It’s hard to believe, but Tom Hanks is on the cusp of 70. And with that comes a lot of wisdom, so when he speaks, you best listen – especially if you’re only half his age.

Robert Zemeckis’ latest film, Here, follows the history of one specific location, especially when it serves as the home of Richard and Margaret Young, as played by Tom Hanks and Robin Wright. Through de-aging effects (which by most accounts seem to actually be good!), Hanks and Wright are put into their younger years before aging past what they actually are. And it was playing 35 – that time when you’re just about to hit that middle-age rut – that Hanks found to be the most draining. Speaking with Entertainment Tonight, Tom Hanks noted, “Look, I’m 68 years old. The hardest for us was when we were playing 35. That time when your metabolism stops, gravity starts tearing you down, your bones start wearing off. You stand differently. I think I’m in better shape now! You know why? Because my kids are grown up, I’m getting decent exercise, and I can eat right. You can’t do that when you’re 35. Life is such a burden!” Sounds about right!

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Our crack team of scientists housed at the JoBlo.com headquarters can’t confirm the absolute worst age to be, but the mid-30s does seem like a solid contender: you’re locked into your job, you can’t party like you used to, you have to take your diet into consideration…Then again, ask any teenager what the worst time to be alive is, and you can pretty much predict that answer. So with Tom Hanks’ words, are we to expect life to keep getting better as we age? Hell, if we look half as good as he does in our ‘60s, we’ll take it!

Reviews are mixed on Here, but that the de-aging of Tom Hanks and Robin Wright – something that many, including myself, were initially skeptical of – seems to be a success does entice me even more. Sure, it looks schmaltzy and Robert Zemeckis has been without a strong movie for far too long, but it just might work for this time of year when sentimentality starts to hit its peak.

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At 91 and with more than 70 years(!) in the industry, Michael Caine has obviously come across some of the most powerful talents to ever hit the screen. But one that stood out even at the start of his career was Tom Cruise, who Michael Caine remembers as a dynamic, eager up-and-comer who wanted to make a name in Hollywood.

Speaking with The Sunday Times, Michael Caine recalled the first time he met Tom Cruise. “I’ve known Tom for more than 40 years. We were doing a big event for Educating Rita (1983) and I turned around and there was this young actor, very polite, asking questions about how not to be just a flash in the pan. That was Tom, probably around the time of Risky Business.” Keep in mind that Cruise was just now trying to get his movie stardom going, with 1983 being his real breakout year after supporting roles in films like Taps and Endless Love.

While Michael Caine doesn’t remember the specifics of that conversation, Tom Cruise stood out in a significant way, setting himself up as one of the greatest lovers of cinema in our time. “I can’t remember what I said, but it obviously didn’t do him any harm! There was something special about him. He had a great attitude, this sense of poise. What interests me is that he is really one of the last true stars in movies. People will go to see a film just because he’s in it. Brad Pitt is a star, Morgan Freeman has some of that quality too. There are so few nowadays — not like John Wayne or Humphrey Bogart or Cary Grant.”

Notably, Michael Caine and Tom Cruise have never shared the screen in a meaningful way, although Cruise did cameo in Austin Powers in Goldmember (as himself, starring in Austinpussy), in which Caine played the real Austin’s father Nigel. Even still, Cruise and Caine have remained tight enough for Cruise to turn up at Caine’s 90th birthday party last year.

We could imagine Michael Caine and Tom Cruise making a great team on the silver screen, but unfortunately, that will never happen. For starters, Cruise is too busy hanging off of airplanes and chilling out on skyscrapers, which don’t exactly seem up Caine’s alley; further, Caine has officially retired, with his final role having been last year’s The Great Escaper.

The post Michael Caine remembers up-and-comer Tom Cruise asking for advice appeared first on JoBlo.

At 91 and with more than 70 years(!) in the industry, Michael Caine has obviously come across some of the most powerful talents to ever hit the screen. But one that stood out even at the start of his career was Tom Cruise, who Michael Caine remembers as a dynamic, eager up-and-comer who wanted to make a name in Hollywood.

Speaking with The Sunday Times, Michael Caine recalled the first time he met Tom Cruise. “I’ve known Tom for more than 40 years. We were doing a big event for Educating Rita (1983) and I turned around and there was this young actor, very polite, asking questions about how not to be just a flash in the pan. That was Tom, probably around the time of Risky Business.” Keep in mind that Cruise was just now trying to get his movie stardom going, with 1983 being his real breakout year after supporting roles in films like Taps and Endless Love.

