Sequels monopolised the top of the UK box office this weekend as the top three places all went to high profile franchises. The number one spot was taken by Madagascar 3: Europe’s Most Wanted 3D with £6m (including £2.4m from previews). When the previews are removed it shows the extremely consistent performance of the series. The first Madagascar opened with £3.6m in 2005 and Madagascar 2: Escape 2 Africa opened with £3.9m in 2008. Both those films went on to a final total in excess of £22m.
Second place was possessed by found footage chiller, Paranormal Activity 4 with £2.5m (including £806k from previews). It’s a solid start but comfortably the lowest of the series, with PA2 opening with £3.8m, PA1 with £3.6m and PA3 with £3.4m. The low production costs of the series though has ensured that a fifth instalment is on the way in time for Halloween 2013. In third spot, Taken 2 continued its remarkable run with a further £2.3m taking its cume to £18.6m. Although it’s likely to take a hit with the release of Skyfall on Friday, it’s possible that The Bourne Ultimatum’s final total of £24m is within reach. Read more
You attend the opening of a showcase such as this knowing you are going to witness something special but never truly expecting what your about to see.
Having seen the film at its premiere the previous week and loving every minute of it, seeing the ideas, creations and the making behind the film was even more fascinating (note to all potential attendees - see the movie first). Read more
Billy Connelly (nearly Headless Nick), Maggie Smith (Professor McGonagall), and Michael Gambon (Professor Dumbledore)...no I'm not talking about a top secret Harry potter project but Quartet, the directorial debut from Dustin Hoffman (aka Captain Hook for the 90s kids out there).
The film centres on a retirement home for the old and extremely talented. From the start, you instantly get a taste of the characters and what's in store as Gambon, head of the choir, shouts and instructs, the choir sing at the top of their lungs and Billy Connelly takes the mick! Read more
The young characters of My Brother the Devil live in a world of perpetual violence, gang feuds and abuses both chemical and physical. It’s a world where a legitimate road to success is all-but invisible, and brash machismo – often backed-up by cold steel – is an ugly substitute for ambition. They’re pawns to their generals, men in their late-20s whose council houses are decked out like City Boy bachelor pads, except that for every set of iconic black-and-white photographs in a frame cluster, there’s a pair of antique machetes.
This is the world that Sally El Hosaini presents, and it’s one we’re all familiar with. Over the last decade, British cinema has indulged in something of an angry love affair with ‘the endz’, pushing out a steady stream of ‘gritty crime dramas’ with a tendency to feel like washed-out retreads of Boyz N the Hood with more muddled Afro-Caribbean patois and fewer barbeques. This recent tradition is carried over into My Brother the Devil but, thankfully, there’s something else going on underneath… Read more
On the rainiest of Wednesday nights, the DCM faithful padded over a sodden red carpet into a packed-out UK premiere of End of Watch – the new cop thriller by the writer of Training Day, David Ayer. The influences really show too – the action is stark and brutal, with sombre down moments and tension hitting fever pitch at the grand finale.
This is no mindless shooter mind you, and underneath the gritty handheld realism and harrowing subject matter this is a buddy cop movie with a sincere heart. The magnetic on-screen chemistry of Jake Gyllenhall and Michael Pena (present on the night to welcome the crowd) would be enough to carry the audience through from start to finish, displaying a friendship that is layered and believable. They even make mention in the script that they are beyond friends – they are brothers. Read more
It’s the beginning of an exciting new week at The BFI London Film Festival and the order of this evening is The Sapphires, the debut feature film from resident Aussie, Wayne Blair. Inspired by true events, it’s a gutsy, upbeat and at times satirical story of four girls with one dream.
