I Don’t Care What The Critics Are Saying, Five Nights At Freddy’s Was Great For This Former FNAF Player- Armessa Movie News

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I don’t care what critics say – I enjoyed the new Five Nights at Freddy’s movie.

I grew up watching horror playthroughs. One of the first games I ever watched someone else play on YouTube was Telltale’s The Walking DeadThe video game later got me interested in watching the TV show, The Walking Dead until its emotional finale. But from that first playthrough, I started to become fascinated with horror games, and as my love for horror movies and TV shows grew, so did my obsession with horror games and the playthroughs that would come from YouTubers.Regardless, Five Nights at Freddy’s was one of those games that I watched many YouTubers play. And I wound up playing it on several occasions, from the first to the 2021 release of Five Nights at Freddy’s: Security Breach (as buggy as it was). And when I found out there would be a Five Nights at Freddy’s movie, I freaked out. 

I kept up with every FNAF trailer and every update, and when it was finally released, I went out to see it. And yes, I thoroughly enjoyed it. I will explain my reaction– and why it’s alright that critics might not have liked it. Although for me, it was perfect. 

(Image credit: Universal Pictures)

Josh Hutcherson Killed It In The Main Role 

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Punk Duo Strange Men Share New Video “Hot Nights” Ft. Panda Dulce @ Top40-Charts.com – Armessa Music News

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"Hot Nights" by Strange Men (official music video)

New York, NY (Top40 Charts) Hot Nights, the new single from San Francisco indie punk duo Strange Men, is seventy-eight seconds of pure seething punk force.
Composed in singer/drummer Róisín Isner’s head while waiting for the 8 Bayshore bus on a chaotically cold San Francisco evening, the track harks back to a time in her life spent living in New York and elicits an overexposed image of warm east coast summer nights and the transient shadows of youth.

The fever-pitched music video is directed by and features Panda Dulce (aka Kyle Casey Chu), a Sundance Uprise award-winning filmmaker and co-founder of Drag Story Hour. Dulce and Isner are longtime friends and collaborators, and together won Best Short Screenplay at the San Francisco Independent Film Festival earlier this year.

“Hot Nights” is also the inaugural single released on new SF and Seattle based independent label, Big Pink Records.



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Why Five Nights At Freddy’s Rotten Tomatoes Audience Score Is So Much Higher Than Its Critics Score – Armessa Movie News

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Summary

  • Critics and fans have mixed opinions about the Five Nights at Freddy’s movie, with critics giving it a low rating but fans loving its faithfulness to the source material.
  • Critics find the horror elements in the film lackluster and not impactful enough, while average moviegoers appreciate its toned-down horror.
  • Longtime fans of the game feel that the wait for the movie was worth it, as it captures the lore and spirit of the source material and satisfies their nostalgia.


The Five Nights at Freddy’s movie has divided critics and fans, evidenced by the discrepancy between the film’s Rotten Tomatoes scores. The critics Tomatometer currently stands at a rotten 27%, while the audience score is a much more favorable 88%meaning Five Nights at Freddy’s audience score is nearly triple its critic score. Judging by viewer reviews, it’s clear fans are excited to see a faithful adaptation of the Five Nights at Freddy’s video game, even if critics don’t see its merit. And the Five Nights at Freddy’s director has already teased a sequel, so there may be more content on the horizon.

Five Nights at Freddy’s was released in October 2023 after being in development since 2015. The film is based on the video game franchise of the same name, which launched in 2014. In the Five Nights at Freddy’s video games, players must survive at a family pizza restaurant — Freddy Fazbear’s Pizza — as they fend off its violent animatronic mascots. Over the years, lore from the games has been revealed and expanded in sequels, and now this lore has finally made the jump to the big screen. Critics may not understand the excitement, but longtime fans are clearly pleased with the movie adaptation.

Audiences Love Five Nights At Freddy’s Accurate Lore & Tone

Fans of the Five Nights at Freddy’s games have positive things to say about the movie, and their Rotten Tomatoes reviews praise its faithfulness to the source material. Reviewers note that the film gracefully captures the tone of the games and stays true to the gameplay. One reviewer writes that the film is “filled with lore for all fans of the game,” while another adds that “it was great to see a lot of elements from the games.” It’s clear established fans are the intended audience for Five Nights at Freddy’s — and that may be why these strengths didn’t woo critics.

Critics find the film to be lackluster, and many are disappointed in its horror elements. James Berardinelli from Reelviews writes, “I was more bored than scared,” while Rafer Guzman from Newsday notes that “the scares are too mild to make an impact.” The toned-down horror doesn’t seem to bother average moviegoers, with several praising the movie for being available to a younger audience. Reviewers also claim that Five Nights at Freddy‘s is a fun viewing experience even without knowledge of the games’ lore. However, the anticipation and built-in fan base are clearly factoring into the movie’s reception.

Five Nights At Freddy’s Was Worth The Wait For Longtime FansThis collage shows Mike and Spring Bonnie from the FNAF movie.

Five Nights at Freddy’s was in development for nearly eight years, so game fans were anticipating the film for almost a decade. When the Five Nights at Freddy’s movie finally came out, it seems it was worth the wait. A major talking point in Rotten Tomatoes reviews is that the movie builds on the nostalgia for the original game — and that nostalgia has likely only grown over the years. While critics are less wowed, fans of the game appear to love the adaptation. With Five Nights at Freddy‘s end-credits scene hinting at a new villain, a sequel seems likely. Hopefully, moviegoers will be less divided over a follow-up.

Source: Rotten Tomatoes, Reelviews, Newsday

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Five Nights At Freddy’s Was A Fun Halloween Watch, But I’ve Got A Complaint About The Animatronics- Armessa Movie News

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Spoilers ahead for the Five Nights at Freddy’s movie.

