Bond and Brown continue on the attack! I’m Realistic Fish Head. Spectre earned 90 million during Veteran’s Day while Fox served a double helping with The Peanuts Movie earning 7.8 million while The Martian reached 200 million. This week, Spectre adds 35 million and The Peanuts Movie adds 24 million as both movies stay in position to extend their lead. With Bond reaching millions across the world Gene, can he continue his run before Katiness Everdeen ends The Hunger Games for good?
Spectre remained in first place at the box office this weekend with an estimated $35.4 million. The latest installment of Sony and MGM’s James Bond franchise was down a solid 50 percent from last weekend’s debut. This weekend’s hold came as welcome news after the film opened on the very low end expectations last weekend. The second weekend percentage hold for Spectre was stronger than both the second weekend percentage hold of 2012’s Skyfall (which fell 53.5 percent to gross $41.10 million) and the second weekend hold of 2008’s Quantum of Solace (which fell 60 percent to gross $26.71 million). While this weekend’s hold was helped by the relative lack of new competition in the marketplace, it also suggests that Spectre is going over better with moviegoers than it has with critics and is a positive sign for the film going forward. Spectre has grossed $130.70 million in ten days. That places the film 19 percent behind the $160.94 million ten-day take of Skyfall and 20 percent ahead of the $108.79 million ten-day gross of Quantum of Solace.
The Peanuts Movie placed in second with an estimated $24.2 million. The 3D computer animated adaptation from Fox and Blue Sky was down 45 percent from last weekend. That represented a hefty second weekend decline for a computer animated film outside of the summer season and came as a bit of a surprise, especially given the strong critical reviews for The Peanuts Movie. This weekend’s hold suggests that the pre-existing Peanuts fanbase led to some built-in front-loading for the film last weekend. The Peanuts Movie is still having a solid run so far with a ten-day take of $82.49 million. That places the film 12 percent behind the $93.65 million ten-day take of 2012’s Wreck-It Ralph (which fell 33 percent in its second weekend to gross $33.01 million). It will be very important for The Peanuts Movie to stabilize next weekend, especially with Pixar’s highly anticipated The Good Dinosaur entering the marketplace on Wednesday, November 25th.
Love the Coopers was the weekend’s strongest new wide release with an estimated third place start of $8.40 million. The ensemble holiday comedy from CBS Films and Lionsgate opened slightly ahead of its modest pre-release expectations. Without taking into account ticket price inflation, Love the Coopers opened 33 percent below the $12.52 million start of 2005’s The Family Stone. Like that film, Love the Coopers will hope to have a lengthy run at the box office with help from the holiday season. On the other hand, Love the Coopers has been received poorly by critics and received an underwhelming B- rating on CinemaScore, so it remains to be seen whether or not the film will prove to be critic proof going forward.
Fox’s The Martian took fourth place this weekend with an estimated $6.73 million. The blockbuster Ridley Scott directed 3D sci-fi film starring Matt Damon continued to hold up very well, as it was down just 26 percent from last weekend. The 45-day total for The Martian stands at a very impressive $207.41 million. That places the film 21 percent ahead of the $171.54 million grossed by last year’s Interstellar after 45 days of wide release and 14 percent behind the $240.38 million 45-day gross of 2013’s Gravity.
The 33 rounded out the weekend’s top five with an estimated $5.85 million. The Warner Bros. drama starring Antonio Banderas opened below expectations, which were modest to begin with. Audiences ultimately weren’t interested in the theatrical re-telling of the 2010 Copiapó mining accident and mixed critical reviews didn’t help matters either. The film opened an underwhelming 47 percent below the $11.02 million debut of McFarland, USA earlier this year. The 33 did receive an encouraging A- rating on CinemaScore and registered an estimated opening weekend to Friday ratio of 3.19 to 1, so it is possible that the film could hold up well going forward.
My All American made even less of an impact in wide release this weekend with an estimated debut of just $1.39 million. The Aaron Eckhardt led sports drama from Aviron Pictures opened a disappointing 65 percent below the recent $4.00 million debut of Woodlawn and wasn’t helped out by being released so soon after Woodlawn. My All American received a strong A rating on CinemaScore, but that likely won’t mean much going forward given the film’s soft start.
Fox International Productions’ Prem Ratan Dhan Payo opened strong in limited release with an estimated $2.40 million from 286 locations, while Open Road’s Spotlight remained strong in platform release with an estimated $1.40 million from just 60 locations. Respective total grosses stand at $2.79 million for Prem Ratan Dhan Payo in four days and at $1.85 million for Spotlight in ten days.
Meanwhile, Universal’s By the Sea had an unsuccessful platform launch with an estimated $95,440 from ten locations. That gave the poorly reviewed Angelina Jolie Pitt directed film starring Jolie Pitt and Brad Pitt a per-location average of just $9,544, which is obviously soft for a higher profile platform release and will make it even tougher for the film to receive significant expansions going forward.
