Loki Season 2 Episode 5’s Secret Post-Credits Breaks Endgame’s Unique MCU Record – Armessa Movie News


Warning: This post contains SPOILERS for Loki season 2 episode 5


  • Loki season 2 episode 5 delivers a unique post-credits scene that pokes fun at the audience and references a deep Marvel cut.
  • This is the second time in the Marvel Cinematic Universe that an audio-only post-credits scene has been used instead of a traditional stinger.
  • The “loser” message in the post-credits scene not only mocks viewers but also ties into Loki’s destiny as a loser, showcasing his resilience and determination to keep trying.

Loki season 2 episode 5 post-credits scene is a near-unique example in the Marvel Cinematic Universe after 32 movies and 9 different TV series. After dropping a post-credits scene at the end of the first episode in season 2, Tom Hiddleston’s flagship Disney+ show randomly dropped in the season’s second stinger, with a twist.

Loki Season 2 Episode 5 Post-Credits Scene Explained

After the credits roll on Loki season 2 episode 5, with Loki’s game-changing new superpower revealed, and his plan to save the Temporal Loom, the TVA, and all existence unveiled, a stinger calls back to one of the show’s deepest Marvel cuts. In an audio only post-credits gag, a voice shouts “you died, insert a coin, LOSER!” Out of context, it means very little, but Loki season 2 episode 5 set up the joke earlier in the episode.

After Loki brings together OB, Casey, Mobius and B-15 to undo the destruction of the Temporal Loom, he tries to recruit Sylvie, who rejects his offer, but takes him to a bar to invite him to explore exactly why he wants to save the TVA. The opening shot in the bar shows a Zaniac! arcade game, clearly adapted from the same movie Brad Wolfe (Rafael Casal) starred in when he returned to the timeline in episode 2. The audio stinger that forms Loki season 2 episode 5’s post-credits scene is the Game Over message from the same arcade machine.

Why Loki Season 2 Episode 5’s Post-Credits Scene Works So Well

Intriguingly, Loki‘s audio-only post-credits scene is the first time there’s ever been a vocal track played in place of a true stinger, but it’s not the first time the MCU has used an audio post-credits scene. The first time, notably, was at the end of Avengers: Endgame, when the sound of Iron Man forging the Mark 1 armor was played as a touching tribute to Robert Downey Jr’s fallen hero.

In place of a tribute to a dead MCU hero, Loki’s newest post-credits scene instead pokes fun at the audience, playing on the concept of Game Over message culture in video games, and the very idea of waiting until the end of the credits (insulting us all as “losers” for doing so. But also, the “loser” message is a loaded one: Loki confirmed – in a mantra repeated in season 2 episode 5 – that Lokis are destined to lose. The hidden meaning here is that despite dying (and almost dying multiple times), Loki didn’t give up: he may be a loser (and embrace the fact), but a Game Over message is just another opportunity to try again.

New episodes of Loki stream every Thursday on Disney+

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How ‘Finality of Dusk’ Breaks New Ground Deaf Cinema-Goers – The Hollywood Reporter- Armessa Movie News


When the post-apocalyptic drama Finality of Dusk has its world premiere Friday at the Red Nation Film Festival in Los Angeles, it’s a good bet co-writer and deaf filmmaker Katarina Ziervogel will be seated near to the back of the theater.

That’s because Ziervogel and sound design supervisor Daniel Pellerin shaped the sonic landscape for the indie Canadian film with increased bass and rumble to allow Finality of Dusk to not only bridge the hearing world and the deaf world but also to allow deaf moviegoers to feel the film vibrating through their body in their seats.

“In the sound design, the bass has been increased to amplify vibrations which can be felt more intensely if you aim to sit in the middle to the back rows inside a movie theater,” Ziervogel, who co-wrote the film with director Madison Thomas, tells The Hollywood Reporter.

She and Pellerin were looking for more than mood or atmosphere to tell a dystopian story set in 2045 where, amid global environmental devastation, Ishkode, a strong-willed Ojibwe woman played by Marika Sila (The Twilight Zone), teams up with Niife, a Nigerian climate refugee (Cherrel Holder), to save themselves by protecting one another.

Finality of Dusk (Official Trailer)

“Our sound team taught me that bass is a low sound frequency that creates vibration. Due to the design of movie auditoriums, the sound travels upwards across the seats and grows stronger over the upward curve,” Ziervogel adds, as she recommends deaf people like herself should sit in the middle to back rows of cinema auditoriums for the best surround sound effects.

