The next three months has some absolutely barn storming Sci-Fi releases to satisfy every fan of the genre, from the casual to the hard-core.
First up on 9 May is JJ Abrams’ hugely anticipated Star Trek sequel, Star Trek into Darkness 3D. Chris Pine and Zachary Quinto, battling against the unstoppable evil of Benedict Cumberbatch.
Tom Cruise is back on top as Oblivion flew to an impressive £5m five day opening, with £1.6m coming from Wednesday and Thursday previews. This is further confirmation that audiences still love to see Tom Cruise headlining major films.
The Croods had yet another strong hold, falling just a measly 15% to £2m and a spectacular cume of £22.7m. By this time next week it should have overtaken Wreck-It Ralph to become the highest grossing animated film of the year so far. In third spot, is the fifth installment in the Scary Movie franchise. An opening of £1.1m is the lowest in the series and a long way off from Scary Movie 3’s series best £3.5m debut.
Yes, we have a spectacular selection of summer blockbusters on the horizon but this summer is also a dream for fans of comedies of all sizes. Fans of 2005 hit The Wedding Crashers will be particularly interested in The Internship (4 July). Reuniting Owen Wilson and Vince Vaughn as two salesmen who have to take an internship (hence the title) at Google, it also features a cracking support cast including Rose Byrne and John Goodman, so expect box office to rival Vaughn and Wilson’s previous outing.
At your local cinema this weekend you might enjoy a night at New York’s Metropolitan Opera or the dancing troupes of the Bolshoi Ballet, but would you pay money to watch an art exhibition on the big screen?
A new film, Manet: Portraying Life, hopes to start a trend and tempt audiences from the galleries into the auditoriums.
“The last thing we want is for people to consider this as an alternative,” says director Phil Grabsky, whose production gives a behind-the-scenes tour of the Royal Academy of Art’s latest sell-out show.
The Queen has been described as the ‘most memorable Bond girl yet’ for her role opposite Daniel Craig in the Olympics opening ceremony after receiving an honorary BAFTA award.
Actor Sir Kenneth Branagh presented her the award at a Windsor Castle reception last week in recognition of a lifetime’s support of British film and television.
‘Several of my colleagues want you to know that, should you wish to take it further into the world of British films, they have a number of scripts with them here this evening,’ Branagh joked.
For the third weekend in succession, animated hit The Croods proved to be cinema’s biggest draw. A further £2.4m takes its cume to £17.7m and it now sits behind Les Misérables and Wreck-It Ralph 3D as the third highest grossing film released so far this year. With another week of the Easter holidays left, £20m-plus is a certainty.
GI Joe: Retaliation 3D held on to the second spot with £1.1m and has a cume of £5.6m. It’s now less than £1m behind the first G.I. Joe’s final total of £6.5m, which it should have overtaken by this time next week.
The BFI opened its doors last week to some of the UK’s sharpest creative minds to discuss the issues and opportunities that 3D film-making presents. Headlined by Ang Lee and David Attenborough, the two day event took an in-depth view of the vast creative possibilities 3D is opening up to enhance the art form of film since the advent of digital film-making techniques.
DCM’s Commercial Director, Joe Evea, took his place on a panel dedicated to “Making 3D Sell” alongside Luke Beauchamp from Compendium Media, James Stewart from Geneva Films and panel chairman Danny Edwards, editor of Shots magazine.
DCM welcomes the Curzon Eastbourne to its estate following its conversion to digital last year.
Originally named the Picturedrome, the historic site opened its doors in 1920, when it showed silent films accompanied by piano until the advent of talkies in the 1930’s. Widescreen and cinemascope took over in the 1950’s before the arrival of Dolby sound in 1967 when the cinema changed its name to the Curzon. In 1973 the Curzon tripled its capacity to three screens and last year’s conversion to digital is the latest innovation in the cinema’s 93 year history.
Six months ago, on 28 September 2012 DCM flicked the switch on digital operations and embarked on the most significant change in the history of cinema advertising. It has been an ambitious and challenging journey and its successful implementation has been made possible by the support and commitment of all DCM’s exhibitor partners nationwide. With your help, cinema advertising can now compete with other media on a level playing ground as a faster, more flexible, even more creative advertising option. Brands are buying into these new digital benefits meaning that DCM has been able to accept campaigns over the past six months that would not have been possible in the pre-digital world.