To recap, Spectre goes guns blazing in 1st, The Peanuts Movie holds in 2nd, Love The Coopers opens strong in 3rd as the holidays fast approach, The Martian zooms 4th after notching the 200 million smacker mark, and the 33 rescues hostages in 5th.
After being sidelined by summer schedule changes last year, Disney/Pixar’s The Good Dinosaur is ready to roar! But what will moviegoers realize after waiting a year after the previous Disney/Pixar flick Planes 2: Fire and Ice survived last year’s schedule changes? Lay it on us Perch!
Perch Perkins (via Variety)- It’s no knock on “The Good Dinosaur” to note that it is neither as ingeniously conceived nor as emotionally wrenching as this summer’s “Inside Out,” a movie it doesn’t even try to emulate; it falls into that humbler category of Pixar efforts, like “Brave” and “A Bug’s Life,” that are content to riff engagingly on material we’ve seen before, rather than imagining an entirely new world from scratch. Marking a solid, graceful feature-directing debut for Peter Sohn (an artist and voice actor on“The Incredibles,” “Ratatouille” and other Pixar productions), this is moving and accessible family fare that should rack up strong global returns in the month or so before the season’s other big Disney release — something involving a star and a war — makes like T-Rex with the box office competition.
At the very least, it’s refreshing to see Pixar churn out two original, non-franchise-based efforts in between sequels (with “Finding Dory” due out next year), even if the movie in question doesn’t always feel like a prize specimen. But then, neither does our hero, Arlo, a runty apatosaurus growing up in a very distant fictionalized past. In the alternate history of Earth set forth in Meg LeFauve’s screenplay, the dinosaurs were not wiped out 65 million years ago by a wayward asteroid — as shown in a sly fakeout of an opening sequence — but instead survived, thrived and developed a remarkably advanced agrarian society, which explains (sort of) how a family of green, long-necked dinosaurs came to own a cornfield and a chicken coop on the banks of a river in what looks like prehistoric Wyoming. It’s a lovely, mildly creepy pastoral scene — think of it as George Orwell’s “Jurassic Farm” — where dinosaurs notably behave just like people: laboring, laughing, bickering, and trying to ensure the best for their children.
It’s jarring initially to hear American-accented English pouring from the mouths of Arlo (voiced by Raymond Ochoa) and his parents, Poppa (Jeffrey Wright) and Momma (Frances McDormand), especially since their conversations consist mainly of canned banter and platitudes. Relentlessly teased and outshone by his bigger, braver siblings, Buck (Marcus Scribner) and Libby (Maleah Padilla), Arlo has developed a severe inferiority complex, though Poppa tries to teach him the importance of bravery, as well as proper goal setting and follow-through: “You gotta earn your mark by doing something big.” Arlo will certainly get his chance when a violent rainstorm sends him downriver; he washes up miles from home, battered and bruised, with only a human wild child (Jack Bright) for company.
The runty dinosaur and the pint-sized Neanderthal have good reason to distrust each other at first, and it’s a measure of how adroitly the film has manipulated our sense of identification that we wouldn’t mind, at least at first, if Arlo just finished off the filthy, feral little troublemaker. But the viewer’s sympathies naturally shift as the boy, who tellingly responds to the name Spot, finds ways to help the frightened Arlo, and their antagonism slowly turns to friendship. Crawling around on all fours and talking in growls, grunts and the occasionally well-timed bite, Spot is unmistakably presented as the savage pet in the relationship, a choice that raises some subtle moral and ecological questions about a world where humans aren’t at the top of the food chain. In any event, the characters’ deepening bond is tenderly and touchingly observed, never more so than in a piercingly beautiful nighttime scene where Arlo and Spot find a wordless way to convey a shared sense of sorrow.
The quiet sublimity of that moment may well trigger memories of “How to Train Your Dragon,” though it’s hardly the only animated touchstone that looms heavily over the proceedings. At times it seems that every movie in the Disney critter canon is up for grabs: Echoes of “The Lion King” reverberate loudly through these scenic mountain passes (Poppa is basically Mufasa with scales). And as Arlo and Spot encounter one colorful new species after another, the movie increasingly recalls “The Jungle Book,” another tale of a man-cub and a hissing, roaring menagerie. In the latter respect, Sohn and his creative team have allowed their imaginations to roam free: A salmon-pink cobra with legs and a winged insect the size of a wild boar are among the hostile animals briefly rescued here from cinematic extinction.