2023 has brought plenty of quality horror movies, a number of which arrived just in time for Halloween. Emma Tammi’s Five Nights at Freddy’s is in that category, arriving in both theaters and streaming with a Peacock subscription. And while the Five Nights movie was a fun Halloween watch, I’ve got a complaint about the iconic animatronics. Hear me out.

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Black Nights Film Festival Prepares the Next Generation – Armessa Movie News

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Nurturing young talent and promoting film education is the name of the game at the Black Nights Film Festival in Tallinn, Estonia. The festival will feature a range of events specifically aimed at education promoting both film literacy in schools and vocational training in front of and behind the camera.

The Just Film Industry Days is a new initiative bringing the youth and children’s film festival into conversation with the industry. It has been a long time coming, according to Marge Liiske, head of Industry@Tallinn and Baltic Event: “It’s something that has been cooking for several years. We have more and more films being submitted by young filmmakers and also guests that are coming. It felt right to organize a discussion platform and forum for not only filmmakers, film festival programmers, or sales and distribution people, but also for teachers and the children themselves.”

Festival artistic director Tiina Lokk, a university teacher herself, sees the move as a vital initiative and an extension of the year round program the festival, a.k.a. Pöff, runs called Pöff in Schools, preparing materials that help the teachers to teach film in schools. She tells Variety: “For 20 of our 27 years we have been working with young people and students, providing them with materials and now there is a network of film teachers that are very active.”

For Liiske, the promotion of film literacy in schools is key to providing filmmakers with an audience: “We see and hear everyday the concerns of our independent arthouse producers and filmmakers, asking where is the audience now? What do we do when even the French audience don’t go and see arthouse movies, and the French arthouse scene that has been the flagship?” Educating young people in film creates a ready-made audience for the films, which festivals such as Tallinn wish to promote.

In addition, the Discovery Campus continues the education theme with a range of masterclasses, live events and workshops. Screenwriters and producers will have the Script Pool, a dedicated series of meetings to teach skills from pitching to production. Further aspects of filmmaking are covered in dedicated threads such as Music Meets Film, encouraging music composers into soundtrack composition; the Black Room, aimed at costume and set designers and Frame within a Frame, for aspiring cinematographers, this year led by the mentorship of Philip Ross. In front of the camera, Black Night Stars spotlights eight young actors from Ukraine and the Baltic Sea region and coaches them on how to operate on an international level. According to Liiske, one of the main benefits of the Discovery Campus is also in providing “a space for the young talent under one umbrella, an area for them to meet, mix and mingle and understand a little better what their future colleagues do.”

The hot button topic of the moment – AI – will also be discussed, but there is a cautious optimism about its influence. “We are talking about AI at least twice a day,” Liiske says. “Because it’s in our lives, and we don’t want it to be a monster under the bed. We really want it to be a tool that film professionals should use. We also have a workshop for writers called AI: Your Staff Writer.”

A more determined optimism is required for the attempt to bring together the countries of the region which are the focus of this year’s edition: Serbia, Croatia, Montenegro, North Macedonia and Slovenia. Estonia, as a NATO country bordering Russia, is well aware of international tensions: “I am not naive, thinking art can save the world. Unfortunately, it’s not true,” Liise says. “But the more connections we have with each other, the better.” Panels on co-financing and regulation integration will hopefully point the way forward to future co-productions and collaboration. No doubt interest will have been aroused by the documentary and Oscar hopeful “The Smoke Sauna Sisterhood,” filmed in southern Estonia.

“We have, as always, hundreds of different panels,” Liiske says. “I like to see Tallinn as a kaleidoscope. There are so many little colorful puzzle pieces, and it changes every time you look at it. But it gives you a beautiful picture. Every time you shake it and look at it, it changes.”

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Does ‘Five Nights at Freddy’s Set Up a Sequel? – Armessa Movie News

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Editor’s Note: The following contains spoilers for Five Nights at Freddy’s.


The Big Picture

  • William Afton’s return is teased in Five Nights at Freddy’s, as he survives defeat and may come back as the villain known as Springtrap.
  • Mike’s brother, Garrett, who was killed by Afton, may be controlling an unseen animatronic, leaving room for more haunted Freddy’s locations in future sequels.
  • Vanessa, Afton’s daughter, survives his attack and may play a role in future attempts to take down her father, as a mysterious voice in the credits beckons for someone to “Find Me.”

Five Nights at Freddy’s is finally in theaters after audiences waited for almost a decade to see the video game adaptation on the big screen. After Emma Tammi‘s movie scored $130 million during its debut at the global box office, it might seem logical for Blumhouse and Universal to develop a sequel. Thankfully, for the wide audience that the film managed to reach, the project does tease a continuation of the horrors that take place inside Freddy Fazbear’s Pizza in more than one way. Here’s how Five Nights at Freddy’s teases a sequel, leaving the door open for a second installment in the new franchise to be produced.

Five Nights at Freddy’s

Can you survive five nights? The terrifying horror game phenomenon becomes a blood-chilling cinematic event, as Blumhouse — the producer of M3GAN, The Black Phone, and The Invisible Man — brings Five Nights at Freddy’s to the big screen. The film follows a troubled security guard as he begins working at Freddy Fazbear’s Pizza. While spending his first night on the job, he realizes the night shift at Freddy’s won’t be so easy to make it through.

Release Date
October 27, 2023

Director
Emma Tammi

Cast
Josh Hutcherson, Matthew Lillard, Elizabeth Lail, Mary Stuart Masterson

Rating
PG-13

Runtime
110 minutes

Main Genre
Horror

‘Five Nights at Freddy’s Leaves the Door Open for William Afton’s ReturnMatthew Lillard in Five Nights at Freddy's

When the marketing campaign for Five Nights at Freddy’s began to roll out, Matthew Lillard was rightfully identified as William Afton, the classic villain from the video game series. But in the film, he is first introduced as Steve Raglan, a career counselor for Mike Schmidt (Josh Hutcherson). While the protagonist of the story gets to the bottom of the mystery surrounding the animatronics of Freddy Fazbear’s Pizza, Raglan is revealed to be Afton, the man behind the disappearances of many children decades before the events of the film take place.

