|RELEASE DATE|RUNTIME|IMDB|ROTTENTOMATOES|METACRITIC| |:---:|:---:|:---:|:---:|:---:| |Nov 10th, 2023|2hr 13m|8.3|96%|81|

Premise:

A cranky history teacher at a remote prep school is forced to remain on campus over the holidays with a troubled student who has no place to go.

Director(s):

Alexander Payne

Writer(s):

David Hemingson

|CAST||| |---|:---:|---| | Paul Giamatti |...| Paul Hunham | | Dominic Sessa |...| Angus Tully | | Da'Vine Joy Randolph |...| Mary Lamb | | Carrie Preston |...| Miss Lydia Crane | | Brady Hepner |...| Teddy Kountze | | Ian Dolley |...| Alex Ollerman | | Jim Kaplan |...| Ye-Joon Park |

> Last year, the original Pixar film “Elemental” looked doomed with the worst opening weekend in studio history, but turned into the box office comeback of the year. DreamWorks Animation’s latest film, “The Wild Robot,” hopes to chart a similar path to theatrical success. > > Despite rave early reviews, projections for the Universal release remain very low, with most projecting a start in the $20 million range similar to the $25 million start last weekend for Paramount’s “Transformers One.” > > As an adaptation of Peter Brown’s book series, “The Wild Robot” is not strictly speaking an original film. It’s in the vein of literary adaptations DreamWorks has picked up dating back to its first big CG-animated hit, “Shrek,” which was loosely based on a children’s book by William Steig. > > The most recent DreamWorks book adaptation, “The Bad Guys,” opened to just under $24 million in 2022 and grossed $97 million domestic and $250 million worldwide, prompting Universal and DreamWorks to greenlight a sequel for next year. > > With its beautiful animation style and moving tale of a robot stranded in a forest that adopts an orphaned gosling, “The Wild Robot” has the potential to win over audiences and show similar legs to “The Bad Guys.” If audiences embrace it as much as the critics, it could go even further, taking advantage of a lack of competing family titles in October and early November for a run similar to the $154 million domestic/$496 million global total of “Elemental.” > > But the fact that “The Wild Robot” must take the long road to box office success compared to instant hit sequels to films like “Inside Out” and “Despicable Me” shows how much familiar characters and narratives have come to dominate the family market since the pandemic shutdown. > > And sometimes even that is not enough, as Paramount is looking for “Transformers One” to leg out based on strong buzz from franchise fans, hoping that will win over moviegoers who weren’t originally sold on an origin story movie from the long-running series. > > “The cost-driven selectivity that families bring into whether or not they see a movie is playing out in real time. Something like ‘Despicable Me’ which families already know and enjoy can get people in easily. In this case, familiarity breeds confidence that it’s worth the time, energy and money to go out to the theater,” said Comscore analyst Paul Dergarabedian. > > Pixar’s “Coco,” the last original animated film to gross over $500 million worldwide, opened to $72 million over five days on Thanksgiving weekend in 2017. “Shrek” opened to $42 million before inflation adjustment back in 2001 while another children’s book adaptation, “How to Train Your Dragon,” opened to $43 million in 2010. Both cleared $200 million in domestic grosses. > > “The Wild Robot” is earning critical acclaim as strong or perhaps stronger than any installment of the franchises spawned by those films, yet could very well have to settle for an opening below $30 million. The wild success of “Inside Out 2” and “The Super Mario Bros. Movie” shows that families have not abandoned theaters in the slightest, but such tracking for “Wild Robot” perhaps suggests that parents are less likely to try out something new unless they’re convinced they and their kids will enjoy it, making post-release word-of-mouth even more crucial. > > “It used to be that theatrical and home video were the clear metrics with sometimes merch being taken into account, but now with streaming it just makes the formula so different,” said Dergarabedian. “Now it takes months and months to really see how much an animated film makes an impact on audiences, and it takes everyone in the room at a studio from different departments to sort it all out.” > > Further complicating matters for both “The Wild Robot” and “Transformers One” is that Warner Bros.’ “Beetlejuice Beetlejuice” has found considerable traction with families and young adults. According to data from exhibition sources, the audience share of moviegoers age 13-24 has increased by 16 points in the second and third weekend of the Tim Burton sequel’s run compared to its Gen X driven opening weekend. > > This is part of the reason why “Beetlejuice 2” has been able to hold so well, approaching $250 million domestically after holding on to the No. 1 spot last weekend against “Transformers One.” > > With three well-reviewed, family friendly yet tonally unique films now on offer and with the R-rated “Joker: Folie a Deux” being the top new release next weekend it will be curious to see how audience interest shakes out this weekend and whether “Transformers One” and “The Wild Robot” will be able to have lengthy and profitable theatrical runs without cannibalizing audience interest in each other. > > Meanwhile, cinephiles will at long last get a chance to see Francis Ford Coppola’s long-gestating and critically polarizing “Megalopolis,” as Lionsgate brings it to theaters this weekend. > > It has been a long road for this movie starring Adam Driver and Giancarlo Esposito as a brilliant architect and a corrupt mayor clashing over humanity’s future. The film was first conceived by Coppola in 1977 shortly after completing “Apocalypse Now,” but was shelved after a string of box office failures until Coppola decided to fund the film himself, selling his Sonoma wineries to fund the film’s $120 million budget. > > Upon its premiere at Cannes, “Megalopolis” sharply divided critics, carrying a 52% Rotten Tomatoes score. Screenings for the film for Hollywood’s top studio execs led to the movie largely being passed on until Lionsgate reached a distribution-only deal in June, with Coppola covering the marketing costs. > > How much Coppola, who has voiced his plans for other filmmaking projects, needs “Megalopolis” to make to keep bringing his cinematic visions to reality is unclear. But what is clear is that “Megalopolis” is likely to do worse than than “Horizon: An American Saga — Chapter 1,” the first of a planned four-part series partially self-funded by writer-director Kevin Costner that had the release of “Chapter 2” indefinitely put on hold after it only made $29 million in the U.S. from an $11 million opening. > > “Megalopolis” is tracking to open to roughly half that at $5-7 million, and given the mixed reception is unlikely to find an audience outside of Coppola’s devoted fans and the most fervent of cinema lovers. > > For Lionsgate, this will be the fifth straight wide release for the studio with an opening weekend of below $10 million. But unlike some past recent misfires like “Borderlands,” Lionsgate holds no expenses beyond what it paid to acquire the distribution costs along with a percentage of the box office. With such a low bar, insiders tell TheWrap that Lionsgate should recoup its costs on “Megalopolis” within a week of theatrical play.