A rather friendlier fellow is the Pet Collector, a kooky old styracosaurus (voiced by Sohn) whose amusing horn-aments and deadpan delivery raise the possibility that “The Good Dinosaur” is about to shift into a very different, much trippier mode. (Another madcap sequence, in which Arlo and Spot enjoy some particularly strange fruit, keeps that hope alive.) Unfortunately, the style of humor becomes broader and more funny-accent-driven as the movie progresses, reaching a nadir with a pack of nasty, snaggle-toothed raptors who seem to have been patterned on meth-cooking hillbillies from the Ozarks. Running a close second is a team of hungry pterodactyls led by Thunderclap (Steve Zahn), whose beach-bum-style mantra is “The storm provides” (he may as well be saying, “The Dude abides”).
By the time Arlo and Spot meet an unexpectedly friendly clan of T-Rexes who double as buffalo ranchers, it’s clear that the film means to be a Western throwback of sorts, one that just happens to be set closer to the dawn of time. It’s a charming enough conceit that’s most fully realized in a delightful campfire scene, with none other than Sam Elliott lending his baritone growl to the role of a scarred, grizzled T-Rex showing off his war wounds (it’s probably the one time you’ll find it odd that a dinosaur isn’t chewing tobacco). And it’s particularly suited to the rugged majesty of the film’s scenery: fir-lined slopes, craggy mountain peaks and babbling brooks, all rendered in staggering widescreen compositions with an almost photorealistic attention to detail, and integrated seamlessly with the more stylized character designs.
As our homeward-bound heroes near their respective destinations, “The Good Dinosaur” seems to falter and lose its way — and then, in almost the same moment, to find it again. Its lush, classical storytelling lapses into familiar beats and payoffs, en route to an outcome as certain as the recurrence of Mychael and Jeff Danna’s often distractingly Tolkien-esque score. But predictability can have its pleasures, too, and it’s hard not to feel a gentle surge of emotion as Arlo learns his lesson in courage — not least the courage of befriending another soul. Cross-species bonding may have its limits, but it’s hard not to find beauty in a boy-meets-beast saga that, by the end, has made it hard to tell which is which.
Let’s see how The Good Dinosaur does on Thanksgiving next weekend.
The next Dragonball series is ready to fight as Toonami adds it to its collection after continued airings on DBZ Kai last Saturday on the Adult Swim late night block. It looks like the series squeezes in before the last DBZ movie and the season of sagas on DBGT. When will the new season air Dan?
Dan Barry (via Animation World)- Toonami, Turner’s kids brand dedicated to delivering the best superhero and action-adventure animation in South and Southeast Asia, has snapped up the latest installment of the Dragon Ball franchise from Toei Animation. Dragon Ball Super is the first all-new Dragon Ball television series to be produced in nearly 20 years, and will make its pan-regional launch on Toonami in mid-2016. It will be an exclusive first-run premiere on Toonami in Southeast Asia and India, as well as its English-language world premiere.
“This announcement is huge for fanboys and girls in Asia. Dragon Ball is undoubtedly the original and world’s biggest anime export, and is a cornerstone of our programming on Toonami,” said Mark Eyers, Chief Content Officer for Turner’s Kids Networks in Asia Pacific. “Since the channel launched in 2012, Toonami has been airing episodes of Dragon Ball Z and Dragon Ball Z Kai, and to premiere Dragon Ball Super demonstrates the channel’s continued commitment to securing must-have and must-see content, first on Toonami.”
Reuniting the franchise’s iconic characters, Dragon Ball Super follows the aftermath of Goku’s fierce battle with Majin Buu, as he attempts to maintain earth’s fragile peace. Overseen by Dragon Ball’s original creator, Akira Toriyama and produced with Fuji Television, Dragon Ball Super will draw on its historic past to create a bold, new universe welcoming to fans and endearing to new viewers.
Introduced as a manga in Weekly Shonen Jump in 1984, Dragon Ball has evolved into a globally beloved brand. Seen around the world, with over 230 million copies of its comic books sold, Dragon Ball is one of the most popular anime franchises of all time.
The threat of Majin Buu has passed, and Goku and friends are finally living in peace. The day of Bulma’s birthday party arrives, and everyone gets together again for the first time in ages. Then Beerus, the God of Destruction, appears. Goku gets his friends’ help to become the legendary Super Saiyan God, and gets into a fierce fight with Beerus, but he’s not quite as powerful as the God of Destruction. Beerus ends the fight, and informs Goku of a shocking fact. This universe where Goku and crew live is only one of 12. What’s more, each universe has its own God of Destruction, which means there might be opponents out there even stronger than Beerus! The story now moves into a new phase. Now the world of Dragon Ball reaches a new dimension that’s beyond imagination.
Checking the Penguins tally, 1,527 fans sign in as the Thanksgiving craze reaches the end of the line as the holidays creep closer.
The vampires are ready to invade the land of Ooo as vampire secrets are revealed and legends are made, but a vampire hunter makes a startling discovery which could change everything! Catch the 4-night Adventure Time special all leading up to Thursday’s episode starting Monday. This is Realistic Fish Head saying, get ready for the vampire invasion!