Afton couldn’t allow Mike and his sister, Abby (Piper Rubio), to stay alive after finding out what was actually going on at the abandoned pizzeria, prompting him to put his yellow rabbit suit on once again to take even more lives. And while the rivalry between Afton and Mike js already intense enough, things get out of control when Miks realizes that he is fighting the man who took his brother’s life decades ago. With the help of Freddy, Foxy, Chica, and Bonnie, Afton is defeated, triggering a Springlock failure in his suit to impale him.

In the video games that inspired the movie, Afton also finds himself trapped inside his suit, remaining alive despite the deathly injuries the suit put him through. A similar fate might take place in the film series, with the animatronics dragging a desperate William away. Since he is still twitching and gasping for air when he is seen for the last time before the credits roll, it’s entirely possible for the villain known as Springtrap to come back, exactly like he promised. William Afton seemed impossible to kill in the video games, and he might be just as resilient when it comes to the movie adaptations.

What Happened to Garrett in ‘Five Nights at Freddy’s?

Foxy in the Five Nights at Freddy's movie
Image via Universal Pictures

The entire character arc of Mike revolves around the fact that he’s obsessed with finding out who took his brother’s life, believing he will be able to look at the killer’s identity by consciously exploring his own memories of the tragedy while he sleeps. The technique would eventually allow him to communicate with the ghosts that take control of the animatronics from Freddy Fazbear’s Pizza, understanding why they want to take his sister with them. But curiously enough, Mike’s ability to speak with the dead never gives him the chance to speak with his brother. Since he was abducted and subsequently killed by Afton, could Garrett be in control of an animatronic that hasn’t been seen yet?

When it comes to the source material, the five children that can be deduced as the possessors of the animatronics weren’t the only group of victims left behind by the serial killer. Freddy’s was a popular restaurant chain, with multiple restaurants throughout the United States. While he was still alive, Afton took the lives of many children, leaving a trail of violence and anger wherever he went. If the movies decide to follow the same route in the future, other Freddy’s locations could be revealed in a potential sequel, with Garrett’s ghost present in one of them.

Since Mike’s entire objective is to make peace with the tragedy that struck his family before Abby was born, it seems odd that he gets a chance to talk with other ghosts, but not with his actual brother. The police could never arrest William Afton due to a lack of evidence, and given how many years are teased to have passed between the original murders and the plot of Five Nights at Freddy’s, it leaves the door open for more abandoned restaurants to hold secrets of their own. Mike’s search for his brother can continue, and this time, he won’t be alone for the ride.

Vanessa Has Family Issues to Take Care Of

Elizabeth Lail in 'Five Nights at Freddy's'
Image via Blumhouse

The biggest plot twist from the film adaptation that moved away from what the games imply is how police officer Vanessa (Elizabeth Lail) turns out to be William Afton’s daughter. After the reveal, Vanessa helps Mike and Abby in the final showdown against the merciless villain, only for her father to stab her without showing any remorse. By the end of the film, Vanessa is in the hospital, in treatment for the injuries she suffered during the final battle. But with the possibility of Afton still being alive inside his yellow rabbit costume, she might want to get involved in future attempts to take him down once and for all.

In addition to both Vanessa and William Afton still being alive, the credits of Five Nights at Freddy’s continue to tease a continuation to the story, with a mysterious voice spelling out the words “Find Me” before the screen fades to black. In the video game, Five Nights at Freddy’s 2, mysterious 8-bit mini-games relay a similar message to the player, begging them to find a way to save the children stuck within the robots. But since the world of the movie adaptation turned out to be different from the game, it remains to be seen who’s actually sending the message. Could it be Garrett? Could it be William? Or is it a completely different person?

With a serial killer recuperating his strength and two broken families stuck in the same conflict, the main characters of Five Nights at Freddy’s could easily come back for another round, especially considering how Abby wanted to visit her friends again, despite the fact that they almost killed her. Blumhouse is no stranger to producing popular franchises, such as the Halloween modern trilogy and the upcoming sequels to M3GAN and The Black Phone. After the box office results from this weekend, the future looks bright for Five Nights at Freddy’s.

Five Nights at Freddy’s is currently in theaters and available to stream on Peacock.

Watch on Peacock

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Five Nights At Freddy’s Director On The Way The Ending Sets Up A Sequel- Armessa Movie News

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MILD SPOILERS FOR FIVE NIGHTS AT FREDDY’S

The world of gaming adaptations has seen its fair share of ups and downs, but one title that has been generating substantial buzz is Emma Tammi’s Five Nights At Freddy’s. Despite some harsh criticism from movie critics, the film found massive support from the loyal fanbase of the video game franchise, resulting in a record-breaking opening for a Blumhouse production. It’s clear that a sequel is on the horizon. In an unexpected turn, the documentarian turned horror movie director recently sat down for an interview, discussing how the film’s ending paves the way for a potential sequel.

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Five Nights at Freddy’s Ending, Sequel Ideas Explained – The Hollywood Reporter- Armessa Movie News

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[This story contains spoilers for Five Nights at Freddy’s.]

Five Nights at Freddy’s filmmaker Emma Tammi has now set the opening weekend record of $80 million for a Blumhouse film, and she’s keenly aware that her journey to this point was an unlikely one. 