The result is deaf movie lovers will be able to live and breathe the soundscape for Finality of Dusk thanks to vibrations in their body brought on by the bass thumping, while they engage with the visuals on screen.

“I hope that with increased bass added, it will immerse the deaf audience into certain parts of the story,” she says, as her film goes beyond subtitles, sign language interpreters or even technology that has seats vibrating in theaters to allow deaf movie lovers to better experience Finality of Dusk, which was produced by Kyle Irving, Lisa Meeches and Rebecca Gibson for Canadian indigenous film producer Eagle Vision.

Finality of Dusk

Courtesy of Gabriel Levesque

Ziervogel praises movies like A Quiet Place and CODA for showing fully-formed deaf characters alongside hearing characters and boosting representation in film. “That really inspires me, as a deaf writer and actor, to know we are creating and making space for deaf people in film and television,” she says.

Significantly, the storyline for Finality of Dusk does not hinge on characters being deaf, but instead making decisions to ensure their survival, not least by having to wear air filtration masks amid climate destruction.

That has the trailer for Finality of Dusk largely being without dialogue as Ishkode and Niife are pursued by Odin, a deaf man played by Chris Dodd, who wants their masks for his own survival as the last man standing.  

“I grew up not seeing myself reflected as a deaf Indigenous person on screen, so to bring deaf characters to life who aren’t one-dimensional and have the support to do that is incredible. And I hope it inspires other deaf writers and actors to push ahead in this industry,” Ziervogel adds.

Finality of Dusk will help launch this year’s Red Nation Film Festival with a screening Friday night at the Fine Arts Theatre in Beverly Hills.

Finality of Dusk

Finality of Dusk

Courtesy of Gabriel Levesque

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‘Blade’ Breaks the Habit of a Lifetime as Claims It’s in ‘Serious Jeopardy’ Get Debunked- Armessa Movie News


There are certain truths we’ve had to get used to as the MCU’s multiverse saga has unfolded. The Fantastic Four cast is going to take forever to be announced, every movie has to have at least three different release dates, and Blade is less of a project that’s definitely happening and more of a vague promise.

Four years and three months on from Mahershala Ali being announced as Marvel’s rebooted variant of the Daywalker, the studio’s planned relaunch of the iconic New Line trilogy starring Wesley Snipes has been struggling to climb its way out of development hell ever since. So when rumors circulated that it might be in “serious jeopardy” and be on the edge of simply being cancelled, it didn’t seem all that far-fetched.

Photo via Marvel Studios

And yet, believe it or not, it looks like Blade is actually receiving some good news for once as further intel indicates we don’t have anything to fear. In response to claims that both Thunderbolts and Blade would be ditched by Marvel following the conclusion of the strikes, insider Daniel Richtman dismissed the talk as nonsense, debunking the rumor as “not true.”

After various creative overhauls, the last we heard Blade was all set to be directed by Lovecraft Country‘s Yann Demange and written by Michael Starrbury. Filming was due to kick off this spring, but naturally that didn’t happen thanks to the strikes. At present, it’s still attached to its Sep. 6, 2024 release date, although if it made that it would be a miracle. Nonetheless, apparently Blade will rise up out of its grave eventually, so we don’t need to be concerned it’s going to get staked before it can walk. Or ice-skate uphill, as the case may be.

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Jung Kook’s ‘Seven’ Feat. Latto Breaks Spotify Record – Billboard – Armessa Music News


Jung Kook’s solo career is breaking records. The BTS superstar’s “Seven” featuring Latto became the fastest song to reach 1 billion streams in Spotify history, the streaming platform announced on Monday (Oct. 30).


See latest videos, charts and news

See latest videos, charts and news

It’s been 108 days since the song was first released, and as a new member of the Spotify Billions club, the song was added to the official playlist.

This is hardly the first record Jung Kook’s Latto collaboration has broken, as it landed upon its release at No. 3 on the Official U.K. Singles Chart, published July 21, for the highest-charting debut by a solo Korean act. Additionally, “Seven,” launched at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated July 29). The song marked the first leader on the lists for a member of BTS as a soloist, as well as Latto’s first No. 1.

See Spotify’s announcement of Jung Kook’s accomplishment below.

