestowed by a black Civil War veteran is not lost on The Legend of Tarzan. And indeed, for a time, it seems as if Yates and company have a handle on how to reshape Edgar Rice Burroughs imperialist fantasy for the modern age. The opening sequence, in which a fastidious Belgian commander leads his soldiers through the jungle mists, is full of redolent images: the bodies of dead troops hung on makeshift crosses, their own rifles used as crossbars; an African tribesman starring indomitably into the lens, a colonist’s white linen hat perched incongruously atop his head.
King of nothing
Unfortunately, the imperative to produce a viable box-office entertainment trumps The Legend of Tarzan’s noble intentions at every turn. We’re cued to hiss at Rom (Christoph Waltz), the Belgian commander, whose first onscreen act is to rip an African flower from its stem, and who, in an especially rococo touch, uses a spider-silk rosary as an offensive weapon. But when tribal soldiers spring from the water beneath his feet, in the variable-speed slow motion that Yates abuses throughout, the effect makes them seem both more and less than human.
We meet kinder Africans later, the cheerful villagers who take John in after his battered body is discovered in the jungle. But it’s Jane (Margot Robbie), the white daughter of an American missionary, who nurses him back to health, and who later becomes his wife. It’s a story inextricably entwined with Europe’s relationship to ‘the dark continent’, and yet actual Africans keep getting pushed to the side.
The Legend of Tarzan has other problems, like its inability to decide whether it wants John Clayton to be James Bond or Aquaman – although it’s best when he’s Michael Douglas in Romancing the Stone. This Tarzan doesn’t just speak to the animals: he commands them – the word “conquer” is used without apparent irony – eventually mustering an army of incompatible species to fend off an influx of Rom’s troops that would effectively make the entirety of the Belgian Congo a slave state.
One waits in vain for the revelation that Rom’s real surname is Blofeld. The movie’s initial feints at gritty relevance seem disingenuous, if not downright foolish, once John starts swinging from vines and conversing with crocodiles. At one point, the camera lingers on a boxcar full of elephant tusks, and later, we see another train carrying African men in chains. But then it’s on to another perfunctory chase scene, or a confrontation between Waltz’ moustachioed villain and Robbie’s defiant hostage. (Of course he takes her hostage: for all its contemporary touches, Legend’s plot could have been lifted from a silent melodrama.) These images of unfathomable atrocity are newspaper stuffed in the movie’s cracks, fresh filigree on a dull and worn garment.
At times, Yates seems desperate to jazz up the action, shooting one conversation between John and George in a series of whirlpooling shots that add nothing to the scene but a mild feeling of motion sickness. Perhaps it’s a way of compensating in advance for the movie’s action scenes, a lackluster jumble of weightless CGI and chiseled abs. (Yes, Skarskård’s sculpted torso is impressive, but it’s an unlikely physique for a man in the 1890s.) Major studio movies increasingly feel like acts of brand maintenance first and stories second, and Legend is the latest link in that worn-out chain. It’s a Tarzan movie because there have always been Tarzan movies, not because there was any compelling reason to add one more to the list.
At its core it’s the story of a white European who asserts his dominion, however benevolently, over wild African creatures: like Kipling’s The Jungle Book, it can be tinkered with, but its heart doesn’t change. Humans need stories, but the stories we need change, and sometimes old ones die out because the needs they addressed or the ideas they encompassed no longer apply. It might be time to let Tarzan vanish back into the jungle.
Emily Blunt won’t be returning for the follow-up that is set to focus on del Toro’s hitman.
Details on the sequel to Sicario – one of last year’s most underrated dramas – has begun to trickle in following its greenlight earlier this year.
Officially titled Soldado, the follow-up is moving ahead without original director Denis Villeneuve. Instead, Deadline reports that Stefano Sollima will step behind the camera. The filmmaker’s previous credits include acclaimed Italian miniseries Gomorra and gritty drama Suburra.