It’s the late 60’s, 1968 to be precise, indigenous Australians have just been granted the right to vote, the civil rights movement is rife across the globe, and of course, the Vietnam War is in full throttle. The story focusses on three Indigenous sisters who have grown up in a rural mission, and whilst the universal notion of sisterly bickering is clearly still applied in deep Australia, the girls have one united dream… to make it big in the music industry and become stars. Read more
For the second weekend running, Liam Neeson took the UK box office by the scruff of the neck as Taken 2 delivered an impressive £3.7m. The Istanbul-set actioner has now grossed a considerable £14.5m after eleven days and with another instalment surely on the cards, Neeson’s dog must be getting nervous. A great comparison for Taken 2 would be The Bourne Ultimatum, which opened with a similarly impressive £6.6m but grossed a much lower £2.9m on its second weekend on its way to £24m. With that in mind, a final total of £20m-plus for Taken 2 looks almost guaranteed and considering the first Taken only grossed £6.4m, it demonstrates just how much impact the first film made on DVD and television.
In second spot, the highest new entry was Adam Sandler animation Hotel Transylvania 3D with £1.7m. Distributor, Sony Pictures, have released an autumnal animation twice before (not including last year’s Arthur Christmas) with 2006’s Open Season (£1.7m) and 2009’s Cloudy With A Chance Of Meatballs (£1.6m) and Hotel Transylvania 3D has outperformed them both. Third spot was taken by Sinister, which had a terrific hold, easing just 12% to £1.3m for a cume of £3.7m. Distributor Momentum are obviously using their 2011 horror hit Insidious as a template and that had a similarly strong second weekend hold, falling just 9% on its way to a final total of £7.1m. Read more
If you’re a fan of French cinema, Michael Haneke’s Amour is a must-see film this November. As soon as it screened at the Cannes Festival, it was clearly very special and was the obvious choice to win the Palme d’Or. But be prepared, it’s a gritty, matter of fact look at what happens in later life as the aging process takes over a couple’s world.
The Austrian director has united French cinematic legends Jean-Louis Trintignant and Emmanuelle Riva in this study on the beauty of spending your life with another person and how one copes with the suffering of a loved one. The acting is stunning. Emmanuelle Riva gives possibly the best screen performance I’ve ever seen as Anne, a piano teacher, whose life degenerates when she suffers a series of strokes. Trintignant’s tenderness as her husband Georges and his resolve to care for her as she becomes increasingly incapable is incredibly moving. Read more
It’s the opening of the BFI and what better way to kick off the 56th London Film Festival than to pick a film which was crafted at the Three Mills Studios in East London and is the latest great offering from the quirky director who brought us the classic Nightmare before Christmas and The Corpse Bride.
Under the Disney banner, Frankenweenie 3D is enough to make the death of Bambi’s mom look like a happy affair. Set in a small suburban town in America, this monochrome film based on old Hollywood movies such as The Bride of Frankenstein and Gremlins is exactly what we’ve learned to expect from a Tim Burton film; gangly looking characters, death and a whole load of heart. Read more
Last Friday, the James Bond franchise celebrated its 50th anniversary.
For 50 years, James Bond has entertained and thrilled audiences across the globe. With exotic locations, futuristic gadgets and a plethora of colourful characters, the franchise is one of the longest running in the world. Read more
Kraft Foods’ Maynards has partnered with Digital Cinema Media (DCM), the UK market leader in cinema advertising, to become the first brand to take over DCM’s prestigious 10’’ closing ident for the launch of its new product Maynards Sour Patch Kids.
The ident, created by Jump, plays on the idea that it is being ‘taken over’ by the Maynards Sour Patch Kids matching the theme in the soft candy’s ad campaign. The ad campaigns show the characters doing something cheeky, mischievous or naughty representing the initial sour taste of the sweet, followed by something loving and fun representing the sweetness that follows. Creative will run in selected films and cinemas, made possible by DCM’s recent digital switch allowing advertisers the freedom to tailor bespoke campaigns and access to precision scheduling. The media concept was devised, planned and implemented by Jonathan Greenfield at PHD Network. Read more
This week saw another successful edition of DCM Tuesdays take place with an advanced screening of latest horror fest from Momentum, Sinister.
From the producers of Paranormal Activity and The Exorcism of Emily Rose, Sinister lived up to its predecessors, provoking many hidden eyes behind popcorn boxes and screams of fright in the screening room of the Courthouse Hotel. Read more