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Noah Wyle Breaks Down Immigration Nightmare in ‘At the Gates’ Sneak Peek – Armessa Movie News


As scary as the violent thrills of Halloween season can be, the harrowing reality of man-made horrors are on another dimension. It is one such horror — specifically Immigration and Customs Enforcement (or ICE) — that haunts the characters in At the Gates, a new thriller starring Noah Wyle hitting theaters this November. Ahead of the release, Collider is excited to share today an exclusive sneak peek at the film, which shows the cast facing their terrifying new reality.

The clip features Peter (Wyle), a man who must tell his housekeeper Anna (Vanessa Benavente) and her son (Ezekiel Pacheco) that ICE has come around looking for them, with a dossier proving that the two immigrated to the US illegally. Peter tells them that he pretended not to know their whereabouts, and advises them to remain hiding in his house until it all blows over. The clip also stars Miranda Otto as Peter’s wife, and Sadie Anne Stanley as his daughter.

The film marks Wyle’s first film project since 2017. The actor is known for his extensive television work, most famously the long-running medical drama ER, on which he appeared for 11 seasons, and several guest arcs. More recently, Wyle starred in the sci-fi television movies The Librarian, and its follow-up series The Librarians, limited series The Red Line, and Leverage: Redemption.

The Creative Team Behind ‘At the Gates’

Image via Picturehouse

At the Gates comes from the mind of writer-director Augustus Meleo Bernstein, who also serves as producer alongside Jhanvi Motla and Paulo Torres. The film, a joint Beacon Pictures and Five Towers production distributed by Picturehouse, is executive produced by Armyan Bernstein, Colleen Camp, and Bob Berney.

At the Gates hits select theaters in LA on November 3, and select theaters in New York on November 10. Check out the clip and the official synopsis below:

When immigration officers arrive at an affluent family’s home searching for its housekeeper and her son, their employers convince them to go into hiding in the family’s basement closet. What unfolds is a riveting thriller about two families who begin to question each other’s true intentions as the days go by and the threat looms ever nearer.

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‘Our Flag Means Death’ Creator Breaks Down the Season 2 Finale and What’s Next – Armessa Movie News


Editor’s note: The below interview contains spoilers for the Season 2 finale of Our Flag Means Death.

Was there ever any doubt that Our Flag Means Death Season 2 wouldn’t end in thrilling fashion after taking all of us on a rollercoaster of emotions? Probably not, but show creator David Jenkins and writer John Mahone, who teamed up on the script for the finale episode, seemed distinctly driven to squeeze as many tears out of us watching as possible. With the dynamic between Stede (Rhys Darby) and Ed (Taika Waititi) seemingly fractured as of the season’s penultimate installment, it was unclear how — or if — the two men might eventually reconcile, but a new threat to the Republic of Pirates, alongside Ed’s realization that maybe he isn’t meant to be a fisherman after all, sends the two back into each other’s arms, literally.

While some characters are afforded something resembling a happy ending, with Stede and Ed deciding to try their hand at being innkeepers as they watch the Revenge sail off into the sunset under Frenchie’s (Joel Fry) command, not every single crew member emerges from the finale battle unscathed, chief among them Ed’s first mate and formerly ruthless right-hand Izzy Hands (Con O’Neill), whose parting words to Ed may be the very thing that the former Blackbeard needs to hear in order to fully come to terms with accepting the man inside him all along.

Ahead of the Season 2 finale premiering on Max, Collider had the opportunity to reconnect with Jenkins to discuss some of the episode’s biggest moments. Over the course of the interview, which you can read below, Jenkins explains why Izzy’s speech is both a eulogy for the character and a statement about the show itself, how the Season 2 premiere and finale bookend each other with those beach scenes, and why he wanted to use that Nina Simone needle drop in particular. He also discusses why the season concludes with a wedding at sea, what the finale sets up for Season 3, and more.

COLLIDER: I feel like my first question, in a completely non-serious way, is: how dare you, and my immediate follow-up is: what gives you the right?

DAVID JENKINS: I’m sorry, I’m sorry. Also, I am God to these creatures! But it was hard. It was a hard decision.

The episode kicks off with a somewhat more lighthearted moment, which is Ed realizing he’s not cut out for the fishing life after all. On the heels of Stede and Ed’s big fight in the episode prior, why did it feel important to have Ed humorously have the revelation of, “This isn’t what I really want after all?”

JENKINS: Well, I like the idea that Season 1 is about Stede’s midlife crisis, and Season 2 is about Ed’s midlife crisis. I like that he had a little prima donna moment where he thought he could go and be a simple man, and then it’s revealed that he really isn’t a simple man; he’s a complicated, fussy, moody guy. No, he’s not gonna be able to catch fish for a living. For him to be told that, “At your heart, you’re a pirate. You have to go back and do it,” he doesn’t want that to be true, but it was true.