While Michael Caine doesn’t remember the specifics of that conversation, Tom Cruise stood out in a significant way, setting himself up as one of the greatest lovers of cinema in our time. “I can’t remember what I said, but it obviously didn’t do him any harm! There was something special about him. He had a great attitude, this sense of poise. What interests me is that he is really one of the last true stars in movies. People will go to see a film just because he’s in it. Brad Pitt is a star, Morgan Freeman has some of that quality too. There are so few nowadays — not like John Wayne or Humphrey Bogart or Cary Grant.”

Notably, Michael Caine and Tom Cruise have never shared the screen in a meaningful way, although Cruise did cameo in Austin Powers in Goldmember (as himself, starring in Austinpussy), in which Caine played the real Austin’s father Nigel. Even still, Cruise and Caine have remained tight enough for Cruise to turn up at Caine’s 90th birthday party last year.

We could imagine Michael Caine and Tom Cruise making a great team on the silver screen, but unfortunately, that will never happen. For starters, Cruise is too busy hanging off of airplanes and chilling out on skyscrapers, which don’t exactly seem up Caine’s alley; further, Caine has officially retired, with his final role having been last year’s The Great Escaper.

The post Michael Caine remembers up-and-comer Tom Cruise asking for advice appeared first on JoBlo.

A film adaptation of a Broadway musical of a major motion picture? Great Scott! It’s been done before but Robert Zemeckis would really love bringing Back to the Future to the screen — again, this time as a cinematic take on the hit musical. But will he ever get the chance?

While his latest movie Here flounders at the box office, Robert Zemeckis is on the promotional circuit also highlighting some of his greatest hits, including one of his biggest money makers, 1985’s Back to the Future. As far as his plans, inspiration and its status, he noted, “I would like to do the Back to the Future, the musical. Just like [Mel] Brooks did The Producers. I would love to do that. I think that would be great… I floated that out to the folks at Universal. They don’t get it. So, nothing I can do.”

The Back to the Future musical debuted in 2020 in England before hitting Broadway in 2023. Through this run, it would be nominated for two Tony Award nominations: Best Performance by an Actor in a Featured Role in a Musical for Roger Bart (portraying Doc Brown) and Best Scenic Design of a Musical. Unfortunately for fans of the show, it will be closing in January after more than 500 shows and generating a reported $80 million in ticket sales. The show had some pretty strong prestige behind it, with new music by composer Alan Silvestri, lyrics by former Alanis Morissette collaborator Glen Ballard and book by Back to the Future trilogy co-writer and producer Bob Gale.

While Robert Zemeckis has never directed a musical, his taking on Back to the Future would feel like a perfect project for him. Not only would he be revisiting one of his trademark films, but his debut, 1978’s I Wanna Hold Your Hand, was a music-centric gem. Seriously, it’s one of the most fun movies of its time, chronicling a group of girls trying to see The Beatles on what would be their groundbreaking appearance on The Ed Sullivan Show.

Should Universal show Robert Zemeckis the power of love and let him make a movie version of the Back to the Future?

The post Universal won’t let Robert Zemeckis bring Back to the Future musical to the screen appeared first on JoBlo.

A film adaptation of a Broadway musical of a major motion picture? Great Scott! It’s been done before but Robert Zemeckis would really love bringing Back to the Future to the screen — again, this time as a cinematic take on the hit musical. But will he ever get the chance?

While his latest movie Here flounders at the box office, Robert Zemeckis is on the promotional circuit also highlighting some of his greatest hits, including one of his biggest money makers, 1985’s Back to the Future. As far as his plans, inspiration and its status, he noted, “I would like to do the Back to the Future, the musical. Just like [Mel] Brooks did The Producers. I would love to do that. I think that would be great… I floated that out to the folks at Universal. They don’t get it. So, nothing I can do.”

The Back to the Future musical debuted in 2020 in England before hitting Broadway in 2023. Through this run, it would be nominated for two Tony Award nominations: Best Performance by an Actor in a Featured Role in a Musical for Roger Bart (portraying Doc Brown) and Best Scenic Design of a Musical. Unfortunately for fans of the show, it will be closing in January after more than 500 shows and generating a reported $80 million in ticket sales. The show had some pretty strong prestige behind it, with new music by composer Alan Silvestri, lyrics by former Alanis Morissette collaborator Glen Ballard and book by Back to the Future trilogy co-writer and producer Bob Gale.