Tammi started out as a documentary filmmaker, tackling such subjects as endurance running in Fair Chase (2014) and the 2016 Presidential Election in the Jason Blum-produced Election Day: Lens Across America (2017). From there, the producers of Fair Chase approached her about the supernatural horror film, The Wind (2018), after seeing the way she and co-director Alex Cullen captured New Mexico in their doc. They wanted Tammi to bring those same instincts to The Wind’s own New Mexico backdrop amidst the Old West.

The Wind ended up being well received, which signaled to Blum that Tammi could also be a viable genre director. He eventually thought of her for the long-in-development Five Nights at Freddy’s video game adaptation, and her pitch soon won over franchise creator Scott Cawthon, who’d lost a bit of faith after the project struggled mightily to get off the ground since its inception at Warners in 2015.

“By the time I spoke with Scott, I’m not sure if he was confident that this movie was ever going to get made. They had some false starts,” Tammi tells The Hollywood Reporter. “So I think he was not only feeling the pressure from the fan base to get this film up and running, but he was also feeling very steadfast in knowing that he did not want this adaptation to be made unless it was done correctly.”

The key to Tammi’s pitch was deepening the characters that Cawthon established in his own script, and with the help of co-writer Seth Cuddeback, they collectively cracked the story that had been in the works for nearly a decade.

With an $80 million opening weekend and a new Blumhouse record that tops Halloween’s (2018) $76.2 million, Tammi was never fazed by the added amount her film could’ve made had it not been a day-and-date release with Peacock. Naturally, she’s also open to returning for a sequel, as there are some unresolved story points she’d like to address. One of those is the presumed death of Mary Stuart Masterson’s Aunt Jane in the home of Mike (Josh Hutcherson) and his younger sister Abby (Piper Rubio), which would certainly raise some eyebrows given that she was challenging for custody of Abby.

“We’re all, including myself, very excited to keep making movies in this universe if we’re lucky enough to do so and this first one does well,” Tammi says. “We have some loose ends that I think are going to have to come back in a sequel to be tied up.”

Below, during a conversation with THR on the morning of her film’s release, Tammi also discusses Matthew Lillard’s performance that has shades of his breakout role as Stu Macher in Scream (1996). 

So how did a documentarian wind up in the genre space en route to Five Nights at Freddy’s?

That’s a great question that I’m asking myself this morning as well. Documentary filmmaking allowed me to wear a lot of different hats because it tends to be quite low budget with small teams. So I was able to start producing and camera operating and editing and directing, and that really helped prepare me well for stepping into my first feature called The Wind. And ironically, I got linked up with the producers and financiers of that film because they had helped me out on a documentary film [Fair Chase] that I had shot in New Mexico. They were reminded of the landscapes that we’d captured in that documentary, and The Wind took place in the West at the turn of the century. So that was one of the things that made them think that I might be a good candidate to chat with the writer and step into the role of directing that film.

So that was really my first entry into fictional film and TV, and it’s been amazing. I fell in love with it and haven’t wanted to stop since. Along the way, I got to work with Blumhouse on both a documentary [Election Day: Lens Across America] and some narrative episodes for an anthology series [Into the Dark] that they produced, and I developed my relationship with them more and more. Cut to Jason Blum giving me a ring when they were looking for a director on Five Nights at Freddy’s, and he allowed me to throw my hat in the ring and read the existing script and talk to Scott Cawthon about my vision to help bring the adaptation to life. So it was a winding journey.

Freddy Fazbear and director Emma Tammi on the set of Five Nights at Freddy’s.

Courtesy of Patti Perret/Universal Pictures

Before you came on, the film was in development for quite a while. Other companies tried and failed. If you had to guess, what was the key to your pitch? What did Scott Cawthon, Jason Blum and Blumhouse seem to respond to the most? 

By the time I spoke with Scott, I’m not sure if he was confident that this movie was ever going to get made. They had some false starts. So I think he was not only feeling the pressure from the fan base to get this film up and running, but he was also feeling very steadfast in knowing that he did not want this adaptation to be made unless it was done correctly. And by correctly, I mean in line with what he thought the fan base would really love. 

So when I came on, I was so drawn to the characters that he had laid out in the version of the script that I got to read, and I talked to him about how we could make those characters even deeper and really hone in on the scares and amp up the humor and all the elements that he knew were important cornerstones of this adaptation. We were on the same page of what still needed to happen, and in the end, he was like, “Let’s do a pass on the script and we’ll see if it works out.” So it wasn’t until Seth Cuddeback and I finished a rewrite on the script that Scott really felt confident that we were on the right track, and then we were able to move forward into prep and eventually production.

Foxy, Chica, Freddy Fazbear and Bonnie in Five Nights at Freddy's, directed by Emma Tammi.

Foxy, Chica, Freddy Fazbear and Bonnie in Five Nights at Freddy’s.

Courtesy of Universal Pictures

The animatronics and puppets are quite special. Did you write to what the technology was capable of as far as emotion? Or did you tell Jim Henson’s Creature Shop what you needed in each sequence so they could calibrate ahead of time as best they could?

We did not write to the capability of the animatronics. Henson’s company, along with the original designs from the first Five Nights at Freddy’s, designed and created and built the animatronics with this current script in mind, knowing that Bonnie needed to do X and Foxy needed to do Y. So those elements were in the mix in terms of thinking about how they were going to function and operate, but we also needed to pivot to what they were actually able to do and what the limitations were, and incorporate whatever new things that we weren’t expecting. So it was just a real collaboration through and through, not only in the design and build phase, but certainly in the rehearsal period.

On the day, there were a bunch of performers and puppeteers that made these animatronics come to life. We also had a bunch of different versions of the animatronics. In some versions, there were incredibly talented performers inside the suit, in addition to puppeteers, offscreen, who would operate the eyes or the eyebrows or the ears and arms, with remote controls. So it was a real big team effort and collaboration, and each of those people had a specific thing that they had control over.

