Disney's "The Lion King" also hit a new benchmark, crossing $1.5 billion globally to become the ninth-highest grossing movie of all time. The movie pulled in $30 million this weekend, led by a $15.9 million debut in Italy. Overseas, Jon Favreau's photorealistic remake of the animated classic is expected to surpass the $1 billion mark on Monday, which would make it only the ninth title to ever hit that milestone.
"Hobbs & Shaw" is nearing the $600 million mark globally, with ticket sales currently hovering at a sizable $588 million. The "Fast & Furious" spinoff, starring Dwayne Johnson and Jason Statham, collected another $120 million overseas, boosting its foreign tally to $441 million.
Sony's "The Angry Birds Movie 2" pocketed $10.2 million from 43 markets, taking its foreign ticket sales to $47.6 million. This weekend, the animated sequel bowed in India ($870,000), Spain ($560,000) and Peru ($380,000).” />
In China, "Hobbs & Shaw" set numerous records, including the biggest August opening weekend ever and the second biggest Hollywood debut of the year behind Disney's "Avengers: Endgame." It also marks the franchise's second-biggest launch in the Middle Kingdom, a record still held by 2017's "The Fate of the Furious" with $184 million.
Taraninto's ode to hippie Hollywood launched in five new territories this weekend, including Mexico with $2.4 million, marking the best start of the director's career in that country. Meanwhile, Sony and Quentin Tarantino's "Once Upon a Time in Hollywood" had another strong outing, generating $28 million from 55 international markets. That haul lifts ticket sales to $116.6 million overseas and $239.8 million worldwide.
Universal's "Hobbs & Shaw" returned to first place on the international box office charts, thanks to a massive $102 million debut in China.

Shares of Imax were up 44 cents to $21.76 in after-hours trading. The company, in an announcement Tuesday after the market closed, said it topped consensus estimates on revenues by 6.6% with $104.8 million and on adjusted earnings per share by 6.7% with 32 cents a share.
CEO Richard Gelfond issued a bullish outlook for the rest of the year.
The company also said Imax China has vastly outperformed the rest of the Chinese film industry year-to-date, with 28.9% box office growth in the second quarter — marking the company’s eighth consecutive quarter of year-over-year box office growth in China. Max noted that "Ne Zha," Imax’s first-ever Chinese animation title, premiered with the best opening weekend ever for any Imax animation release in China.
Operating expenses for 2019 are expected to be in line with the $110.7 million recorded last year. Total theater installations are expected in the range of 185 to 190, consisting of new theater installs of 140 to 145 systems and upgrades of approximately 45 systems.
Gelfond also disclosed during Tuesday's conference call with analysts that the company is attempting to increase the use of Imax cameras on feature films. He said Christopher Nolan is using Imax cameras to shoot "Tenet," his upcoming action thriller with John David Washington and Robert Pattinson starring.” />
The company said its commercial theater network grew 10% to 1,445 systems, including agreements with CGV for 40 new theaters in China, and with Cineworld for 15 sites with Laser upgrades in Regal theaters across the U.S.
Global box office in the second quarter grew to $364.9 million, up 6.5% and driven by the strong performance of "Avengers: Endgame" and overall strength in China. Imax also said it is on track to deliver its best year ever at the global box office, affirming previous full-year guidance of low-double digit percentage growth over 2018's $1.03 billion.
Giant screen producer-exhibitor Imax has reported second quarter earnings and revenues that topped Wall Street expectations, citing strong performances from "Avengers: Endgame" and its Chinese sites.
“Our continued success is driven by the privileged position we hold in the entertainment ecosystem, where our end-to-end technology empowers world-class creators to bring cultural events and communal experiences to life on a global scale.” "Imax is on track to deliver its best year ever at the box office, with the success of 'Spider-Man: Far From Home,' 'The Lion King,' and our record-breaking, first local language animated release in China this past weekend, 'Ne Zha,' leading a strong second half film slate and building on our solid first-half,” he said.

