Alex Garland’s Civil War performed close to our expectations this weekend, grossing an estimated $25.7 million (via ComScore’s early numbers) to post what’s easily A24’s biggest opening weekend ever. In fact, it isn’t even close, with Alex Garland’s speculative film almost doubling the previous record holder, Hereditary, which opened with $13.6 million. This is quite a coup for what’s being billed as the studio’s biggest-budget movie ever, which is a still modest $50 million. Given the rave reviews and the fact that it will likely become a water-cooler film, one can expect the film to hold up relatively well over the next few weeks, with it is unlikely anything next weekend is going to over-index unless horror flick Abigail winds up becoming a smash.

Meanwhile, Godzilla x Kong: The New Empire dropped a relatively modest 50% in week two to post a $15.4 million weekend, for a $157.9 million total. It will easily top $200 million at the domestic box office, making this a huge hit for Legendary’s MonsterVerse (check out our rankings here). However, the picture was less rosy for last weekend’s two holdovers, Monkey Man and The First Omen, which were overtaken by Ghostbusters: Frozen Empire, Kung Fu Panda 4 and Dune: Part Two. Monkey Man fell 59% to a $4.1 million weekend, which landed it in sixth place for a $17.7 million total. While it won’t be a huge money maker for Universal, it likely will eke out a profit, as it was acquired for a modest $10 million. Disney/ 20th Century Studios’ The First Omen lost 55% of its audience following its underwhelming opening for a $3.78 million weekend, with its total only $14 million so far. Getting to $20 million might be tough for this well-reviewed prequel.

In happier news, Ghostbusters: Frozen Empire has come back from the dead a bit at the box office, with it moving up to an unexpected third-place finish with a $5.8 million weekend. It’s pretty close to crossing the $100 million domestic mark, although whether or not that’s enough for Sony to greenlight another movie in the franchise remains to be seen. Despite already being on home media, Kung Fu Panda 4 continued to draw in family audiences, making $5.5 million for a $173 million total. Dune: Part Two’s blockbuster run continued, moving to fifth place with a $4.3 million weekend and a $272 million domestic haul. 

Meanwhile, the Dennis Quaid-led Christian sports film, The Long Game, opened with $1.39 million, with it almost being overtaken by a re-release of the Dreamworks classic, Shrek 2, which made $1.35 million. Finally, the top 10 was rounded out by South Korean rapper SUGA’s concert film, which made $999k for a total of $2.2 million (it opened on Wednesday).

Next weekend sees the release of two new genre entries, Guy Ritchie’s The League of Ungentlemanly Warfare, and Radio Silence’s horror flick, Abigail. Which one do you think will top the box office? Let us know in the comments!

The post Weekend Box Office: Civil War sets a record for A24 with $25 million plus opening appeared first on JoBlo.

After the surprise success of District 9 in 2009, Neill Blomkamp was the new darling of the film industry. The original, intriguing, and thrilling film about aliens stranded on Earth came From the fallout of a failed attempt to get a movie based on the Halo videogame franchise off the ground. The film was nominated for 4 Academy Awards, including Best Picture, legitimizing Blomkamp as an innovative storyteller.

Blomkamp leveraged the success of District 9 to land a much larger budget for his next effort, 2013’s classism sci-fi Elysium.It was met with moderate critical and commercial success. He followed that up with the humbler and more intimate Chappie in 2015, which failed to impress critics or turn a profit, despite a cast with sci-fi pedigree, including Sigourney Weaver.

Though it seemed like the bloom was off the rose for Blomkamp, he had proved himself capable enough to be tied to the iconic Alien franchise, teasing his involvement on his Instagram in February of 2015, the month before Chappie’s release. Blomkamp was excited to work with Sigourney Weaver again, posting later that month in a since-deleted post “So I think it’s officially my next film.” In the years to follow, concept art by Geoffrey Thorns would continue to be released. Multiple sources confirmed the deal with 20th Century Fox. But according to Alien series creator Ridley Scott, the Blomkamp-helmed film never made it past the pitch phase, seemingly superseded by 2017’s Alien: Covenant and 2024’s Alien: Romulus.

After failed flirtations with Halo, Alien, and an adaptation of the sci-fi novel The Gone World, Neill Blomkamp seemed like the poster child for canned sci-fi films. But Alien was not the only iconic 80s sci-fi franchise that Blomkamp was tied to. In July of 2018, he signed on to direct RoboCop Returns, which he once told us would have been a direct continuation of the original cyberpunk classic.