So you really can give them notes on the day like “faster, more intense”?

You can. There were limitations of how fast or slow something could go, but we were really able to dial in what we were looking for on the day in terms of tone and emotion, or lack thereof, and really get it precise. But it was an ongoing collaboration throughout filming and certainly not something that stopped after the designs were completed.

What makes these old-school pizzerias of the ‘80s so creepy? I watched some old Showbiz Pizza commercials last night and they really are disturbing.

Big time. I think the animatronics are at the heart of what makes these spaces the most creepy. As a kid, I remember sitting very close to a stage before the curtains opened and one of the performances played. And I think I walked away more fearful of them than excited in that particular instance. There’s just a feeling that animatronics give you, and it’s so complicated. It’s terrifying underneath it all, but it’s also kind of wonderful and brilliant and magical. So the combination of all those things is so unique, and when these animatronics haven’t been cared for after many years, I feel a little bit of sadness in the imagery. There’s a part of me that wants to go tend to them. I don’t know how an inanimate object can evoke so many feelings and emotions, but man, animatronics certainly do.

Piper Rubio as Abby in Five Nights at Freddy's

Piper Rubio as Abby in Five Nights at Freddy’s.

Courtesy of Universal Pictures

There are a lot of children’s drawings in the film. Did you recruit a bunch of kids from your neighborhood to go to town with a box of crayons?

Ding-ding! We definitely recruited a bunch of kids to do drawings, and that included [Abby actor] Piper Rubio. She did quite a bit. Some of the other kids that were in the movie, and some of the kids of the people who worked on the film, also did some drawings. So we did collect as many authentic kid drawings as possible, and then our art department stepped in, too. So it was a big collaboration, and there were a lot of drawings.

With the box office tracking increasing by the day, people keep commenting on how much Freddy’s could have made if it was a theatrical exclusive. I know that decision is beyond your control, but are you going to lose any sleep over what the film could’ve made without a streaming option?

I am just feeling so appreciative that people want to go to the theaters to see this movie, and what makes me so excited about that is that it’s the best way to view it. Of course, I would say that about any film in terms of being in a dark room with optimal visual and sound conditions, but whether you’re a fan or you know nothing about Freddy’s, to watch this one communally with fans, their energy and reaction to the film brings a whole other dimension to the movie-going experience. I also think it’s probably best enjoyed with some popcorn and soda. So I’m really, really hoping people go out to the theaters, and it seems like a lot of people are into that. In terms of streaming alongside it, we have that as an option as well for people who aren’t able to get to the theaters, and I hope it expands the access for people who have been waiting for it for so long.

And because the box office is looking quite healthy, are you open to coming back for Six Nights at Freddy’s?

(Laughs.) We’re all, including myself, very excited to keep making movies in this universe if we’re lucky enough to do so and this first one does well.

Decades from now, when your loved ones ask you about the making of Five Nights at Freddy’s, what day will you tell them about first?

At the very, very end of the shoot, we turned our aged, derelict pizzeria back into its pristine, heyday state for a flashback scene that we were filming. So we filled the whole set with a bunch of kids, and a lot of the kids belonged to the crew members and the puppeteers or someone involved in the production. It was incredible because I saw a bunch of miniature people who were the offspring of people that I was now very close with and fond of and so appreciative of for their work on this film. So it just felt like this big, bring-your-kid-to-work day, in addition to a bunch of amazing extras, and some of our crew got dressed up as extras in the scene as well. 

So that was a really joyful end to what had been a really amazing shoot, and we were going out on such an exuberant and bold note by seeing the pizzeria come to life in a whole other way. So that energetic transformation from the abandoned ghost house was wild, and it really felt like a huge throwback to the ‘80s. Everything was nostalgic and fun, and that was the core of those types of family-themed restaurants. The arcade machines were working, the kids were in the ball pit, so that was definitely a highlight of the shoot, for sure.

[The rest of the interview contains spoilers for Five Nights at Freddy’s.]

Matthew Lillard’s character recognizes Mike’s (Josh Hutcherson) last name without saying it, and he then becomes a lot more helpful in finding him employment. Well, now we know why, as he was the real owner of Freddy’s and he was purposefully employing the older brother of one of his victims, Garrett. Did he just want the twisted trophy of killing both brothers?

Ooh, to be honest, I think this is something that’s best left for fan speculation, because there’s a lot of room for interpretation with this one. That’s much more interesting than whatever my answer is going to be.

Matthew Lillard as Steve Raglan in Five Nights at Freddy’s, directed by Emma Tammi.

Matthew Lillard as Steve Raglan in Five Nights at Freddy’s

Courtesy of Universal Pictures

Before and after the reveal, I did catch some Stu Macher/Scream vibes from Matthew. I recognized that familiar live wire that he plays so well. Did you encourage that? Or did he just know instinctively that this guy warranted a bit of the same crazed energy that Stu had?

Gosh, it feels like catching lightning in a bottle with Matthew because he just brings so much to the set and in the moment. And on that day in particular, we were just trying a bunch of different things for a bunch of different takes, and he was really coming alive in that [Yellow Rabbit] suit for the first time. Of course, we’d done some rehearsals with that suit, but it was a whole other deal once the camera was actually rolling in the properly lit pizzeria. So he was just going for it on every take and doing something different and really exploring in the moment. We just needed to make sure that we were there to capture it all. So, yes, there was definitely a back and forth between the two of us in terms of trying different things and really maximizing his menacing movement in that suit. But at the end of the day, he was just bringing all of his brilliance and improvisation to the table, and we were so lucky to be rolling on it.

When Lillard’s career counselor character stops short of saying Mike’s last name, I then noticed that Mike never said his last name the rest of the movie either. He would just say Mike. Is there a reason for that? Could you not clear the name? 