Speaking of characters that have a revelation about themselves, Izzy’s speech about piracy, about belonging to something and finding family, feels like the thesis statement of this show. Was that the intention behind it?

JENKINS: When I wrote that, I wanted to give Izzy a proper eulogy for himself. He gives a eulogy for himself, but it felt true writing it. Yeah, this is how he sees piracy, and also that’s not how he would have viewed piracy in the first season. He would have viewed it as, “I’m here to dominate you, so you work for the boss.” By the end of his journey in the second season, he sees that they built him a unicorn leg, he learned to whittle, and he mentored Stede. He’s learned that, actually, a pirate crew works differently than what he thought and that they are all in it together, and they do this for each other. So it felt right for Izzy’s arc, and it is kind of an overall statement about the show.

Image via Max

RELATED: Rhys Darby Improvised This Sweet Moment in ‘Our Flag Means Death’ Season 2

It’s interesting that you call it a eulogy, because, by the time we get to the scene where we know Izzy’s not going to make it, it feels like he’s using his last moments for Ed more than himself. He has those final words to Ed of, “They love you for who you are. Just be Ed.” Is that the kind of the thing that Ed needs to hear in the moment — even as he’s losing, arguably, someone he’s known even longer than Stede and is just as close to on an emotional level?

JENKINS: Well, I like that Izzy gives that to him, and then Izzy also apologizes to him because he says that he fed his darkness and that they were both Blackbeard together — that Blackbeard wasn’t just Ed, that they did it together. In a way, it’s very much for Ed, that speech. The “we were Blackbeard” is claiming that he is also Blackbeard, that Blackbeard is not just Ed’s creation, and I like that for him, too, because he’s worked so hard for that — and then just to say, “You can give it up.” There can never be a Blackbeard again as far as Izzy’s concerned because he’s dying, and they did that together.

I wanted to ask you about the Stede/Ed reunion. We get Ed finding Stede’s love letter that was written all the way at the beginning, and then also the beach fight/reunion. It’s definitely a callback to the dream, but was that always the way that you wanted to bookend the season? Here’s the dream and the fantasy, and then this is the real moment that we get to have?

JENKINS: It was nice. I knew that I wanted to have the Republic of Pirates at the beginning and end up with the Republic of Pirates. I think the reunion of it was a nice surprise, but it felt right. And finding the letter in a bottle — if you have a letter in a bottle, it’s thrown out somewhere, it has to pop up somewhere, you have to see one of them at some point. But yeah, there’s a circular nature to it, and that’s why I thought it would be good to use Nina Simone at the beginning and at the end as a callback. This dream in this way did come true, and they made it come true.

Image via Max

When I talked to you at the beginning of the season, you mentioned the Nina Simone needle drop, but couldn’t say anything about the significance of it at the time. I talked to [music supervisor] Maggie [Phillips], as well, about the needle drops throughout Season 2, and she said you always had a very clear vision for what song you wanted there. A lot of people know the original, but why did you pick Nina’s cover? It strikes a different tone; there’s a hopefulness to it in a lot of ways.

JENKINS: Yeah, it’s wistful. There’s a lovely part that sounds like church bells, which is great for the wedding part of it, and then it’s just moving. I love her interpretation of it. It’s wistful, positive, and it felt like the end of the show to me. There’s a size to it that, up against these images, I just was like, “Yeah, this would be really good. I want this to be in the show.”

I did want to ask you about the wedding because on the heels of Izzy’s death, it’s bittersweet, but also, it’s a sign this crew has become a family, and they can still find happy moments and reasons to celebrate. We’ve seen Black Pete and Lucius reconnect, but also reconcile and navigate through Lucius’s problems and have their own, almost parallel trajectory journey as a couple alongside Stede and Ed in a way. Was that something that you always wanted to close the season on, the two of them getting hitched?

JENKINS: Yeah. We knew we wanted a matelotage in the season, which is the real term they had for marrying crew members. And yeah, they’ve always been in relief to Stede and Ed, and they’re a little bit ahead of Stede and Ed in how much they can talk about things. So to have a bunch of family things in the season, like a funeral and a wedding, and have the parents kind of watch the kids sail away, felt right, and all of those things seem to work well together and build on each other.