Casting-wise, it was previously reported that Emily Blunt would be reprising her role of idealistic FBI agent Kate Mercer. However, her decision to take on the role of Mary Poppins in Disney’s upcoming remake has officially rendered her unavailable with Benicio del Toro and Josh Brolin sharing lead duties.
Their characters – hitman Alejandro Gillick and CIA Agent Matt Graves – will return in a story from Sicario screenwriter Taylor Sheridan that continues to focus on the illegal smuggling of drugs across the border between Mexico and the U.S.
While the Spanish word ‘sicario’ means ‘hitman’ in English, the translation of ‘soldado’ is ‘soldier.’ Original director Villeneuve (Prisoners, Enemy) is currently hard at work making Blade Runner 2 with Ryan Gosling, Harrison Ford, and House of Cards ‘ Robin Wright.
Chinese audiences powered “X-Men: Apocalypse” to the top of the foreign box office charts over the weekend.
The mutant adventure picked up $59 million from the People’s Republic, becoming the second-highest opening in China for Fox, the studio behind the superhero franchise. The latest “X-Men” earned a leading $84.4 million overseas from 66 markets including South Korea ($4.5 million), Brazil ($2.2 million) and the United Kingdom ($2 million). So far, “X-Men: Apocalypse” has earned $402.5 million globally.
In second place, “Teenage Mutant Ninja Turtles: Out of the Shadows” picked up $34 million overseas from 40 foreign markets. The sequel disappointed in its domestic debut, opening to $35.3 million, a more than 40% drop from the first film’s $65.6 million launch in 2014. Paramount, the studio behind the $135 million film, hopes that the film can make up ground overseas. China, where the first “Ninja Turtles” earned $62.1 million, will be a critical test. “Out of the Shadows” opens in the country on July 2.
“Warcraft,” an adaptation of the hit video game series, is facing fierce headwinds as it braces for its domestic debut next weekend. Tracking has been soft, and it will have to hold off competitors such as “Now You See Me 2” and “The Conjuring 2.” Still, the fantasy adventure has done respectable business overseas. It earned $29.9 million from 28 territories last weekend to take fourth place on the charts.
The results bring “Warcraft’s” total to $70 million after two weeks of release. The film opened in first place in Spain with $2.5 million, debuted to $2 million in Italy, enjoyed a $3.8 million second weekend in Russia, and topped charts in Germany for a second weekend with $3.1 million. The Universal and Legendary release still represents a big gamble. It carries a $160 million price tag and is on pace to open to less than $25 million in the U.S.
Disney’s “Alice Through the Looking Glass” and Sony’s “The Angry Birds Movie” snagged third and fifth place on the foreign box office charts, earning $30.9 million and $16.7 million, respectively. The big screen adaptation of the “Angry Birds” game has done solid business, earning $283.5 million worldwide. Not so “Through the Looking Glass.” The “Alice in Wonderland” sequel is shaping up to be one of the year’s biggest bombs. It has earned $176.3 million worldwide, but will have to fight its way into the black given its $170 million price tag and the tens of millions spent to market and distribute the film.
The first leg of the USS Enterprise’s five year mission takes them into uncharted territory. There the Enterprise is nearly destroyed and strands Kirk and his crew on a remote planet with no means of communication. Kirk must then work with the elements to reunite his crew and get back to Earth.
Star Trek Beyond is an American science fiction film directed by Justin Lin from a screenplay by Simon Pegg and Doug Jung, based on the series of the same name created by Gene Roddenberry. It is the thirteenth film in the Star Trek film franchise and the third installment in the reboot series after Star Trek Into Darkness (2013).
Chris Pine and Zachary Quinto reprise their roles as Captain James T. Kirk and Commander Spock, with Pegg, Karl Urban, Zoe Saldana, John Cho, and Anton Yelchin reprising their roles from the previous films, and Idris Elba and Sofia Boutella joining them. Principal photography began on June 25, 2015, in Vancouver with the film scheduled for a July 22, 2016, release.