Well, it is actually said at the end of the movie. Mike doesn’t say it, but the Yellow Rabbit [Lillard] does [out of frame]. So it is a little buried in there, but Mike’s name is eventually said in full.

Did the aunt (Mary Stuart Masterson) actually die? That would obviously be a big problem for Mike and Abby if the person challenging for custody of Abby wound up dead in their house. If she survived, it would still be a problem, although maybe she’d be so traumatized by what happened that she’d drop her claim and deceitful plan altogether.

We have some loose ends that I think are going to have to come back in a sequel to be tied up.

Mike Josh Hutcherson and Abby Piper Rubio in Five Nights at Freddy's.

Mike (Josh Hutcherson) and Abby (Piper Rubio) in Five Nights at Freddy’s, directed by Emma Tammi.

Courtesy of Universal Pictures

Garrett’s ghost/body wasn’t in any of the animatronics, right? I suppose you would’ve had a moment between him and Mike if he was.

I feel like that could also be a nice thing for the fan base to mull over. I’d love to not shut down anyone’s theories.

***
Five Nights at Freddy’s is now playing in movie theaters and streaming on Peacock. This interview was edited for length and clarity.

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‘Five Nights At Freddy’s’ opens with £3.2m to top UK-Ireland box office; Taylor Swift sets concert film record | News – Armessa Movie News

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RankFilm (distributor)Three-day gross (Oct 27-29)Total gross to date                                 Week
 1.Five Nights At Freddy’s  (Universal)£3.2m£5.4m1
 2.Trolls Band Together  (Universal)£2.5m£9m2
 3.Killers Of The Flower Moon  (Paramount)£1.5m£5.6m2
 4.Taylor Swift: The Eras Tour  (Trafalgar)£1.2m£10.4m3
 5.Paw Patrol: The Mighty Movie   (Paramount)£708,000£6.1m3

GBP to USD conversion rate: 1.21

Blumhouse horror Five Nights At Freddy’s topped the UK-Ireland box office on its opening weekend, starting with £3.2m at a healthy £5,293 average.

Distributed by Universal, Five Nights At Freddy’s  polled in 595 cinemas. Having opened on Wednesday, October 25, it has £5.4m in total. The £3.2m start is up on those of recent Blumhouse Productions output, including The Exorcist: Believer  (£1.7m), Insidious: The Red Door (£2.3m) and M3GAN, all from this year.

Universal scored a one-two this weekend, with last weekend’s number one Trolls Band Together holding well with a 19% drop. The animated feature added £2.5m on its second session to hit £9m total – tracking behind 2016’s Trolls, which ended on £25m, but still a strong performance.

Martin Scorsese’s Killers Of The Flower Moon put in a strong second-weekend performance, falling 36% with £1.5m for Paramount. It is up to a £5.6m total, passing the £5.58m of 2011’s Hugo  to become Scorsese’s seventh-highest-grossing film of all time. Next ahead in that list is 2004’s The Aviator with £8.4m.

Taylor Swift: The Eras Tour is now the highest-grossing concert film ever released in the UK and Ireland. The film added £1.2m on its third weekend in cinemas – a 48.1% drop, which represents a decent performance for an event cinema release that runs to almost three hours.

With £10.4m, it has overtaken the £9.8m of 2009’s Michael Jackson: This Is It to take the concert film crown; having already broken the record for highest-grossing event cinema release on its opening weekend. It will likely finish in the top 20 highest-grossing releases of 2023, currently occupying 16th position.

Paramount’s Paw Patrol: The Mighty Movie added £708,000 on its third official weekend in cinemas – a strong hold, falling just 11.7% on the school half term weekend. The animation is up to £6.1m, behind the £8.8m of 2021’s The Paw Patrol Movie.

Takings for the top five fell slightly, down 4.6% to £9.2m. However, the figure is still almost double that of the second weekend of October; and has topped £9m for three successive weekends for the first time since mid-August.

Leo Tamil record

The Exorcist: Believer fell 38% with £360,355 on its fourth weekend. It is now up to £5.3m, overtaking the £5.1m of 2021’s Halloween Kills and £4.8m of 2022’s Halloween Ends, both also directed by David Gordon Green and made by Blumhouse.

The Great Escaper starring Michael Caine and the late Glenda Jackson added £262,645 on its fourth session – a strong hold, falling just 19.1%. The drama appears to have found its audience for Warner Bros, hitting the £3.8m mark.

Adam Deacon’s Sumotherhood added £195,000 on its third weekend in cinemas – a 49% drop – and is up to £1.9m for Paramount, within range of the £2.1m of 2011 first film Anuvahood.

Disney’s The Creator added £184,376 on its fifth weekend – a 43% drop – and is up to £6.6m after decent midweek showings.

Torture horror Saw X leads Lionsgate’s slate, adding £152,999 on its fifth weekend in cinemas – a 37.4% drop. It is up to almost £5.7m, overtaking 2009’s Saw VI to become the seventh-highest-grossing from 10 Saw films.

Lionsgate’s The Miracle Club posted a 30.9% drop, adding £124,793 on its third weekend in cinemas and reaching £1.2m in total.

A Haunting In Venice added £119,612 for Disney, falling 35% on its previous session, to reach £9.3m in total.

After a stellar opening weekend, Lokesh Kanagaraj’s Indian action film Leo starring Joseph Vijay has become the highest-grossing Tamil-language film ever across its first full week in cinemas. With over £1.5m, it has passed the £1.3m total of last year’s Ponniyin Selvan I.

With £98,000 on its second session, it did experience a sharp 92.1% drop from its opening weekend. It still represents an outstanding result, with few non-English language titles crossing the £1m mark in the territory.