Speaking of Ed and Stede watching everybody sail off, that was an outcome that was somewhat surprising, I think because where they are, you think maybe they’re going to end up sailing off with everybody else.” But no, instead, it’s just this sweet, lovely note of them getting to play house for a little while. What inspired that turn for them?

JENKINS: I think that they’ve come to the point in the relationship where they say, “Yeah, we’re gonna give this a try,” and that’s where the story really gets interesting. That will-they-or-won’t-they is interesting to a point, but the real meat of it is always like, “Can they make the relationship, and can they do better than Anne and Mary?” That’s the question that we all ask ourselves when we end up in a serious relationship is: can we make this work, and can we get through the hard times? Then they’re both very damaged, and it’s gonna be a challenge for them, and that’s where the story gets interesting.

I’m not sure you can really tease much for a Season 3, but we talked before about how you have your vision for where you want to take this, and based on what we see at the end of Season 2, the implication is that we’re going to have Stede and Ed off together, but is the plan to also continue with the other characters as well in their own places?

JENKINS: Yeah. Frenchie’s in charge of the Revenge, and I think Frenchie’s Revenge would be an interesting place to work and an interesting ship to be raided by. Then I think that the Revenge means a lot to Stede, and it would be very hard for him to give it up, and he hasn’t had a great track record of that. So I think the odds of them all finding each other again are quite high.

All episodes of Our Flag Means Death Season 2 are available to stream on Max.

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The Simpsons Season 35 Breaks The Show’s Couch Gag Formula (& Makes It Better) – Armessa Movie News


Warning: spoilers ahead for The Simpsons season 35, episode 3.


  • The Simpsons season 35, episode 3 breaks the show’s traditional couch gag formula, but this is a welcome change that showcases the show’s creativity and ability to evolve.
  • By integrating the couch gag into the episode’s storyline, The Simpsons season 35, episode 3 has successfully experimented with its formula and demonstrated its enduring ability to surprise and entertain.
  • This deviation from the typical couch gag format allows The Simpsons to explore more experimental storytelling techniques and injects new life into the show after 35 seasons, proving that it still has something fresh and exciting to offer.

While The Simpsons season 35, episode 3 messes with the show’s traditional couch gag formula, this is not necessarily a bad thing. The Simpsons began life as one of the riskiest, most inventive shows on television, but the series has been in something of a critical rut for a long time. Ever since The Simpsons‘ Golden Age ended somewhere between seasons 9 and 12, the show has relied on a predictable formula for most of its episodes. There remain some occasional classic outings in later seasons, but there is no denying that even these episodes lack the anarchic spark of The Simpsons‘ best years.

That said, The Simpsons is not giving up its creativity without a fight. Season 34 was considered something of a comeback, as the show earned its best critical feedback for years, and The Simpsons season 35 has done an admirable job of keeping this upturn in fortunes alive. To this end, The Simpsons season 35 has made a point of upending the show’s comfortable structure. This even extends as far as changing how the iconic couch gags work.

The Simpsons Season 35 Episode 3’s Couch Gag Runs Into The Episode

Usually, each episode of The Simpsons begins with a couch gag that is completely unrelated to the rest of the outing’s storyline. This has been the case since season 1, and has continued throughout much of the show’s history which, considering The Simpsons boasts over 750 episodes, is a considerable feat. However, in The Simpsons season 35 episode 3, “McMansion and Wife,” the show integrates the couch gag into the episode itself. Homer’s fantasy about owning a fancy sports car starts during the couch gag, but later ends up affecting the plot, despite couch gags usually taking place in a separate continuity from the rest of each episode.

After the couch gag ends and the episode itself begins, Homer meets his new neighbor, who is a luxury car salesman. Homer then says “I just had a fantasy about this car” – a nod to the episode’s opening sequence. This works well, since it means that the extra-long couch gag also acts as an establishing scene for the episode’s story. Surprisingly, The Simpsons has never done this before in the show’s long history. This twist reaffirmed The Simpsons‘ impressive and enduring ability to mess with a familiar formula in its 35th year.

Why The Simpsons Season 35 Could Integrate This Couch Gag

Homer in car in The Simpsons

Couch gags often feature bizarre occurrences that could never happen in The Simpsons itself, from the couch becoming sentient to the Simpson family turning into an underwater family of aquatic mammals. As such, The Simpsons rarely allows these wild intro sequences to impact the events of the main series. The zanier humor of recent Simpsons seasons has often been criticized, but this couch gag’s successful integration into the episode’s story proves how the show can get away with more experimental ideas by making its tone even sillier.

