Despite positive reviews from both critics and fans alike the DCU’s latest failed to hit big scoring barely over $25M in its opening weekend. There are a number of things to take into account, though. First and foremost, the release date. A movie geared towards kids should never be released during a weekend where pretty much every kid is either back in school or spending their weekend preparing to do so. Blue Beetle being a mostly unknown property didn’t help much either, I’m sure. Here’s hoping word of mouth keeps this floating steady over the next few weeks since there isn’t much in it’s way.
Hey…if nothing else, at least it can say it’s the film that knocked Barbie off her pedestal.
Honestly…I’m shocked Strays did this well. An R-rated “Dogs talking and going on an adventure” movie? Who did they think was going to see this? I think the worst part is that we are overdue for a really good, heartwarming, family friendly film of this type ala The Adventures of Milo & Otis or Homeward Bound
6. Meg 2: The Trench– $6.7M/$66.5M
Proving that people really do love sharks and shark related movies Meg 2 continues to chug along. Jaws it is not, but liberal application of Jason Statham can hide all manner of sins.
7. Talk to Me– $3.1M/$37M
8. Haunted Mansion – $3M/$58.8M
9. Mission: Impossible-Dead Reckoning Part 1– $2.7M/$164.6M
10. The Last Voyage of the Demeter – $2.5M/$11.3M
OOF! Not only did this B-side of the Dracula legend fail to capture a solid opening weekend score it’s also holding the distinction of the biggest second week drop, losing 62% of its audience from last week. This one hurts deep, Dracula’s been overdone, sure, but the idea was genius and the execution was solid. Just more proof that all scary movies should release during spooky season (Sept 15 – Nov 1 for the uninitiated)
When I spoke with Kickboxer: Vengeance and Kickboxer: Retaliation filmmaker Dimitri Logothetis a few months ago about his upcoming film Gunner, he teased that work on the third film in the trilogy would be coming. And now Deadline has news on when shooting will actually begin on Kickboxer: Armageddon, along with another new project from Logothetis, Flying Shadow!
The plan is for production to begin on both movies next January in Mississippi and Malta, assuming the films can get an Interim Agreement from SAG-AFTRA to proceed. Of course, the strikes are still taking place. The scripts for both movies were penned prior to the strike beginning.
Kickboxer: Armageddon would officially be the eighth movie in the franchise, but the third since Kickboxer: Vengeance rebooted it in 2016 with Alain Moussi in the lead as Kurt Sloane. Jean-Claude Van Damme, who starred in the original 1989 movie, returned for it and the 2018 sequel, Kickboxer: Retaliation.
Logothetis wrote the first film before taking the directing reins for the second, and will direct the third, as well. The story finds Sloane’s world destroyed once again when a bomb meant for him kills his family. With nothing left to lose, Sloane battles through the underground martial arts scene looking for the man responsible, Cesare, the twin brother of Van Damme’s Master Durand. Logothetis co-wrote the script with Jim McGrath.
As for Flying Shadow, it “follows ex-military Black Ops secret service agent Travis Rawls and commander of Chinese private security force Ling as they work to avoid certain tragedy when the ancient legendary sword, Flying Shadow, is stolen, leaving the President’s life hanging in the balance.” Logothetis and McGrath wrote this one, as well.
I’m a huge fan of Logothetis, who also directed the sci-fi/martial arts film Jiu Jitsu that starred Nicolas Cage, Frank Grillo, and Tony Jaa. He has an old school style that I’ve compared to the Cannon Films days. The Kickboxer movies have been awesome since he boarded them and I can’t wait to see how the trilogy wraps up.
Downwind is a gripping documentary film that vividly portrays the impact of 928 large-scale nuclear weapons detonations between 1951 and 1992 at the Nevada Test Site in America. The film sheds light on the enduring effects of these mass explosions on three distinct groups: Native Americans, Mormons, and ranchers. Through heart-rending interviews, the narrative unfolds, encompassing a diverse range of individuals of various ages and backgrounds who live(d) downwind of these harrowing detonations across Nevada, Arizona, and Utah. Water, crops, air, and livestock are also contaminated, making even the simplest livelihoods incredibly difficult.