Park Circus’ release of Tim Burton’s Beetlejuice brought in £93,042 at the weekend.

cat person

Viral short story adaptation Cat Person opened to £45,017 for Studiocanal, from 177 sites at a £254 average. Including previews, Susanna Fogel’s Sundance 2023 drama has £79,723.

Also for Studiocanal, Past Lives put on £38,477 on its eighth weekend; a decent hold saw it fall just 24.8%. It is up to £2.7m ahead of its winter awards run.

Russian animation How To Save The Immortal opened to £34,461 from 130 reports, at a £265 average, through Miracle/Dazzler.

Animation The Canterville Ghost has proven a success for Signature Entertainment, still in the top 20 after six weekends. It added £27,578 on its latest session – a 3.2% increase on last time out – and is up to a £524,499 total.

Teenage Mutant Ninja Turtles: Mutant Mayhem fights on after 13 weekends in cinemas for Paramount. The film added £26,000 to reach a decent £10.1m total.

Crime drama Retribution starring Liam Neeson opened to £25,691 for Studiocanal, at a £584 site average.

Ken Loach’s The Old Oak added £15,060 on its fifth weekend in cinemas for Studiocanal, and is up to £952,466 – down on the £1.3m of the director’s last film Sorry We Missed You.

Typist Artist Pirate King, the latest film from UK filmmaker Carol Morley, opened to £12,840 from 26 sites, at a £494 site average for Modern Films. Including previews the film has £28,624; a UK Q&A tour with Morley continues throughout November and into December.

Vertigo Releasing horror It Lives Inside added £12,230 on its second weekend in cinemas, to hit a £161,010 total.

Curzon’s Berlinale 2023 award winner 20,000 Species Of Bees opened to £10,511 from 30 sites, and has £16,828 including previews.

Sony’s The Equalizer 3 added £10,423 on its ninth weekend in cinemas to hit £8.6m total. The studio’s next film in cinemas is horror Thanksgiving on November 17.

Foe starring Paul Mescal, Saoirse Ronan and Aaron Pierre added £9,022 on its second weekend in cinemas. The film is up to £140,084.

Warner Bros’ The Nun II is closing out after eight weekends in cinemas, adding £8,344 to reach £6.5m – down on the £11.4m of the 2018 first film.

Hammer Studios’ horror Doctor Jekyll starring Eddie Izzard took £6,277 from 46 sites at a £136 average, released in collaboration with Miracle.

Treasure hunting documentary Savage Waters opened to £2,700 at the weekend, and has £7,380 including previews, from limited shows at each venue.

Suitable Flesh brought in £1,327 on its opening weekend for Vertigo Releasing, and has £2,870 including previews.

Black Bear’s Dumb Money is closing out with a £1.3m cume from six weekends in cinemas.

Trafalgar Releasing’s Crossroads: Global Fan Event, an event cinema release of Tamra Davis’ 2002 road movie starring Britney Spears, took £64,892 from screenings on Monday 23 and Wednesday 25 October.



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‘Five Nights At Freddy’s’ scares up $130m global box office debut; ‘Killers Of The Flower Moon’ holds better abroad; Taylor Swift cracks $200m – Armessa Movie News

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Worldwide box office October 27-29














 Rank Film (distributor)  3-day (world) Cume (world) 3-day (int’l) 3-day (int’l) Territories
 1. Five Nights At Freddy’s (Universal) $130.6m $130.6m $52.6m  $52.6m 64
 2. Killers Of The Flower Moon (Paramount) $24.2m $88.1m $15.2m  $47.4m 66
 3. Taylor Swift: The Eras Tour (various) $21.4m $203.0m $6.7m $53.7m 96
 4. Trolls Band Together (Universal) $13.4m $36.1m $13.4m $36.1m 43
 5. Paw Patrol: The Mighty Movie (Paramount) $11.9m $166.4m $9.7m $107.2m 68
 6. Only The River Flows (various) $9.2m $21.7m $9.2m $21.7m 1
 7. Exorcist: The Believer (Universal) $7.3m $120.4m $4.2m $61.0m 81
 8. Saw X (Lionsgate) $6.2m $91.6m $4.5m $41.3m 49
 9. The Boy And The Heron (various) $6.0m $71.5m $6.0m $71.5m 5
 10. Who’s The Suspect (various) $5.5m $5.5m $5.5m  $5.5m 1

Credit: Comscore. All figures are estimates.

‘Five Nights At Freddy’s’ shrugs off negative reviews with stellar opening

Will 2023 go down in history as the year that Hollywood’s film and television industries finally proved itself able to exploit videogame properties on a consistently successful basis? Following HBO acclaimed series The Last Of Us in January and Illumination/Nintendo’s box office smash The Super Mario Bros. Movie in April, Blumhouse/Universal’s Five Nights At Freddy’s has landed in cinemas worldwide, exceeding expectations with estimated takings of $130.6m.

The adaptation of the tween-skewing Scott Cawthon videogame franchise debuted with an estimated $78.0m in North America, topping the domestic box office, plus an estimated $52.6m for 64 international markets. Those numbers make Five Nights At Freddy’s the biggest global opening for Blumhouse of all time, beating 2018’s Halloween ($91.8m), and also the biggest horror opening of 2023, ahead of The Nun II ($88.1m).

For international, top market was Mexico, with an estimated $10.8m, and a 65% market share. Next comes UK/Ireland with a five-day estimated $6.3m – the top horror opening of the pandemic era, and the third-biggest horror debut ever, behind only It and It: Chapter 2 (including previews).

Australia likewise delivered the biggest post-pandemic horror opening, with an estimated $3.8m. The number was right behind Brazil, with an estimated $3.9m – the biggest ever Blumhouse opening in that market.

Germany opened with an estimated $2.6m, while mid-sized markets Poland, Argentina and Chile all punched above their weight, opening respectively with estimates of $2.0m, $2.4m and $1.9m. In Chile, that’s the biggest ever horror opening. Peru, with an estimated $1.7m, is likewise the biggest ever horror opening.