Such a deviation might make emotional moments tougher to land, but does allow The Simpsons to pull off unconventional storytelling techniques such as integrating couch gags into the episode’s main narrative. Such a trick would perhaps not have been possible – or not worked as well, at least – during The Simpsons‘ Golden Age. Adding new shades to the couch gag gimmick after 35 seasons is an achievement that confirms The Simpsons still has something to offer.

The Simpsons Has Rarely Blended Its Couch Gags Before

The Simpson family on the couch in The Simpsons

The Simpsons has only integrated the events of the couch gag into the subsequent episode’s story itself once or twice before. In season 34, episode 18, “Fan-ily Feud,” an entire episode ended by revealing that it was all a long setup to the couch gag. Meanwhile, in the first couch gag after the release of The Simpsons Movie, Homer was reunited with Spider-Pig. However, The Simpsons had never used its couch gag as part of a normal episode’s story until “McMansion & Wife,” and the trick works admirably well here.

The Simpsons needs to continue experimenting with the show’s formula to keep its recent critical success alive. At a time when even imitators such as Family Guy and American Dad have become TV institutions in their own right, The Simpsons risks seeming like an outdated dinosaur in the TV landscape. As such, The Simpsons must play with convention to keep viewers coming back. The Simpsons season 35 has displayed a refreshing commitment to this by reinventing the couch gag in episode 3.

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Jeezy Breaks His Silence Following Divorce From Jeannie Mai- Armessa Music News


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Source: Derek White / Getty / Jeezy

The Snowman finally talks after filing for divorce from television host Jeannie Mai.

Spotted on XXL, Jeezy broke his silence on his pending divorce from the former The Real co-host, Jeannie Mai,  in a statement sent to the Hip-Hop website.

“The decision to end this chapter in my life was not made impulsively and comes with a heavy heart,” Jeezy told XXL. “Despite this, my love and respect for Jeannie remains and the time we spent together holds a cherished place in my heart.”

In the statement, the “Put On” rapper touched on the couple’s 1-year-old daughter and his commitment to co-parenting.

“Our beautiful daughter is the best gift from our relationship and I am committed to assuring she feels the love and stability she deserves. During this period, I kindly request that you respect our family’s privacy as we focus on healing,” he continued.

The rapper’s statement comes after Jeanie Mai announced she was taking a break from social media and spoke on the divorce in a recent interview on Sherri Shepherd’s talk show Sherri.

“I’m not going to lie,” Jeannie Mai said. “It takes every day to just to really sit and just be quiet with your thoughts, take care of me. But one thing I know is, you give God your pain, he will give you his power, period. So, every day, I’m like, ‘Here you go. You got room for more? Here’s some more.’ Just taking it day by day,” Mai told Shepherd.

Mai and Jeezy began dating in 2019, tying the knot in 2021 and eventually welcoming their 1-year-old daughter, Monaco Mai Jenkins, into the world.

Photo: Derek White / Getty

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‘Taylor Swift: The Eras Tour’ breaks event cinema records with £5.7m opening to top UK-Ireland box office – Armessa Movie News


RankFilm (distributor)Three-day gross (Oct 13-15)Total gross to date                               Week
 1.Taylor Swift: The Eras Tour (Trafalgar)£5.7m£5.7m1
 2.Paw Patrol: The Mighty Movie (Paramount)£1.3m£3.3m1
 3.The Exorcist: Believer (Universal)£1m£3.5m2
 4.Sumotherhood (Paramount)£734,000£746,0001
 5.The Creator (Disney)£642,345£5.4m3

GBP to USD conversion rate: 1.22

Taylor Swift: The Eras Tour has become the highest-grossing event cinema release ever in the UK and Ireland after just three days in cinemas.

The concert film, released by Trafalgar Releasing, has taken £5.7m with final figures still coming in.

It overtakes the £5.5m total gross of last year’s Prima Facie, starring Jodie Comer and released by National Theatre Live.

The £5.7m total came from 651 sites at an £8,802 location average – an outstanding result for a concert film, especially given its 169-minute runtime. It is the 10th -highest opening for any film this year.

The Eras Tour will now look to challenge 2009’s Michael Jackson: This Is It as the highest-grossing concert film ever in the territory, with £9.8m.

Having run two weekends of previews, Paramount’s Paw Patrol: The Mighty Movie started with a £1.3m opening session. That is down on the £2.4m start of 2021’s The Paw Patrol Movie; although The Mighty Movie has £3.3m in total including those prior screenings.