Here's a plot for "The Plumber" starring Jason Statham:

Genre: Action-Thriller

Plot:

Jack "The Plumber" Reynolds (Jason Statham) is a rugged, no-nonsense plumber with a mysterious past. Living in modern-day London, Jack has retired from his former life as a special forces operative. However, when his brother, a fellow veteran, is murdered, Jack is pulled back into the world of high-stakes espionage.

As Jack investigates his brother's death, he uncovers a sinister plot to manipulate the city's water supply, threatening the lives of millions. The trail leads him to a corrupt businessman, Victor Vex (Tom Hiddleston), who's using his wealth and influence to further his nefarious agenda.

With his plumbing skills and combat training, Jack navigates the city's underground infrastructure, taking down Vex's henchmen and unraveling the conspiracy. Along the way, he teams up with Sarah (Emily Blunt), a resourceful engineer who helps him stay one step ahead of the villains.

As the stakes escalate, Jack faces off against Vex in an intense, hand-to-hand combat showdown. With his skills and determination, Jack saves the city from catastrophe, earning his nickname "The Plumber" as a hero who unclogs more than just pipes.

Subplots:

1. Jack's complicated relationship with his estranged sister-in-law and niece, whom he must protect.
2. A rival plumber, Marcus (Idris Elba), who becomes an unlikely ally.
3. Jack's past as a special forces operative, revealed through flashbacks.

Action sequences:

1. High-speed chase through London's sewer system.
2. Fight in a crowded market.
3. Showdown at an abandoned water treatment plant.

Themes:

1. Redemption and second chances.
2. Family and loyalty.
3. The power of unconventional skills in unexpected situations.

This plot combines Jason Statham's signature action-hero style with a unique, relatable protagonist and a gripping storyline.

Can you think of any other good ones?

Here are some things I found in common between these two movies:

Alexandra and Corso

The jewel and the book

Lots of dialogue

Machiavellian horror

Cigarettes

Soundtrack

The Ninth Gate

• Must watch

Wishmaster

• Average 90s movie

>A forbidden Italian summer. A deadly secret. A grieving father’s revenge.

>DISCLAIMER* — a gripping seven-part psychological thriller premieres October 11 on Apple TV+

I just saw The Substance on Thursday in a fairly full theater. I really enjoyed the movie and the last 30 mins was batshit insane and a fun viewing experience in a packed room.

While I really enjoyed it and gave it 4.5 stars on letterboxd, my gf was physically uncomfortable for a lot of the movie and didn't like it nearly as much as I did.

Just looking to hear other people's opinions who have seen it already. It's been getting a lot of buzz in the movie channel with my discord friends.

> North American theater owners new capital investments draw moviegoers house premium experience local multiplex.