So, why didn’t Neill Blomkamp’s RoboCop sequel get made? Watch this episode of What Happened to this Unmade Movie above and find out!

The post Neill Blomkamp’s RoboCop Returns: What Happened to this Unmade Movie? appeared first on JoBlo.

This week, JoBlo hit CinemaCon and saw some amazing, never-before-seen footage from some of the most anticipated movies coming out over the next year. Most of the footage hasn’t dropped online yet, but we did our best to sum up exactly what we saw here. You can also check out our daily wrap-ups on JoBlo Originals and JoBlo Horror Originals. Which CinemaCon title has you the most hyped? Let us know via the poll below!

The post POLL: Which CinemaCon movie has you the most hyped? appeared first on JoBlo.

When Rebecca Ferguson revealed earlier this year that she had to stand up to an “idiot” co-star after they belittled her in front of the cast and crew – ultimately telling this unknown star to “f off” – a frenzy began in trying to figure out who the mystery was. Sadly, her overall point was missed by many in the process.

As Rebecca Ferguson told Jess Cagle (via The Hollywood Reporter), “The point of the interview wasn’t about finding the person — of course, people will be interested. But I was excited about the question, which was a very good question…Because the point was: Is there a point in your career where you were treated in a way where you changed your decision on — this is how I formulated it in myself — where you want change, or you will not accept it? And it was such a clear moment for me working with this person.”

As such, Rebecca Ferguson didn’t quite realize that it would turn into a hunt for the mystery person. Even still, maybe they deserve to be outed if they act like an insufferable jerk on the set. “I got phone calls from amazing co-stars who I’ve worked with going, ‘You understand what you’ve done, right?!’…And I was like, ‘Oh my God. No, I didn’t think.’ I mean, it’s not my responsibility, to be honest. I don’t really care. You know, ‘You’re great, but my story is my story, and if you’re a good person, then don’t worry about it.”

While the identity ultimately doesn’t matter, that didn’t stop our readers from playing detective, with names like Jake Gyllenhaal (Life) and Hugh Grant (Florence Foster Jenkins) at the top of the list. One who would come to her defense – and his own, in a way – was Dwayne Johnson, who co-starred with Rebecca Ferguson in Hercules.

Rebecca Ferguson most recently appeared in Dune: Part Two, reprising her role as Lady Jessica. She is next slated to co-star with Chris Pratt in sci-fi thriller Mercy – so be cool, Chris!

What do you make of Rebecca Ferguson’s revelations? Should she have named the co-star in question to settle any rumors?

The post Rebecca Ferguson’s toxic set revelations put co-stars on high alert appeared first on JoBlo.

Another week’s in the books for 2024, and there were some interesting updates in the world of games, anime, and more. Battlefield 2042 is no more, no one knows what’s next for Helldivers 2, Scrabbleis woke, and Hatsune Miku fans are mad. Let’s get into it.

Read more…

Another week’s in the books for 2024, and there were some interesting updates in the world of games, anime, and more. Battlefield 2042 is no more, no one knows what’s next for Helldivers 2, Scrabbleis woke, and Hatsune Miku fans are mad. Let’s get into it.

Read more…

The Blair Witch Project was a movie that should have been left alone. But such insanely successful films rarely are, with the ultra-indie movie going on to spawn everything from inevitable sequels to tie-in comic books to, yes, video games. Add to that now a “reimagining” courtesy of Blumhouse, which hasn’t exactly been a well received idea from fans – or stars – of the 1999 horror blockbuster.

Joshua Leonard – one of the three stars of The Blair Witch Project, along with Heather Donahue and Michael Williams – is now speaking out against the planned movie (a Lionsgate co-production), particularly as it relates to how the original cast is treated. Linking to a piece in Variety about the Blumhouse venture, Leonard wrote, in part: “The WEIRD PART [about his likeness being used in the press] is that I didn’t know anything about it until a friend sent me a ‘congrats’ screenshot yesterday. My frustration is compounded b/c I’ve been trying to get @lionsgate to engage for over a month about a BWP charity screening I’m putting together for @opositivefest to raise money for artists without healthcare, and NO ONE will get back to me.” He added that “it’s 25 years of disrespect from the folks who’ve pocketed the lion’s share (pun intended) of the profits from OUR work, and that feels both icky and classless.”

