Weekend Box Office Report: August 4- 6, 2. Movie News. The Dark Tower shoots into first! Roland the gunslinger made the long journey to theaters this weekend and put THE DARK TOWER on top at the box office with an estimated opening of $1. Fans of author Stephen King have anxiously waited for the epic series of fantasy novels to come alive on screen, but instead received an .

The loose adaptation introducing hero Roland (Idris Elba) and his nemesis, the Man in Black (Matthew Mc. Conaughey), cost a reported $6. The movie did open on the higher end for a feature version of King's work - - THE GREEN MILE and SECRET WINDOW started with $1.

The Dark Tower shoots into first! Roland the gunslinger made the long journey to theaters this weekend and put THE DARK TOWER on top at the box. The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV.

John Cusack hotel horror 1. But it's mild compared to other recent genre releases that kicked off August - - GUARDIANS OF THE GALAXY began the month with $9. SUICIDE SQUAD opened to $1. The PG- 1. 3 interdimensional adventure was intended to launch both film and TV series based on the novels, but the first chapter's relatively quiet response may call that plan into question (it made an additional $8 million overseas). Critics weren't satisfied with the theatrical deviation, giving it an 1. Rotten Tomatoes (the Jo.

Lifelong buddies Willie, Joe and Al decide to buck retirement and step off the straight-and-narrow for the first time in their lives when their pension fund becomes a. Recent and Updated Movies. Freaky Ali (2016) HDRip Hindi Full Movie Watch Online Free; Baywatch (2017) BDRip Telugu Dubbed Full Movie Watch Online Free.

Blo review is HERE). Filmmaker Christopher Nolan's war movie DUNKIRK was in second place with $1. The WWII drama now has a domestic total of $1. THE EMOJI MOVIE was in third with $1. The animated comedy has a ten- day domestic total of $4. The R- rated comedy GIRLS TRIP continued partying in fourth place with $1.

Sunday September 3, 2017 by BannerBot. Saturday September 2, 2017 by BannerBot. Friday September 1, 2017 by BannerBot. Thursday August 31, 2017 by BannerBot. Buy movie tickets in advance, find movie times, watch trailers, read movie reviews, and more at Fandango. Here's the trailer for director William H. Macy's (!!) new film, The Layover. It's the very down-to-earth, relatable story of a sexy Plain Jane type (Alexandra. Bill Mechanic On Movie Biz: Big Problems & A Few Suggestions On How To Fix Them.

Opening in fifth place was the new Halle Berry thriller KIDNAP with $1. Berry's previous time dealing with a kidnapping in 2. THE CALL had an opening of $1. Her latest abduction drama, originally scheduled for release almost two years ago before shuffling distributors, cost a reported $2. Critics gave Berry's child- snatching turmoil a 4. Rotten Tomatoes. You can check out the Jo. Blo review HERE. SPIDER- MAN: HOMECOMING was in sixth place with $8.

Charlize Theron's bone- crunching espionage thriller ATOMIC BLONDE followed in seventh with $8. The fact- based drama DETROIT expanded into wide release and landed in eighth place with $7. Director Kathryn Bigelow's R- rated account of the Motor City's racial tension and police violence during the summer of '6. Critics gave the harrowing experience an 8. Rotten Tomatoes (you can check out the Jo. Blo review HERE).

WAR FOR THE PLANET OF THE APES was in ninth with $6 million and a fairly muted outcome for the relaunched trilogy with $1. RISE and $2. 08. 5 million for DAWN). DESPICABLE ME 3 finished up the list with $5. Outside the chart, Edgar Wright's BABY DRIVER steered out of the Top 1. Luc Besson's expensive sci- fi spectacle VALERIAN AND THE CITY OF A THOUSAND PLANETS and WONDER WOMAN, which is now just a magic lasso's reach away from $4. In limited release, the Jeremy Renner/Elizabeth Olsen crime thriller WIND RIVER started with a strong per- screen average of $4.

Next weekend offers the horror prequel ANNABELLE: CREATION, the animated sequel THE NUT JOB 2: NUTTY BY NATURE and the Brie Larson drama THE GLASS CASTLE, while limited releases include the Aubrey Plaza comedy INGRID GOES WEST and the drama THE ONLY LIVING BOY IN NEW YORK. What is your favorite movie based on the work of Stephen King?

Bill Mechanic On Movie Biz: Big Problems & How To Fix Them. Editors Note: Bill Mechanic is chairman and CEO of Pandemonium Films and a former top executive at Paramount, Disney and chairman and CEO of Fox Filmed Entertainment when the studio generated Die Hard With A Vengeance, Independence Day and Titanic. He most recently produced Best Picture Oscar nominee Hacksaw Ridge. Watch Full Once Upon A Time In Venice (2017) 2002. He was moved to weigh in after all the noise about windowing that came out of the just- wrapped Cinema. Con. The industry is in big trouble. Yes, that’s perhaps the only thing everyone can agree upon.

Never has there been a more problematic time with a less certain future. What isn’t unanimous are the reasons why. The prevailing sentiment is digital has changed the business—and the sky is falling. The movie business is being treated as an endangered species. But those sentiments are virtually identical to those during the advent of television and then again when home entertainment (remember “HBO: The Monster that Bulldozed Hollywood” or “Home video will kill theatrical?”) burst on the scene. New technology, properly addressed, should not be a threat but an avenue of advantage.