Disney's “The Lion King” is heading for a dominant $185 million opening weekend in North America, early estimates showed Friday.
It's already topped $130 million internationally and is opening in most markets this weekend. The movie debuted in China a week ago and has pulled in $76 million so far.
Sony's third weekend of "Spider-Man: Far From Home" should finish second in the $21 million range to give the superhero saga around $320 million domestically. "Spider-Man: Far from Home" has also pulled in around $560 million internationally.
The tentpole took in $23 million in Thursday night previews — the biggest preview number since Disney-Marvel's "Avengers: Endgame" set the record on April 25 with $60 million and went on to gross an astounding $357 million on its opening weekend. The film appears to be outperforming pre-sale forecasts, which had been in the $150 million to $180 million range in a record 4,725 domestic locations.
James Earl Jones is reprising his role as Mufasa from the animated movie. Elton John reworked his musical compositions from the original film with Beyoncé assisting. Beyonce also created and performed a new song for the film, "Spirit," which was released on July 9. “The Lion King” boasts an A-list voice cast, including Donald Glover as Simba, Beyonce as Nala, Chiwetel Ejiofor as Scar, and Billy Eichner and Seth Rogen as Timon and Pumbaa.
Disney-Pixar's fifth frame of "Toy Story 4" will finish in third in the $13 million range, giving the animated comedy nearly $375 million by the end of the weekend. The second weekend of Paramount's "Crawl" and the third frame of Universal's "Yesterday" will be battling for fourth place at around $5 million each.” />
The summer has also declined by 5.9% to $2.78 billion. “The Lion King” is arriving at multiplexes with 2019 domestic box office having plunged a discouraging 9.1% to $6.26 billion as of July 19, according to Comscore.
"The Lion King," directed by Jon Favreau, is a photo-realistic remake of Disney's classic 1994 animated hit. Reviewers have been split over "The Lion King" with a 56% Rotten Tomatoes rating, but the mixed notices appear to be having little impact among moviegoers. The story is centered on a young lion named Simba assuming his role as the king of the Pride Lands animal kingdom after his father, Mufasa, is murdered.
Should that number hold, "The Lion King" will record the second-best opening of 2019 — and give the sagging domestic box office a badly needed boost. "The Lion King" would replace "Incredibles 2," which launched last year with $182.7 million, as the ninth biggest North American launch of all time.

"To everyone in NYC that is missing 'The Farewell' screenings cuz of the power outage, I’m sorry!!!," she wrote on Twitter. "Come over to my house and I’ll screen it. You bring the food, I’ll bring the movie."
"Avengers: Endgame" has broken just about every box office record this year, but there's at least one film that has managed to surpass a benchmark set by the superhero blockbuster: A24's "The Farewell" now holds the best per-screen-average of 2019.
In his review for Variety, chief film critic Peter Debruge praised the movie, writing, "what makes 'The Farewell' so effective is that in delving into such a specific case, the film invites audiences to reflect on the passing of relatives close to them.
The comedic drama, directed by Lulu Wang and starring Awkwafina," generated $351,330 when it opened in four venues: AMC Lincoln Square and the Angelika in New York and ArcLight Cinemas and The Landmark in Los Angeles. Despite a power outage in New York City Saturday night that caused AMC Lincoln Square to temporarily close, "The Farewell" averaged a huge $87,833 from each location.
Upon learning about the New York City blackout, Wang jokingly offered to host a watch party at her place.
In "The Farewell," Awkwafina's character travels to China to say goodbye to her family's dying matriarch. However, the grandmother doesn't know she has terminal cancer. The movie generated rave reviews after its premiere at this year's Sundance Film Festival and holds perfect 100% rating on Rotten Tomatoes.
Prior to "The Farewell," the biggest screen average of 2019 belonged to "Avengers: Endgame" with $76,601 per location. However, the Disney-Marvel blockbuster got its start in slightly more venues, kicking off in a record 4,662 North American theaters.
2.” /> A24 is slowly expanding "The Farewell" to more theaters across the country before launching it nationwide on Aug.

Mexico’s $3 million opening day was the best July launch for that market as was Brazil’s $2.2. Russia launched with $2.8 million on Thursday and France’s opened with $2.5 million on Wednesday. million.
 ” />
Sony's "Spider-Man: Far From Home" has topped the $310 million worldwide box office mark in its first week, thanks to potent performances in China and North America.
In North America, "Spider-Man: Far From Home" has opened sensationally with $91 million in its first three days, including the second-highest Fourth of July mark with $25.2 million.
Sony reported Friday that Japan is the second highest market with $12.9 million, followed by South Korea with $12 million, the UK with $7.2 million and Hong Kong with $6.6 million. "Spider-Man: Far From Home" is opening in most other international markets this weekend.
The superhero tentpole, starring Tom Holland, has taken in a total of $136.8 million in China, following its $97 million opening weekend — the fourth-best debut of all time for a superhero film in the territory, behind “Avengers: Endgame,” “Avengers: Infinity War” and “Venom.”
Jackson, Zendaya, Cobie Smulders, Jon Favreau, Jacob Batalon and Marisa Tomei reprise their roles for the sequel. Jake Gyllenhaal joins the cast as Mysterio, while Samuel L. "Spider-Man: Far From Home” follows the 16-year-old Parker being recruited to save the world while on a school trip to Europe organized by the Midtown School of Science and Technology. Holland broke out as Peter Parker in 2017’s “Spider-Man: Homecoming,” which wound up with $334 million North American total and $880 million worldwide.
Taiwan and India each generated $2.1 million in its first two days. The five markets of the Philippines, Indonesia, Malaysia, Singapore, and Thailand took in $9.2 million through Thursday.