Presented by Gravitas Ventures, Downwind masterfully uncovers a somber and notorious chapter of US history, illuminating the ongoing health repercussions faced by downwinder communities. Among those affected are the marginalized Western Shoshone, whose sacred land is still constrained by treaty, amidst debates surrounding the resumption of nuclear testing. Delving into a troubling era when nuclear weaponry transitioned from a perceived form of aid to a perilous gateway into radioactive experimentation, essentially turning people into unwitting subjects of horrific scientific trials.
The ramifications of these experiments reverberate to this day, manifesting in alarming health crises, pernicious side effects, and staggering mortality rates that the American government has distressingly opted to downplay. While engaging in elaborate propaganda campaigns, domestically and internationally, the government has consistently sidestepped accountability for the devastation wrought by these experiments. This documentary spans understanding and knowledge of diverse locations throughout the states, from the red-earth canyons near St. George, Utah, to the heart of New York City.
Under the directions of Mark Shapiro and Douglas Brian Miller, Downwind poignantly captures the tireless activism of individuals who have spent decades speaking out against the dire consequences of downwind exposure. The passing of the Radiation Exposure Compensation Act (RECA) in 1990 marked a progressive step forward. However, the Act’s requirements placed an almost insurmountable burden on families to incontrovertibly demonstrate that radiation from downwind nuclear testing caused their ailments. Even if successful, the compensation offered – a mere $50,000 lump sum – pales in comparison to the astronomical costs of cancer treatments, medications, and therapy that Downwinders require to survive.
Stark statistics highlight the paradoxical allocation of resources: America annually allocates nearly $63 billion to nuclear weapons, while families continue to lose loved ones to cancer linked to downwind exposure. The tragic toll even extends to Hollywood, with over half of slightly over 200 cast members and crew of John Wayne’s film The Conqueror, falling victim to these illnesses. His son, Patrick Wayne, insights that even his father most likely has succumbed to health complications (stomach cancer) incurred during the shooting on the nuclear-contaminated terrain of Nevada.
Narratedby Martin Sheen (also an activist), Downwind features appearances by Oscar award winner Michael Douglas, comedian Lewis Black, and resilient Downwinders, which weaves a narrative devoid of celebrities or extravagance. Instead, it offers a collective voice of those impacted by downwind exposure, reaching back through generations – even to Michael Douglas’s father, Kirk, who fled Belarus due to similar dangers. Their European rural village no longer exists because of downwind consequences, leaving yet another place and family with little to no connection to genealogical heritage.
Downwind encapsulates the inspiring rise of American patriots/activists driven by the hope of unveiling government betrayals, halting future nuclear weapons testing, and rallying Congress to bolster the underfunded RECA. the film highlights recent strides, including a Senate decision to expand RECA’s coverage, embracing more individuals affected by nuclear testing and uranium mining.
According to the International Campaign to Abolish Nuclear Weapons (ICAN), “On 27 July, the US Senate voted to expand the Radiation Exposure Compensation Act (RECA) to include more people affected by US nuclear testing, including the first US nuclear test in New Mexico, as well as to include workers in the uranium mining industry after 1971.” This amendment is slated to sunset in June 2024.
While Christopher Nolan’s Oppenheimer commands attention in theaters, Downwind stands as an essential documentary that transcends the allure of Hollywood glitz and glamour regarding American heritage. It courageously exposes an enduring epidemic that grips American land and people – a cinematic endeavor that peers beyond the patriotic facade to reveal an age-old, ongoing crisis.
Downwind is a brilliant documentary that shines a piercing light on a hidden chapter of American history. It’s an imperative cinematic experience that stirs a resounding plea for collective awareness, urging us to confront the shadows of the past and unite in shaping a future free from the haunting specter of nuclear experimentation. I highly recommend watching this documentary film on any screen.
Downwind is available in select theaters and Digitally now.
When Percy Jackson & the Olympians: The Lightning Thief hit theaters in 2010, it was pegged as the next Harry Potter. The adaptation of Rick Riordan’s YA mythological book was well-received, really launching Logan Lerman into stardom. But by 2013 and the arrival of Percy Jackson: Sea of Monsters, the bloom was off the YA rose. The film didn’t do well, and a sequel was canceled. Then Disney came along, and now Percy Jackson is back, but as a Disney+ series.