While the film is still in pre-production, Universal Pictures has decided to push back the release of “Pitch Perfect 3” from July 21, 2017 to December 22, 2017.
In its place Universal has put its other female-centric comedy “Girl Trip” starring Regina Hall, bowing on July 21. The pic was originally set to open Aug. 11, 2017.
Anna Kendrick, Brittany Snow and Rebel Wilson have already closed deals to return, with Kay Cannon on board to pen the script and Elizabeth Banks set to direct.
No plot details have been released. The original film was adapted from Mickey Rapkin’s book “Pitch Perfect: The Quest for Collegiate A Cappella Glory.”
Paul Brooks of Gold Circle Entertainment and Banks and Max Handelman of Brownstone Productions are returning to produce.
“Girl Trip” will be directed by Malcolm Lee and follows four lifelong friends who travel to New Orleans for the annual Essence Festival, where sisterhoods are rekindled, wild sides are rediscovered, and there’s enough dancing, drinking, brawling and romancing to make the Big Easy blush. Will Packer will produce.
What superhero fatigue? Disney and Marvel’s “Captain America: Civil War,” the 13th film in the Marvel Cinematic Universe, has strong-armed its way to becoming the fifth-highest domestic opening ever according to comScore estimates Sunday.
The film grossed a massive $181.8 million this weekend, bumping “Iron Man 3” out of the top five all time debuts. “Civil War” now ranks right below “Marvel’s The Avengers” and “Avengers: Age of Ultron,” which hold the third and fourth place spots.
It’s nearly double the opening of the previous “Captain America” film, “The Winter Soldier,” which opened to $95 million in April 2014, but that is at least partially attributable to the fact that “Civil War” is basically an Avengers movie in disguise.
Directed by Joe and Anthony Russo, “Civil War” sees an ideological showdown between Iron Man (Robert Downey Jr.) and Captain America (Chris Evans) and is packed to the brim with Avengers old and new. It’s been very well-received by critics and, now, audiences, who gave the film a promising “A” CinemaScore, which should bode well for the film’s longevity. Audiences were 59 percent male and mostly adults. Teens made up only 11 percent of the audience.
After a $75 million first day, the opening was right in line with expectations, and according to comScore senior media analyst Paul Dergarabedian, is well on its way to becoming a $1 billion movie.
“We’ve become so accustomed to these massive numbers, now we’re putting up single day numbers that would be very noteworthy opening weekends on their own,” Dergarabedian said.
“Civil War” cost a hefty $250 million to produce but has already far-surpassed that thanks to a healthy international debut last weekend and a big bump from China this weekend. In sum, the superhero showdown has earned $678.4 million globally to date.
Great reviews and word of mouth will surely distinguish “Civil War” from “Batman v. Superman: Dawn of Justice,” which, by comparison, opened to $166 million in late March but fell sharply over the subsequent weekends. That film has earned $327.3 domestically million to date and this weekend placed 10th with $1 million.
US Two-day Ticket Sales to Sunday from Friday
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to comScore. Where available, the latest international numbers for Friday through Sunday are also included. Final domestic figures will be released Monday.
- “Captain America: Civil War,” $181.8 million ($220 million international).
2.”The Jungle Book,” $21.9 million ($24.1 million international).
3.”Mother’s Day,” 9 million ($3 million international).
4.”The Huntsman: Winter’s War,” $3.6 million ($4.2 million international).
5.”Keanu,” $3.1 million.
6.”Barbershop: The Next Cut,” $2.7 million.
7.”Zootopia,” $2.7 million ($5.7 million international).
8.”The Boss,” $1.7 million ($510,000 international).
9.”Ratchet and Clank,” $1.5 million ($500,000 international).
10.”Batman v Superman: Dawn of Justice,” $1 million.