Last weekend’s number one The Exorcist: Believer moved down to third spot, dropping 40% across the weekend with a £1m session for Universal. David Gordon Green’s horror franchise title now has £3.5m in total.

Adam Deacon’s Sumotherhood started with £734,000 for Paramount, and has £746,000 including previews – an improvement on the £536,818 start of 2011’s Anuvahood, the first parody of the Kidulthood films. That title hit £2.1m in total; Sumotherhood will now hold strong hopes of going beyond that mark.

The Creator held reasonably well again for Disney on its third weekend in cinemas, dropping 38% with £642,345. Gareth Edwards’ sci-fi is up to £5.4m.

The power of the Swifties (the name for Swift’s fans) brought a 96.3% increase to the top five total, up to £9.5m – the highest level since the fourth weekend of Barbenheimer in mid-August.

Escaper  to victory

The Great Escaper leads Warner Bros’ slate, adding £534,912 – an excellent hold on its second weekend, dropping just 9.4%. The film, starring the now-retired Michael Caine and the late Glenda Jackson, has just shy of £2m in total. 

Saw X put on a further £517,562 for Lionsgate – a 45.7% drop across its third session. It is up to a £4.8m total, currently the ninth out of 10 all-time grosses for Saw films and closing in on the £5m of 2017’s Jigsaw.

Former number one A Haunting In Venice added £370,084 on its fifth weekend – a 34% drop – and is up to £8.5m. It has overtaken the £8m of 2022’s Death On The Nile; but is behind the £24.2m of 2017’s Murder On The Orient Express, both also Agatha Christie adaptations by Kenneth Branagh.

Lionsgate’s The Miracle Club opened to £275,950 from 362 sites at a moderate £762 average.

Timed to the eponymous date, Park Circus’ release of horror classic Friday The 13th took a healthy £102,928 at the weekend, and continues playing in cinemas in the build up to Halloween.

The Equalizer 3 added £95,645 for Sony, and is up to £8.4m from seven sessions, as the highest-grossing film of the franchise to date.

Past Lives

Past Lives has regained its position as Studiocanal’s number one title, adding £68,816 on its sixth session – a drop of just 27.7%. Celine Song’s Sundance drama has a strong £2.5m heading into awards season, where it will compete in several categories.

The Nun II added £65,984 on its sixth weekend – a 58.9% drop – and is up to £6.4m for Warner Bros, significantly down on the £11.4m of the 2018 first film.

Ken Loach’s The Old Oak suffered a 56.8% drop on its third session for Studiocanal, with £55,837 taking it to £778,702 in total – down on the £1.3m of the director’s previous film Sorry We Missed You.

Signature Entertainment’s family animation The Canterville Ghost added a further £52,400 on its fourth session – an excellent hold, dropping just 6.9% – and is up to £399,995 in total.

A24’s release of Jonathan Demme’s concert film Stop Making Sense added a further £50,320 on its third weekend in cinemas, and is up to an impressive £639,414.

Barbie supremacy over Oppenheimer is back: Greta Gerwig’s pink blockbuster added £32,377 to reach £95.5m after 13 weekends. It will likely finish as the fifth-highest-grossing film of all time, with the £97.2m of 2021’s Spider-Man: No Way Home likely beyond it.

Expend4bles added £31,698 on its fourth session – a 68.3% drop – and is up to almost £1.8m, with less than half the total of the next lowest-grossing in the series, 2014’s The Expendables 3 with £3.9m.

Oppenheimer keeps building its total after 13 weekends in cinemas, adding a further £29,463 for Universal. Christopher Nolan’s blockbuster is up to £58.1m, currently the 28th -highest-grossing film of all time in the UK and Ireland, and close to the £58.3m of 2019’s Joker.

Paramount’s Teenage Mutant Ninja Turtles: Mutant Mayhem added £21,000 on its 11th weekend. It is a fraction beneath £10m, and sure to pass that mark before the end of its run, leaving it not too far off the £13.9m of 2014’s Teenage Mutant Ninja Turtles.

Jawan, the second Indian film ever to cross the £3m mark in the UK and Ireland, added £19,690 on its sixth weekend in cinemas, and is nearing a £3.1m final cume.

MetFilm’s Golda starring Helen Mirren added £17,175 on its second weekend – a 44.8% drop – and is up to £97,079.

Altitude’s re-release of Martin Scorsese’s 1973 classic Mean Streets took £14,605, and will continue in over 100 Odeon cinemas today (Monday, October 16).