View this post on Instagram

A post shared by Joshua Leonard (@thejoshualeonard)

It should be noted that Leonard has subsequently heard back from Lionsgate since the ordeal started gaining traction, but the actor is not ready to go down without making his point. Prior to this, Leonard would go on to rattle off several examples of how the studio has ensured that he and his co-stars are not being financially compensated for The Blair Witch Project, which had an original budget of no more than $60,000 but would take in nearly $250 million worldwide, making it one of the most profitable films ever. Still, he doesn’t think that even if he wanted to pursue legal action that he would stand a chance. At the same time, Leonard also maintains that his position isn’t about money but rather “human decency”, saying more respect should be given to “the craftspeople off who’s backs corporations make their profits.”

As this new Blair Witch movie moves forward from Blumhouse and Lionsgate, they may find Leonard building support for his case, something we are already seeing. And going off of his words, he could have a case here in his attempt to not only stand up for the original The Blair Witch Project cast – who has had previous legal battles regarding how their likenesses were used in subsequent movies – but any other creatives who have found themselves in such a situation.

What do you make of Joshua Leonard’s statement about the forthcoming The Blair Witch Project movie? What responsibilities do the studios hold in terms of compensation?

The post Blair Witch Project star says new Blumhouse film shows “disrespect” to original cast/crew appeared first on JoBlo.

“I was sent down from Washington D.C. to see about this Blu-ray.” Well, it may be that nobody’s doin’ it, as word is beginning to circulate that Martin Scorsese’s Killers of the Flower Moon may not end up receiving a physical media release – not just in the near future but at all. While this has yet to be officially confirmed by studios or Scorsese himself, even the potential that this could be true is a blow.

As per one social media user who may have some knowledge on the situation: “BTW, I haven’t seen it announced on here, but we got word through one of our library media fulfillment companies:  They have at the very least indefinitely postponed (very likely canceled) the physical media release of KILLERS OF THE FLOWER MOON…And no, I’m not making this up, this was, “Patron holds are being canceled, temp MARC listings are pulled from library catalog, please inform patrons if they ask.””

Again, this is far from being a confirmation that Killers of the Flower Moon will never get a physical release, but one can see this end up being the case. After all, Apple doesn’t exactly have the best track record for releasing their original films on physical media, something that lends support to the theory that Killers of the Flower Moon will only ever be available for download and digital means. Hell, Best Picture winner CODA hasn’t even received a Blu-ray!

We here at JoBlo.com have made it no secret that we are huge supporters of physical media. But if a film – especially one as highly regarded as Killers of the Flower Moon – never has a chance at a Blu-ray, then how can anybody argue for you to keep it? Granted, the film is available on a Region 2 (primarily Europe) release and there are region-free players, but not putting it out in its home region would be an awfully narrow-minded decision on the part of Apple and Paramount.

Just for comparison, The Irishman was most widely seen on Netflix (after a limited release a few weeks earlier) but would be released by The Criterion Collection the following year. While a Criterion release of Killers of the Flower Moon would be much welcome, I’m not sure I see Apple and/or Paramount handing over the rights that easily if there is money to be made online.

Do you think Killers of the Flower Moon will ever get a physical release or will Apple ensure you can only watch it digitally? Chime in with your thoughts below.

The post Is Killers of the Flower Moon not coming to Blu-ray after all? appeared first on JoBlo.

Last week, we saw the release of The First Omen, which was universally praised. I agree with Chris Bumbray’s review where he said it was “quite provocative, with several images, including a gruesome birthing scene, pushing the limits of the R-rating in a way I didn’t expect from a movie bankrolled by Disney.” And what I was personally most impressed with is how much it creates its own identity. Because if there’s one thing horror franchises have had an issue with, it’s carving its own path.

I still remember when the first trailer came out, and I was shocked to see the response. I felt the teaser was really cool and a unique way to present a film, as each shot was presented in reverse. So, I didn’t understand the hate that was thrown at it. But thinking about it more, I realized it really felt like an audience was reacting to the idea of another legacy sequel. Burned one too many times, and it was finally catching up. What The First Omen manages to do, however, is go back to the simpler days when the main point wasn’t connections to past films but to actually create a good film in and of itself.