A fresh take arrives on the titular teen demigod in Percy Jackson And The Olympians, which hits Disney+ on December 20th. Walker Scobell stars as Percy, who is accused by the mighty Zeus of stealing his thunderbolt. Joined by his best friends Annabeth, the daughter of Athena, and Grover, a satyr, Percy must discover the truth while navigating the social hierarchy at Camp Half-Blood.
The cast also includes Leah Sava Jeffries, Aryan Simhadri, Lin-Manuel Miranda, Megan Mullally, Toby Stephens, Virginia Kull, Jason Mantzoukas, Jay Duplass, Glynn Turman, Charlie Bushnell, Dior Goodjohn, Jessica Parker Kennedy, Olivea Morton, Suzanne Cryer, Timm Sharp, Timothy Omundson, the late Lance Reddick in his final role, and WWE Hall of Famer Adam “Edge” Copeland.
James Bobin (Muppets Most Wanted) directs the first two episodes, with Jon Steinberg and Dan Shotz as showrunners.
Transporting us to the not-so-distant future of 2029, The Moon unveils a compelling narrative that resonates with the haunting aftermath of South Korea’s first and ill-fated inaugural lunar mission. Undeterred by past failures, a resolute second human spaceflight embarks on a courageous journey, only to be confronted by an unforeseen adversary— relentless solar wind flares that disrupt the SK space station’s delicate existence.
Amidst the aftermath of this solar storm, a lone astronaut grapples with isolation and depleting oxygen in the vast cosmic expanse. Against an unforgiving countdown, the Naro Space Center summons its former director, igniting a high-stakes race against time to rescue the stranded astronaut and avert another yet, potential catastrophe.
Directed and penned by Kim Yong-Hwa (Along With The Gods franchise), The Moon artfully utilizes a stellar cast that includes Sol Kyung-gu (Phantom), Do Kyung-soo (Swingkids), and Kim Hee-ae. The film delves into the emotional depths of South Korea’s maiden crewed lunar exploration, immersing viewers in the profound isolation experienced by astronauts navigating the uncharted cosmos.
Tensions begin to flair as this second launch carries monumental significance for South Korea’s Space program. Scarred by the catastrophic explosion of their initial mission’s rocket, the nation perseveres, investing resources to redefine its cosmic destiny on its terms. Fast-forwarding to 2029, a renewed launch bears the weight of redemption. Yet, triumph remains elusive as the solar wind’s fury threatens to unravel their aspirations anew. Amidst chaos and uncertainty, astronaut Sun-woo (Do Kyung-soo) emerges as a solitary beacon of humanity in the cosmic abyss of the moon’s dark side.
The Moon seamlessly intertwines his fate with that of the Naro Space Center’s former director, Kim Jae-guk (Sol Kyung-gu). Kim is the former partner of Sun-woo’s father who also faced tragedy after their first lunar mission’s failure. Kim plays a crucial role at the center of both missions; working double to earn Sun-woo’s trust. Kim is deeply driven by his unwavering quest for redemption fueled by past failures and personal tribulations.
The film’s enthralling visuals merge seamlessly with a compelling script, immersing audiences in the astronauts’ isolation and turmoil. Meteor showers intensify the drama, while nations grapple with pivotal decisions. The Moon goes beyond the realm of mere space exploration and evolves into a poignant testament to unity, resilience, and the enduring flame of hope.
The Moon is a captivating space odyssey that encapsulates the indomitable human spirit in the face of adversity. Through breathtaking galactic visuals, compelling performances, and resonant themes, the film beckons us to reflect on our shared human journey and the unwavering determination that propels us toward the stars. Against the boundless canvas of the universe, the film stands as a timeless reminder of our capacity to conquer the unknown and unite in the relentless pursuit of the extraordinary.