While Robert Zemeckis has never directed a musical, his taking on Back to the Future would feel like a perfect project for him. Not only would he be revisiting one of his trademark films, but his debut, 1978’s I Wanna Hold Your Hand, was a music-centric gem. Seriously, it’s one of the most fun movies of its time, chronicling a group of girls trying to see The Beatles on what would be their groundbreaking appearance on The Ed Sullivan Show.

Should Universal show Robert Zemeckis the power of love and let him make a movie version of the Back to the Future?

The post Universal won’t let Robert Zemeckis bring Back to the Future musical to the screen appeared first on JoBlo.

After a pretty underwhelming start at the North American box office, Sony’s Venom: The Last Dance, surprised everyone this weekend by posting a terrific hold. The estimated $26.1 weekend was a lot higher than we predicted. The 49% drop is unusual for a superhero film. The first Venom dropped 56% in week 2, while the sequel plunged 65%. Even Deadpool & Wolverine – the most liked superhero movie in years – fell 54% in its second weekend, which was considered a decent hold.

So what’s going on here? Part of it may be that the World Series might have kept audiences away last weekend. With a U.S. election happening on Tuesday, people might have yearned for a little escapism, allowing the film to make up for last weekend’s shortfall. With a $90 million gross, it’s unlikely to cross the double-century mark its predecessors did, but with very little in the way of competition next weekend, a finish north of $150 million isn’t out of the question.

Meanwhile, second place went to Dreamworks’s The Wild Robot, which has turned out to be a sleeper hit, with the $7.55 million haul (up 11% from last weekend) contributing to a $121 million domestic total. Smile 2 was a distant third, with $6.8 million and a $52.6 million total gross. While it will fall far short of the $105 million made by the first film, it should still turn a nice profit for the studio, allowing for more sequels (whether or not they should is something we dug into here). 

Focus Features has a word-of-mouth hit with Conclave, which fell a modest 20% in week 2 for a $5.3 million weekend and a total north of $14 million. With it likely to do well during awards season, there’s a good chance word of mouth will prop this up for a solid run (although if it drops too early on PVOD, it might shoot long-term box office prospects in the foot a bit).

The Robert Zemeckis movie, Here, wound up doing awful business this weekend, with a $5 million weekend. The CinemaScore is B minus, proving audiences aren’t enjoying this Tom Hanks/ Robin Wright re-team with their Forrest Gump director. A24 got themselves a nice word-of-mouth hit with We Live in Time, which fell a modest 28% this weekend, with a $3.47 weekend and a gross north of $17 million. It may well make it to $30 million if couples keep turning out to see this on date night. 

Meanwhile, possibly the year’s most profitable movie, Terrifier 3, earned $3.2 million towards a $50 million total gross. Two Bollywood movies took up eighth and ninth place, with Bhool Bhulaiyaa 3 and Singham Again both making over $2 million apiece. Finally, Beetlejuice Beetlejuice rounded out the top 10, with a $2.08 million weekend and a $292 million gross.

Interestingly, Deadline reports that Clint Eastwood’s Juror #2, despite being dumped by Warner Bros, is far exceeding expectations, with an estimated $275k weekend on only thirty screens. If true, that would give it one of the highest per-screen averages on the chart this weekend. Considering his amazing track record, the studio should have shown a little more faith in ol’Clint.

Next weekend should allow Venom: The Last Dance to eke out another victory, with A24’s Heretic the only competition.

The post Weekend Box Office: Venom rallies in week 2; has a low second weekend drop appeared first on JoBlo.

After a pretty underwhelming start at the North American box office, Sony’s Venom: The Last Dance, surprised everyone this weekend by posting a terrific hold. The estimated $26.1 weekend was a lot higher than we predicted. The 49% drop is unusual for a superhero film. The first Venom dropped 56% in week 2, while the sequel plunged 65%. Even Deadpool & Wolverine – the most liked superhero movie in years – fell 54% in its second weekend, which was considered a decent hold.

So what’s going on here? Part of it may be that the World Series might have kept audiences away last weekend. With a U.S. election happening on Tuesday, people might have yearned for a little escapism, allowing the film to make up for last weekend’s shortfall. With a $90 million gross, it’s unlikely to cross the double-century mark its predecessors did, but with very little in the way of competition next weekend, a finish north of $150 million isn’t out of the question.

Meanwhile, second place went to Dreamworks’s The Wild Robot, which has turned out to be a sleeper hit, with the $7.55 million haul (up 11% from last weekend) contributing to a $121 million domestic total. Smile 2 was a distant third, with $6.8 million and a $52.6 million total gross. While it will fall far short of the $105 million made by the first film, it should still turn a nice profit for the studio, allowing for more sequels (whether or not they should is something we dug into here). 