>From director Ridley Scott, watch the New Trailer for #GladiatorII starring Paul Mescal, Pedro Pascal, Denzel Washington, Connie Nielsen, Joseph Quinn, and Fred Hechinger - Only in theatres November 22.

>A boy’s journey. A mother’s love. Miles of burning city between them.

>Saoirse Ronan stars in the new film Blitz, from Academy Award Winner Steve McQueen. In select theaters November 1, streaming on Apple TV+ November 22.

>Den of Thieves 2: Pantera – in theaters January 10! Starring Gerard Butler and O’Shea Jackson Jr.

Full text:

> Hollywood’s top lobbying group, the Motion Picture Association, has a powerful new member: Amazon. > > The tech giant’s decision to join the M.P.A. after a long courtship reflects its ambition in the streaming and film businesses — as well as the association’s need to add muscle. “Welcoming Prime Video and Amazon MGM Studios into our ranks will broaden our collective policymaking and content protection efforts,” Charles H. Rivkin, the association’s chief executive, said in an interview. > > The association’s other members are Disney, Netflix, Paramount, Sony, Universal and Warner Bros. The M.P.A. has not added a member since 2019, when Netflix joined. Mr. Rivkin, a former United States ambassador and assistant secretary of state, has since focused recruitment efforts on Amazon. > > Amazon gained a foothold in the entertainment industry in the 2010s with unconventional series like “Transparent” and indie films like “Manchester by the Sea.” The company has since grown its Prime Video streaming service into a colossus. Last year, Amazon spent $19 billion to make or acquire content (films, TV shows, music), up 14 percent from a year earlier. > > In 2021, Amazon acquired Metro- Goldwyn-Mayer for $8.5 billion. MGM was a founding member of the M.P.A. in 1923. But the studio dropped its membership in 2005 amid an ill-fated merger with Sony. In Mr. Rivkin’s membership discussions with Amazon, its purchase of MGM “changed the conversation,” he said. In the years ahead, Amazon plans to roughly double MGM’s theatrical slate to as many as 16 films annually. > > Mike Hopkins, senior vice president of Prime Video and Amazon MGM Studios, said in a statement that the company was “proud” to join the M.P.A. and its effort “to protect creators, content and consumers worldwide.” Amazon has successfully worked with the association on piracy efforts over the last few years. > > For decades, the M.P.A. reigned as one of the most powerful trade associations in Washington. Its influence waned in the 2000s with the arrival of lobbyists for Big Tech. The M.P.A. also suffered from budget cuts and glacial decision making, in part because of consolidation in the entertainment industry; member studios had become embedded inside media conglomerates with divergent interests. > > The low point came in 2012, when the M.P.A. failed to push through the Stop Online Piracy Act, which was mostly aimed at piracy sites overseas. Google and other tech companies, including Amazon, mobilized to defeat the legislation, arguing that it would effectively allow the government to censor the internet. > > Mr. Rivkin was hired in 2017 to reinvigorate the M.P.A. The association’s priorities include strengthening copyright protections. It also lobbies to open markets — primarily China — and secure tax incentives to produce films. Mr. Rivkin has expanded the group’s advocacy to include streaming. > > The association also oversees the movie-ratings system in the United States and operates a separate unit to fight piracy. Last month, the M.P.A. helped shut down Fmovies, a Vietnam video site that trafficked in stolen Hollywood content, attracting 6.7 billion visits from January 2023 to June 2024. > > With the addition of Amazon, the only significant Hollywood player that remains a nonmember is Apple. > > “It used to be seen as a Northern versus Southern California battle,” Mr. Rivkin said, referring to Hollywood and Silicon Valley. “That is so outdated. The lines have blurred.”

>ABSOLUTION is in theaters November 1!

>From writer/directors Scott Beck and Bryan Woods and starring Hugh Grant, Sophie Thatcher, and Chloe East. HERETIC – In Theaters This Fall.

>What's it feel like to die? From director Bong Joon Ho, comes Mickey 17 - only in theaters January 31, 2025.

>An exclusive new clip from The Witcher: Sirens of the Deep, featuring the voices of Doug Cockle and Joey Batey as Geralt and Jaskier. The animated film hits Netflix on February 11th, 2025.

These larger polls do seem to get better results. I hope you all can also make it on Saturday.

>Anna Kendrick stars in her directorial debut, Woman of the Hour – the stranger-than-fiction story of an aspiring actress in 1970s Los Angeles and a serial killer in the midst of a yearslong murder spree, whose lives intersect when they’re cast on an episode of The Dating Game. Woman of the Hour debuts on Netflix, October 18.

>Family is a life sentence. Josh Brolin, Peter Dinklage, Taylour Paige, M. Emmet Walsh, Jennifer Landon, with Brendan Fraser and Glenn Close star in #BrothersMovie, streaming on Prime Video October 17th.