Assimilate change instead of seeing it either as a conqueror or destroyer. Never rush into its arms nor surrender to it. Figure it out. From the high point of moviegoing as a leisure- time activity in 1.

Absorbed radio, TV, cable, subscription TV, DVD, the Internet. It has absorbed all the competitive forms of entertainment with minimal drop- off. Growth in revenues comes from expansion of theatres (overseas), ticket prices, and absorption of releases in after markets.

Is the digital future different? Perhaps, but I’d argue not inherently and that if it is, it’s a self- fulfilling prophecy. And that leads to what I believe is the biggest problem — in a word, leadership. That isn’t to say good people aren’t in positions of authority, but rather there is painfully little leadership in the movie business per se. The studio heads report into people that have no affinity for movies.

As opposed to periods of change in the past, no one above the studio bosses have our specific industry solely in their purview. The studios, which essentially form the ecosystem of movies, have been swallowed lock, stock, and two smoking barrels by “pipes” (or, more correctly, by corporations whose main business is distribution). It’s not, “let’s figure out how we assimilate change; ” it’s “how do we get it into our pipes quicker,” because we make our real money off the “pipes” not the content. Is it a surprise that Universal, owned by Comcast, or WB, soon to be owned by AT& T, are leading the way to the closing of windows with the least concern about impact on the movie business? No, it’s not. Who knows how the future turns out? But what leadership means is thinking things through instead of just jumping on a popular bandwagon. Who is speaking without a vested interest, be it NATO or the “Pipes?” No one.

The only thing that has proven true over time is the movie business has assimilated change. Or at least until recently. I would argue that most of the negative impact has been caused by studios not thinking things through for the benefit of movies, not their owners’ other businesses. What do I mean? REX/Shutterstock. First, instead of understanding the nature of moviegoing, we have ignored it and based decisions on cash- flow desires.

Sequential distribution has worked to the benefit of studios, even if it is a slow process (seven year cycles). Because if a movie fails to recuperate in its first window, it has several other chances in other windows. While there are thousands of examples, Fight Club grossed only $3.

But kids, we hear, want movies on their mobile devices, so theatres are endangered species. There are no studies to back that up. In fact, a recent worldwide study of filmgoing behavior shows that millennials, the age group most cited for mobile desires, has experienced only a 2% drop in filmgoing over the past decade. That is, the decade of mobile change.

Essentially, no drop. The millennials in the study instead cited moviegoing as a positive. When it’s something they want to see (hold this till later), millennials are social beasts who love to share their experiences. They don’t necessarily think theatres, as they exist, serve their needs, but that just means the theatres need to adjust. Mall locations are great, but some auditoriums ought to be set for interactions pre- or- post- screenings.

Some auditoriums ought to allow cell phones, etc. I believe that the so- called theatrical apocalypse is predicated on how digital impacted the music industry.

And I would argue music is an inherently different experience than movies. We listen in isolation, now more often than not on headphones, the ultimate in self- absorption. We listen more to songs than albums, (today there are no albums). The only social music experience is concert- going. Movies are the opposite. Yes, you can watch alone, but that’s not the best way to experience movies, which aim to affect the audience emotionally—make people laugh, cry, be scared, and, at least once upon a time, think and discuss. Disney. And how has the change been for the music business?

To paraphrase a line from The Social Network, who wants to buy a music company stock? So why plunge headlong into a business system that isn’t in our advantage? The biggest reason cited is speed—maximizing marketing dollars in VOD (on PVOD). The universal truth here is consumers generally want what they want and they want that immediately. But when they really want it (eg, Beauty And The Beast) they go out and see it. They like to share the experience, millennials and families, the very audiences everyone seems to reference when saying change is coming. And moving up the window on what they don’t want is a fool’s errand.

They won’t care if they get failed movies earlier. It’s practically the same issue as piracy. What gets pirated? A failed movie—no—you can’t give that away.

The most pirated film in history is Avatar. Because it’s the biggest film in history.

Experiments thus far with failed movies (eg. Pride, Prejudice & Zombies) mean nothing because they don’t replicate the environment they wish to promote. In the absence of everything being available in the same window at the same price, the results are meaningless. I experimented with windowing in home video years ago and things that haven’t changed are: 1) Everyone says they want things faster; and 2) Once a change in availability is standardized, they still want it quicker; and finally, 3) They only want what they want. The failed movies that appeared to jump in interest when they alone were available early, began gathering dust once other titles were made available.

Watch the buy- rates of direct- to- VOD as more and more films go that route (oh yeah, those buy- rates aren’t available). The gluttony of the studios has created the economic pressure of today. Over the last decade- plus, they have shot the industry in the foot by destroying the home video business. While driven by the belief that movies, like music, are best collected via streaming, they did two things: 1) First, dumped a technology that didn’t create a meaningful audience (Blu- ray) on top of an existing technology (DVD), and thus confused the public who didn’t see the benefit of the Blu- ray over DVD, and 2) confused the pricing value (see what is going on with PVOD and VOD), and basically said: “don’t trust these people.” People may upgrade their phones each year but ask Apple what happened with i.

Pad upgrades. There are more issues in the mix. All I want to do is raise the thought that the future has not been determined and everyone ought to slow down for a moment to see what’s best for the movie business. The rush to VOD helped kill DVD/Blu- ray WITHOUT REPLACING the revenue. Moving up the window on VOD didn’t make enough of a difference.