Focus Features has a word-of-mouth hit with Conclave, which fell a modest 20% in week 2 for a $5.3 million weekend and a total north of $14 million. With it likely to do well during awards season, there’s a good chance word of mouth will prop this up for a solid run (although if it drops too early on PVOD, it might shoot long-term box office prospects in the foot a bit).

The Robert Zemeckis movie, Here, wound up doing awful business this weekend, with a $5 million weekend. The CinemaScore is B minus, proving audiences aren’t enjoying this Tom Hanks/ Robin Wright re-team with their Forrest Gump director. A24 got themselves a nice word-of-mouth hit with We Live in Time, which fell a modest 28% this weekend, with a $3.47 weekend and a gross north of $17 million. It may well make it to $30 million if couples keep turning out to see this on date night. 

Meanwhile, possibly the year’s most profitable movie, Terrifier 3, earned $3.2 million towards a $50 million total gross. Two Bollywood movies took up eighth and ninth place, with Bhool Bhulaiyaa 3 and Singham Again both making over $2 million apiece. Finally, Beetlejuice Beetlejuice rounded out the top 10, with a $2.08 million weekend and a $292 million gross.

Interestingly, Deadline reports that Clint Eastwood’s Juror #2, despite being dumped by Warner Bros, is far exceeding expectations, with an estimated $275k weekend on only thirty screens. If true, that would give it one of the highest per-screen averages on the chart this weekend. Considering his amazing track record, the studio should have shown a little more faith in ol’Clint.

Next weekend should allow Venom: The Last Dance to eke out another victory, with A24’s Heretic the only competition.

The post Weekend Box Office: Venom rallies in week 2; has a low second weekend drop appeared first on JoBlo.

This week, heaps of players are returning to the world of Thedas for the first time in many years thanks to the arrival of Dragon Age: The Veilguard. If you’re among them, be sure to look over our tips for helping you get started on the right foot on this epic adventure. We’ll also help you tap into a cool mechanic in …

Read more…

This week, heaps of players are returning to the world of Thedas for the first time in many years thanks to the arrival of Dragon Age: The Veilguard. If you’re among them, be sure to look over our tips for helping you get started on the right foot on this epic adventure. We’ll also help you tap into a cool mechanic in …

Read more…

Straight from Poguelandia comes the official trailer for the second part of season four of Outer Banks, which is set to debut this week on November 7th. It hasn’t been much of a wait for the growing group of Outer Banks fans, as the first part was released on October 10th, but that’s definitely more than enough for the die-hards.

As per Netflix, “The Pogues are back for more action and adventure with a fourth season of Outer Banks, streaming now. John B (Chase Stokes), Sarah (Madelyn Cline), JJ (Rudy Pankow), Kiara (Madison Bailey), Pope (Jonathan Daviss), and Cleo (Carlacia Grant) are back for the biggest season yet…While one chapter of the Pogues’ story has closed, the next phase of #P4L has only just begun, and the hunt for Blackbeard’s gold is on the horizon.” 

Season four of Outer Banks has been split into two five-episode parts. With major revelations made in the first part’s finale, “Albatross”, no doubt the concluding set will be something fans are clamoring for. As we previously knew, the episode titles are: “The Town Council”, “Mothers and Fathers”, “Decision Day”, “The Storm”, and “The Blue Crown.”

The trailer was revealed at a fan event – which gathers around 2,500 of them – titled “Poguelandia: An Outer Banks Experience”, which the official website describes as such: “Poguelandia: An Outer Banks Experience is back and, this year, it’s built for Pogues — by Pogues. Experience Outer Banks IRL by hanging out at the Poguelandia house and surf shop, taking a photo with the Twinkie, getting some merch from Pacsun, or grabbing a bite to eat at staples like The Wreck and Heyward’s, or the new Cleo’s Spice Shack — serving up Cleo’s famous jerk chicken cheese on bread. And, of course, catch some vibes throughout the day with live music performances and cast appearances.”

Our own Tyler Nichols gave the first part of season four of Outer Banks a 6/10, admitting that he wasn’t a huge fan of the series going in. But those who are – and those who have stuck around since season one debuted in 2020 – will certainly be binging the concluding five episodes upon release. Be sure to also check out Tyler’s interviews with cast members Chase Stokes, Madelyn Cline, Madison Bailey, and more.

Outer Banks hasn’t officially been renewed for a fifth season but it seems like a strong possibility.

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