Conic Film opened Estonian documentary Smoke Sauna Sisterhood, a festival favourite since its Sundance debut, to £14,132, with £19,244 including previews.

The Ex-Files 4: Marriage Plan added £10,372 on its second weekend for Trinity Film, and is up to £60,193.

Break Out Pictures’ Irish drama Lies We Tell started with £8,017 in Ireland alone, and has £11,135 including previews.

An Evening With Jonas Kaufmann, the event cinema release of a concert featuring the acclaimed German opera singer, took £56,469 on Thursday, October 12, and has £61,422 in total. 

All The Anime’s Evangelion: 3.0 + 1.01 Thrice Upon A Time took a further £1,698 on its second weekend, and is up to £59,352.

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– Armessa Movie News

Taylor Swift: The Eras Tour Breaks Records In Its Opening Weekend At The Box Office- Armessa Movie News


Historically, there have been some major concert films that have done well at the box office… but they don’t tend to put up what we think of as “blockbuster numbers.” For example, Jon M Chu’s Justin Bieber: Never Say Never was considered a huge success when it made $29.5 million in its opening weekend and finished its time playing on the big screen making $99 million worldwide. Those aren’t sales that are competing with any film from the Marvel Cinematic Universe.

Sam Wrench’s Taylor Swift: The Eras Tour is a completely different story.

Playing on the big screen this weekend, the new concert film has proven to be an unparalleled success, and it’s one of the biggest box office stories of the year. Check out the full Top 10 below, and join me after for analysis.

(Image credit: AMC Theatres)
Swipe to scroll horizontally
1. Taylor Swift: The Eras Tour*$97,000,000$97,000,000N/A3,855
2. The Exorcist: Believer$11,000,000$44,927,00013,684
3. PAW Patrol: The Mighty Movie$7,000,000$49,886,71623,707
4. Saw X$5,700,000$41,429,12033,058
5. The Creator$4,300,000$32,405,74442,960
6. A Haunting In Venice$2,052,000$38,993,95662,290
7. The Blind$2,023,458$13,973,40051,164
8. The Nun II$1,615,000$83,747,68672,128
9. The Equalizer 3$960,000$90,567,49391,524
10. Dumb Money$920,000$12,626,14182,276

Taylor Swift: The Eras Tour Has The Biggest Opening Weekend For Any Concert Film Ever

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Armessa Movie News

‘Taylor Swift: The Eras Tour’ breaks North American, global concert film box office records | News – Armessa Movie News


Taylor Swift: The Eras Tour debuted at number one and became the highest grossing concert film at the North American box office in its opening weekend with an estimated $95m-$97m haul three-day bow.

While the opening fell below the $100m predicted in recent weeks, it was enough to surpass the previous high water mark of $73m set by Justin Beiber: Never Say Never in 2011.

If the $97m estimate from 3,855 theatres throughout the US and Canada is confirmed on Monday the film will have overtaken Warner Bros’ Joker on $96.2m in 2019 to rank as the biggest October release of all time. Some in the distribution community on Sunday morning were calling the debut in the $94m range.

The Eras Tour also set the highest global opening weekend for a concert film as an estimated $31m-$33m across 94 territories resulted in a $126m-$130m global debut to soar past the $74.25m mark set by Michael Jackson’s This Is It in 2009.

AMC distributes the film, which is also carried by Regal and Cinemark and booked in other US circuits through Variance Films. Cineplex distributes in Canada, Cinepolis in Mexico and Central America, and Trafalgar Releasing booked the film in remaining international territories.

The Eras Tour ranked number one in the US, UK, Mexico, Australia, Germany and Philippines. It will be released in Brazil, South Korea, Malaysia, Singapore, Taiwan and Hong Kong on November 3, with more additions to be announced shortly.

Taylor Swift: The Eras Tour scored 100% Rotten Tomatoes critics score and a 98% audience score and an A+ CinemaScore. It will play the Thursday-Sunday period for the next three weeks

Elizabeth Frank, EVP, worldwide programming and chief content officer, AMC Theatres, said: “We are grateful to Taylor Swift for allowing us to make Taylor Swift | The Eras Tour concert film accessible to millions of fans in movie theatres around the world. Her spectacular performance delighted fans, who dressed up and danced through the film.

“With tremendous recommendations and fans buying tickets to see this concert film several times, we anticipate Taylor Swift | The Eras Tour concert film playing to big audiences for weeks to come.”

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– Armessa Movie News

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