Directed by Emma Tammi (2018’s The Wind), Five Nights At Freddy’s stars Josh Hutcherson as a security guard who accepts a night-time job guarding a long-shuttered pizza restaurant/family entertainment centre, where he discovers the animal-themed animatronic mascots come to life at night.

Professional critics’ reviews are mostly negative, but the film achieved a CinemaScore of A- in North America exit polling. Crucially for Universal, the film achieved a family-friendly PG-13 rating in North America, whereas most horror films are rated R.

Several key markets have yet to open Five Nights At Freddy’s, which lands this week in Spain on Wednesday (November 1) and Italy on Thursday. Next week sees it reach France (November 8), with South Korea a week later (November 15) and Japan to follow next February.

In addition to The Super Mario Bros. Movie and now Five Nights At Freddy’s, Columbia Pictures/PlayStation Productions’ Gran Turismo also landed in cinemas this year – albeit a biographical drama rather than a straight adaptation of game-playing content. The Super Mario Bros. Movie has grossed $1.36bn worldwide. Gran Turismo reached $119.3m. 

‘Killers Of The Flower Moon’ buoyed by international hold

Martin Scorsese’s Killers Of The Flower Moon fell hard at the North America box office, dropping 61% in its second session, with estimated takings of $9.0m – bringing the domestic total to $40.7m for Paramount Pictures.

The film’s fortunes are boosted by a much stronger international result – down 36% in holdover markets, with an estimated $14.1m for the weekend period, and $44.0m so far.

Top international market is UK/Ireland, with $6.8m after two weekends of play, ahead of France ($5.3m), Germany ($3.6m), Spain ($2.9m) and Australia ($2.7m).

With $88.1m so far, the Apple Studios production has already far exceeded the last Scorsese film where box office was reported – Silence grossed $23.8m worldwide in 2016. (Netflix did not report box office numbers on 2019’s The Irishman.)

However, Killers Of The Flower Moon has a long way to go to match the worldwide numbers on top Scorsese hits The Wolf Of Wall Street ($406.9m, 2013), Shutter Island ($294.8m, 2010) and The Departed ($291.5m, 2006).

Also for Paramount, Paw Patrol: The Mighty Movie benefited from school holidays in many territories – the film added another estimated $11.9m for the weekend, and $18.0m for the past seven days. Worldwide total now stands at $166.4m – which compares with $144.3m lifetime for 2021’s Paw Patrol: The Movie.

‘Taylor Swift: The Eras Tour’ passes $200m milestone

After a 67% drop for its second weekend of play in both North America and international markets, Taylor Swift: The Eras Tour has arrested the pace of decline in the third session.

In North America, the concert film delivered an estimated $9.0m for the weekend – down 61%. For international, the weekend number is $6.7m – down 36%.

Totals so far are $139.3m in North America and $53.7m for international, combining for $203.0m. That number still lags behind the lifetime box office of the biggest ever concert film, Michael Jackson’s This Is It, with $261.2m in 2009.

‘Trolls Band Together’ expands to new markets – hits $36m

DreamWorks Animation’s Trolls Band Together is continuing its international rollout via Universal Pictures International, ahead of the domestic release on November 17. The third Trolls film landed in 17 new markets at the weekend, taking the territory total to 43 so far. Weekend box office was an estimated $13.4m, and the total is $36.1m.

Top new opener was Mexico, with an estimated $1.5m, ahead of Spain with $1.2m. Among holdovers, UK/Ireland (where the school holiday wrapped up for most regions at the weekend) impressed with another estimated $3.0m, down just 22%, taking the total to $10.8m – 30% of the international number to date.

Among other holdover markets, France has reached $5.3m and Germany $3.1m.

For comparison, second film in the series Trolls World Tour (2020) saw its rollout impacted by the Covid pandemic, landing on premium video-on-demand in many territories, and grossing just $49.3m in cinemas. The original Trolls grossed $347.2m worldwide in 2016.

Trolls Band Together will land in Italy on November 9, Australia on November 30 and South Korea on December 20.



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‘The Marvels’ Cost $200M More Than ‘Five Nights at Freddy’s,’ but May Not Match Its Box Office- Armessa Movie News

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The murky world of box office projections is always little more than an educated guessing game until opening weekend, but at this rate The Marvels will still be lucky if it even manages to match the monstrous debut of Five Nights at Freddy’s, never mind exceed it.

Of course, the two projects couldn’t be more different considering one is the blockbuster sequel to a $1.1 billion box office sensation that’s part of the most lucrative franchise in the history of cinema, whereas the other is a modestly-budgeted horror adapted from a video game. And yet, it would still be a huge blow for the Marvel Cinematic Universe were its final release of 2023 to fall short.

For one thing, Five Nights at Freddy’s has been taking an absolute pounding from critics to rank as the worst-reviewed console-to-screen release in seven years, but it nonetheless conspired to haul in $78 million in its first frame thanks to its built-in audience and brand recognition.

Image via Universal

On the other hand, The Marvels is the follow-up to the lowest-rated entry in the MCU’s 31-film back catalogue when it comes to Rotten Tomatoes audience approval ratings, and the sequel has been receiving the same sort of backlash and criticism as its predecessor.

There’s also the small matter of financial investment, with the estimated $219 million price tag making Brie Larson’s second headline outing 11 times more expensive than Five Nights at Freddy’s, and even at the highest end of its most recent forecasts Nia DaCosta’s cosmic caper is only on track to hit $80 million at most following its arrival.

We’ve seen Sound of Freedom out-earn Indiana Jones and the Dial of Destiny already this year, so don’t be surprised if The Marvels falls short of FNaF on the domestic front, which would be another big blow for the MCU.

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