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IMAX and Warner Bros. Pictures have extended their multi-picture worldwide agreement, the two companies announced Wednesday.
The partnership will call for IMAX to release up to 12 new films from the studio’s upcoming slate. Notable titles include “Kong: Skull Island” and the “Godzilla” sequel, “Blade Runner 2049,” “Tomb Raider,” “Ready Player One,” the “Fantastic Beasts and Where to Find Them” sequel and “Justice League,” as well as “Wonder Woman.”
The agreement also includes Christopher Nolan‘s previously announced film “Dunkirk.” After Nolan used the 15 perf 65mm IMAX cameras in “The Dark Knight,” “The Dark Knight Rises” and “Interstellar,” he will use the cameras for “Dunkirk” for clarity and more immersive experiences for the audience.
Also Read: IMAX to Launch Its First VR Center in Europe
“We are very pleased to continue our longstanding partnership with IMAX with these exceptional pictures and look forward to ensuring our audiences have the opportunity to see a range of diverse films on the largest and most immersive canvas possible,” said Sue Kroll, president of worldwide marketing and distribution at Warner Bros. Pictures.
IMAX CEO Greg Foster added, “We’re proud to re-up our 13 year partnership with the Warner Bros. family. This extension includes titles from some of the industry’s most acclaimed filmmakers, such as our friends Christopher Nolan, Steven Spielberg, David Ellison, David Heyman and David Yates. The WB/IMAX pairing has yielded billions of dollars in box office and has become synonymous with blockbuster entertainment around the globe.”
In 2015, both companies signed an extension of their longstanding partnership up to 2020, with IMAX agreeing to release up to 30 Warner Bros. films. Tentpole films included “The Man from U.N.C.L.E.,” “In the Heart of the Sea,” “Batman v Superman: Dawn of Justice” and “Suicide Squad.”
The IMAX release of each film will be digitally re-mastered into the image and sound quality of The IMAX Experience.
It’s hard enough for an established music star to put together a surprise album release, but it must be even trickier for a name-brand filmmaker to assemble a surprise movie release. Yet that’s just what Michael Moore has done: Yesterday he announced the existence of his new film Michael Moore In Trumpland, adding that a free preview screening would be held that evening at the IFC Center in Manhattan, ahead of a theatrical release beginning the next day at that same venue and at the Laemmle Town Center Five in the Los Angeles area. We’ll have a review of the film shortly.
At the movie’s de facto, seemingly impromptu New York premiere, Moore spoke before and after the screening, before a crowd of press, MoveOn.org volunteers, and line-waiters who stuck it out for hours on an unseasonably warm fall day for tickets. The crowd outside …
Warner Bros. Pictures has agreed to add “up to” 12 upcoming films including Kong: Skull Island and The LEGO Batman Movie to the releases that will appear on Imax, the companies announced this morning.
“This extension includes titles from some of the industry’s most acclaimed filmmakers, such as our friends Christopher Nolan, Steven Spielberg, David Ellison, David Heyman and David Yates,” Imax Entertainment CEO Greg Foster says. “The WB/Imax pairing has yielded billions of…
Tuesday night’s premiere of Michael Moore‘s “October surprise” documentary,”Michael Moore in Trumpland,” turned the street outside New York City’s IFC Center into a carnival fairway of sorts. There was an automated fortune-teller booth like the narrative shaper in “Big,” but with a red-eyed Donald Trump spewing fear-raising predictions and making demeaning comments about women. Nearby were vans that mixed political displays with games of skill, some bearing images that deserved to be knocked down with bean bags.
Hundreds of people were lined up to get free tickets to the 9:30 pm screening. Many who’d been waiting for four hours were turned away when the house reached capacity, but they’ll have another chance to see Moore’s film when it begins its week-long run Wednesday at the IFC Center and in Los Angeles at Laemmle Town Center 5 in Encino. Per Moore, “Trumpland” will soon be available on iTunes as well.
Before the screening, Moore told the audience he’d made the film in seven weeks and had locked it just hours before the premiere, which was decided upon a day in advance. He hadn’t slept in five weeks, and he was giddy just seeing it all come together. As for the film, it’s all Michael Moore: writer, director, and actor-lecturer-standup comedian.
Moore is always a compelling presence in his films, but this is the first time he’s put himself on stage, actually doing standup. And he does quite a good job of it, mixing his tricky wit and folksy humor with searingly salient commentary about the current presidential race and potent predictions about where, as he sees it, it’s leading our country.
“Michael Moore in Trumpland” is actually the cinematic adaptation of a one-man show Moore wrote for himself and performed twice in a theater in Wilmington, Ohio, a town with an overwhelming preponderance of pro-Trumpers.
The filmed audience, which attended both shows, was selected to represent a cross section of Americans — pro-Trump and pro-Clinton voters, women, millennials, whites, blacks and Mexicans – who were, as Moore announces in the film, segregated in a section of the balcony which had a faux wall constructed around it. Muslims, meanwhile, were also segregated in the balcony, with a drone flying over their heads to make sure they weren’t up to anything suspicious.
Yes, there’s Moore’s humor. And it has a winning way with viewers, as can be seen in reaction shots throughout Moore’s performance that show specific audience members gradually warming to his presentation.
Moore’s humor creates common ground. Everybody in the filmed audience and the IFC Center audience laughed together, bridging the gap between the people on screen and in the house. That’s a rare accomplishment in cinema, even in acclaimed concert films or, on a more serious note, Al Gore’s successful one-man lecture “An Inconvenient Truth.”