Well, that’s it for The Flash! The failed DC Comics movie, which DC Studios co-chief James Gunn touted as one of the greatest superhero movies ever, has ended its theatrical run with just $268M worldwide. Oof. That’s more than $100M less than Black Adam, but considerably more than Shazam: Fury of the Gods, although all of them are bombs.
Following this news, Warner Bros. has revealed when The Flash will hit Max streaming. The timing is ironic, because the reason for the film’s failure is that a lot of folks decided to just wait and watch it at home. Well, now they can on Max, next week on August 25th.
Call me crazy, but I think in the long run The Flash will be more appreciated.The problems of star Ezra Miller plagued it from the start, keeping audiences away who didn’t want to support them.
It’s possible some aspects of the film will carry over into Gunn and Peter Safran’s DCU, like Sasha Calle’s Supergirl which received high marks from fans.
Hey, remember Michel Gondry? It’s been a while since we’ve seen anything from the Eternal Sunshine of the Spotless Mind director. His last film, Microbe & Gasoline, which I guarantee you didn’t see, arrived in 2015! But he came back at Cannes with The Book of Solutions, and while it doesn’t have distribution yet, a trailer is here to give us a look at what Gondry’s been up to.
Written and directed by Gondry, the meta story follows a filmmaker named Marc who is in a creative dry spell, but reclaims his mojo and begins dispensing advice in what he calls the Book of Solutions.
The film stars Pierre Niney, Blanche Gardin, and Francoise Lebrun.
Reviews out of Cannes were positive but a bit muted. It’s good to see Gondry, one of the most visually inventive directors, back out there making movies again.
There’s a new superhero on the DC block! On this episode of Cinema Royale, we’re talking Blue Beetle with my good friend The Movie Mom, Nell Minow! Is Blue Beetle the film that ends the super-powered slump that DC has been trapped in? With a strong emphasis on faith, family, and of course big comic book-style action, Nell is the perfect person to have aboard to discuss a crucial movie as DC Studios prepares for a total relaunch.
All of this and plenty more, like me forgetting to change the camera view. Oops! Sorry about that, and I’ll make sure to correct it next week.
If you’re a fan of director Rebecca Miller, you already know it’ll be a long time between movies and the wait is usually worth it. I remember interviewing her back in 2015 for Maggie’s Plan, which arrived six years after The Private Lives of Pippa Lee, which was four years after The Ballad of Jack & Rose, which was a few years after Personal Velocity. Well, you get the point. But Miller is back now with She Came to Me, which recently was the Opening Night film at Berlinale.
Peter Dinklage, Anne Hathaway, Joanna Kulig, Marisa Tomei, and Brian d’Arcy James star in She Came to Me, about an opera composer with writer’s block just as he’s set to make his big comeback. At the advice of his therapist wife, he seeks inspiration and finds it in a New York tugboat captain.
While this is Miller’s first narrative feature in eight years, her last film was the documentary Arthur Miller: Writer, about her father the legendary playwright. Miller also reached out to her friend Bruce Springsteen, who provided music for Maggie’s Plan, to get him to do the new original song “Addicted to Romance.”
She Came to Me opens in theaters on September 29th.
An explosion of queer cinema has led to a new wave of filmmakers exploring the idea of transformation in the form of sensual body horror. One that made a splash earlier this year at Sundance was My Animal, an erotic werewolf film from director Jacqueline Castel.
Starring Euphoria‘s Bobbi Salvör Menuez and The Hate U Give‘s Amandla Stenberg, the story centers on the queer romance between a mysterious outsider struck by a family curse, and a rebellious figure skater.
The cast also includes Heidi von Palleske, Cory Lipman, Charlie & Harrison Halpenny, Joe Apollonio, Scott Thompson, Dean McDermott, and Stephen McHattie. Jae Matthews wrote the screenplay.
Here’s the synopsis: Bobbi Salvör Menuez (Euphoria) and Amandla Stenberg (Bodies Bodies Bodies) ignite in this genre-bending supernatural love story. Tormented by a hidden family curse, Heather is forced to live a secluded life on the outskirts of a small town. When she falls for the rebellious Jonny, their connection threatens to unravel Heather’s suppressed desires, tempting her to unleash the animal within.
Look for My Animal in select theaters and digital on September 8th.