These legacy films are often constantly winking at the audience and trying to get those gasp moments for cameos, so the story gets lost. The biggest example is that of The Exorcist: Believer, where all of the Legacy elements were the worst parts of the film. That film was so disliked that Universal put the sequel on hold so that they could figure out what to do with it. Hopefully, they will use The First Omen as a guide because that film managed to do nearly everything right.

****light spoilers ahead for The First Omen****

First, there’s Nell Tiger Free, who gives an absolute star-making performance as Margaret. She manages to be vulnerable while still pulling from an intense inner strength. The birth scene is a masterclass in acting as the camera refuses to break from Nell’s incredible performance. She can say so much with so little that it makes the director’s job a cakewalk. Put her in a frame and let her do her business, and you’ll likely get gold. And her paranoia parallels that of Peck’s Robert Thorn. The chaos that surrounds her is inescapable

I also loved how there were no pains to bring back actors who clearly don’t want to be there or have aged out of it. The character of Father Brennan exists in the original Omen and is played by Patrick Troughton. In First Omen, he’s played by Ralph Ineson, and there’s no real effort to make them the same physically. Even the accents are different. These small things allow the film to really live in its own world for new viewers while still showing hardcore fans that it’s the same world as the original franchise. There’s no homework needed to enjoy this individual experience. You’re simply rewarded if you do know the original franchise.

And yes, there are other connections to the original film, yet they make sense. We aren’t being given some Grand Moff Tarkin CGI recreation of Gregory Peck. Instead, it’s a simple photo to show that this is connected to the 1976 film. So if anyone is intrigued, they can move onto those films, but they aren’t required to see them to enjoy this one. It’s this balance that is key. The fact that it’s a prequel certainly does help. And the film being nearly 50 years old also doesn’t hurt.

There was an obvious setup for a sequel that I sincerely hope we get. Because this has proven that they’re more concerned about making a good individual movie than nostalgia-baiting for an audience from decades prior. And I think that’s the key to a successful franchise continuation. The First Omen simply followed the blueprint set up from the original film, with the birth of the antichrist and all of the chaos surrounding it. And sometimes, that’s all you need.

What do you think? Did The First Omen break the current legacy film curse? Is there much hope for other franchises? Make sure to let us know below! (And don’t forget to go and rate The First Omen here)

The post Why The First Omen Succeeded Where Others Failed appeared first on JoBlo.

With the passing of controversial pop culture figure O.J. Simpson this week, some of us could only think of one thing…OK, maybe not just that. There was also the constant flaming of O.J. from Norm Macdonald during his tenure on Saturday Night Live, using his Weekend Update anchor duties to shred Simpson every single week. Unfortunately, his insistence on taking jabs at Simpson ultimately resulted in him being fired, as producer Don Ohlmeyer was good friends with Simpson.

Commenting on both the grip that the O.J. Simpson case had on the American public and Macdonald ripping it on Weekend Update, Conan O’Brien – who frequently had Norm on as a guest – told Jake Tapper, “It was a huge deal back then. Most notably…Norm Macdonald– one of my best guests of all time and one of the great comedians of all time – just told some of the most difficult, most brilliant, I think, comedy of anybody during that whole period.”

As with the late night talk show hosts of the day, Norm Macdonald had the luxury of a wide audience during prime O.J. Simpson time, taking over Weekend Update duties at the start of season 20 just three months after the infamous white Bronco chase. Using the subsequent trial and not guilty verdict (in October 1995) as fodder – “Well, it is finally official. Murder is legal in the state of California.” – Macdonald somehow made these jokes work week after week, finding fresh ways to skewer the former NFL running back, a skill unmatched by his contemporaries.

Unfortunately, Simpson had friends in high places, resulting in Macdonald being fired by Ohlmeyer from the gig midway through season 23, easily one of the worst decisions in the history of Saturday Night Live – and maybe modern television. While some might try to claim that it was Macdonald’s on-air “f-bomb” in 1997 that led to being canned, we all know it was for his jokes at the expense of Juice.

And so while some are mourning the death of O.J. Simpson, let’s also take this time to celebrate the comedic genius, the impeccable timing and the sheer guts of the great Norm Macdonald.

What is your favorite Norm Macdonald line about O.J. Simpson? Drop your pick in the comments below!

The post Norm Macdonald’s sniping of O.J. Simpson on Weekend Update contributed to the comedian’s SNL firing appeared first on JoBlo.