Moore’s narrative cleverly covers a lot of ground, creating unusual synapses that connect issues in insightful ways. When commenting about gun control, for example, Moore points out that three percent of our population owns 50 percent of the guns in America, and that women — even those who own guns — have never been the perpetrators of mass killings in schools. The juxtaposition of thoughts is interesting and provocative. And it’s a not-so-subtle note of support for Hillary Clinton. As is the entire performance.
Add up the anecdotes, jokes, information and history, and you get all of the reasons why Moore urges voters to overcome anger, apathy, feelings of helplessness and their dislike for both candidates and vote for Hillary Clinton. His bottom line is that voting for Hillary is doing something good for your country, whether you like her or not.
With Moore in-house for a post-screening Q&A, the premiere of ‘Michael Moore in Trumpland” turned into a political rally. Look for that at other screenings, too. Moore also plays both sides of the fence in a canny way, consistently slinging mud at the media for covering the scandalous aspects of the campaign, yet at the same time creating media events like the allegedly “impromptu” premiere of ‘Michael Moore in Trumpland” to support his own views and films.
In a post Q&A discussion, I asked him how he differentiated himself from the media that he so often scorns. His answer: “I am the antithesis of the media. They repeat the same s–t day after day. I do not. They are corporate. I am not.”
The filmmaker understands the media game, and he plays it well, establishing his own authority in ways that convince others of it as well. His is a different voice, and as expressed once again in “Michael Moore in Trumpland,” it is one that should be heard and considered.
With all the ridiculous twists and turns that the 2016 presidential race has taken, Chelsea Handler has decided to put out her own political ad campaign video.
Because you can’t be any more outrageous than Donald Trump, right?
The Netflix comedian got a helping hand from Republican ad-maker, Fred Davis, on how to best appeal to right-wing voters.
After having a creative brainstorming session with Davis in his office (which is filled with stuffed animals and photos of past clients such as Sarah Palin), Handler is ready to create her own masterpiece.
The resulting campaign video is spectacular to say the least, but definitely NSFW.
Proclaiming herself to be “American, half-Mormon and half-something-elses … Jew, shhh,” a serious voiceover says that Handler will consider adopting and breastfeeding a foreign baby as long as she doesn’t have to keep it.
“Chelsea Handler with do anything to broaden her audience — she will flip-flop, she will waffle, she will knick-knack, paddy-whack and give a dog a bone,” the narrator says.
One young voter in a “Make America Great Again” hat responds that he wouldn’t vote for Handler, but he would f–k her, while another claims he already has.
“I am Chelsea Handler and I approve this message and I am not going to remove my blouse top,” the outrageous talk show host concludes.
Check out the video above (with headphones on if in the office …) and her interview with Davis below.
The segment begins streaming on Netflix this Thursday.
Tom Cruise‘s action sequel “Jack Reacher: Never Go Back” is positioned to top the box office this weekend. That is if “Ouija: Origin of Evil” or “Tyler Perry‘s Boo! A Madea Halloween” don’t swoop in from behind to scare it into second or even third place.
Paramount and Skydance’s followup to 2012’s “Jack Reacher” is expected to open to roughly $23 million, with the studio’s estimates set more conservatively in the high teens.
Meanwhile Universal’s sequel to the 2014 money maker “Ouija” is expected to come out of the gates with up to $19 million. And though the studio expects opening grosses closer to the mid teens, scary movies, such as “Don’t Breathe,” have been over performing in the past few months. So don’t count this one out.
Of course, Tyler Perry‘s season-appropriate Madea sequel could also very well unseat “Jack Reacher,” as the high end of estimates are set at $20 million. Though Lionsgate is projecting mid-teens for its debut.
Twentieth Century Fox comedy “Keeping Up With the Joneses” will likely just make it into the top five, given the flood of new competition and also holdover “The Accountant.” Starring Gal Gadot, Isla Fisher, Zach Galifianakis, Jon Hamm and Patton Oswalt, the film is expected to earn roughly $8 million on its debut.
Directed by Greg Mottola (“Superbad,” “Adventureland”), the comedy involves a suburban couple who become embroiled in an international espionage plot.
“Jack Reacher: Never Go Back” revolves around the mysterious deaths of soldiers who were previously under Reacher’s command.
It’s set to open in approximately 3,600 locations and is tracking higher than the opening of the previous installment, which grossed $15 million on its debut and went on to earn $200 million worldwide.
The sequel, directed by Edward Zwick (“The Last Samurai”), was produced for $60 million, not counting marketing costs. It also stars Cobie Smulders, Aldis Hodge, Danika Yarosh, PatrickHeusinger, Holt McCallany and Robert Knepper.
“Boo! A Madea Halloween” will open in roughly 2,100 locations and was made for $20 million. Written, directed and starring Tyler Perry, who returns as Madea, the movie follows her during a haunted Halloween as she fights off killers, ghosts and zombies as she also keeps an eye on some misbehaving teens.
Meanwhile “Ouija: Origin of Evil” is set to debut in 3,167 theaters. Made on a modest budget, the studio hopes to replicate the success of the 2014 sleeper hit which earned a lifetime gross of more than $100 million worldwide.
Involving a seance scam in 1967 Los Angeles, the prequel was directed by Mike Flanagan (“Oculus”) and comes from from Blumhouse, Platinum Dunes and Hasbro, and boasts a roster of big name producers including Michael Bay and Jason Blum.