Gwyneth Paltrow isn't the only actor who had trouble keeping track of what was going on in the Marvel Cinematic Universe.
A clip from Favreau's Netflix cooking series "The Chef Show" went viral earlier this year when Paltrow came on and forgot she had filmed a scene in 2017's "Spider-Man: Homecoming" with Favreau, thinking it was a part of one of the "Avengers" movies. Many of the MCU films shoot out of order, like "Infinity War" and "Endgame," which shot back-to-back, but released a year apart. Favreau said "Far From Home" director Jon Watts had to fill in the cast on how "Endgame" would wrap things up because it was shooting around the same time as the Spidey sequel.
Oftentimes you're not exactly sure what's happening, even me. "With the Marvel things, they have so many films happening at the same time and all of them interweave with one another. I'm an executive producer on 'Endgame,' I didn't always know what was going on," Jon Favreau told Variety at "Spider-Man: Far From Home" LA premiere.
Favreau played Tony Stark's (Robert Downey Jr.) bodyguard Happy Hogan in the "Iron Man," "Spider-Man" and briefly in some of the "Avengers" movies, usually appearing with Paltrow's character Pepper Potts, who was Tony's wife.
"In the beginning, I was kind of annoyed by him and I was a babysitter assigned to look after him in the background of what was happening in 'Civil War,' but now after 'Infinity War' and 'Endgame' all the characters have been through a lot emotionally," Favreau told Variety. "I like what this relationship has evolved to, and, of course, working with an actor like Tom Holland with scenes that are both funny and emotional is great because I don't get to act like this that often."
After Tony sacrificed himself to save the world from the villain Thanos in "Avengers: Endgame," Favreau said Happy fills a new mentor role for Peter Parker (Tom Holland) in "Far From Home."

Elsewhere, Neon brought "Wild Rose" to 16 theaters, collecting $63,113 during its second weekend of release, pushing the musical drama to $135,403.
The animated sequel has now earned $131 million in North America. Rounding out the top five is Universal and Illumination's "The Secret Life of Pets 2" with $7 million.
The fourth chapter in the animated series collected another $58 million, boosting its domestic haul to a huge $237 million. The first three spots – "Avengers: Endgame" ($841 million), "Captain Marvel" ($428 million), and "Aladdin" ($306 million) – all belong to Disney as well. After two weekends in theaters, "Toy Story 4" is already the fourth-highest grossing movie of the year. Overseas, "Toy Story 4" picked up a solid $80 million for a global tally of $496 million.
The live-action remake has now earned $306 million in North America and $568 million internationally. In fourth place, Disney's "Aladdin" generated $9.3 million in its sixth weekend in theaters, pushing it past the $300 million mark at the domestic box office.
The supernatural horror film debuted in second place, earning $20 million over the weekend and $31.2 million since launching on Wednesday. While those ticket sales represent a franchise-low debut for the Conjuring series, its low production budget still marks a win for the studio. Warner Bros. Gary Dauberman wrote and directed "Annabelle Comes Home," which stars Patrick Wilson, Vera Farmiga and Mckenna Grace. and New Line's "Annabelle Comes Home," the seventh installment in the Conjuring Universe, had the best showing among new releases. The spooky sequel kicked off at the international box office with $45 million, taking its worldwide start to $76 million.
The documentary about the first all-female yacht crew to sail around the world, made $500,715, averaging $8,453 per location. Among specialty releases, Sony Pictures Classics debuted "Maiden" on six screens.
The Keanu Reeves-led sequel picked up $3 million this weekend, taking its domestic tally to $161 million. In other box office milestones, Lionsgate's "John Wick: Chapter 3 – Parabellum" crossed $300 million worldwide.
Meanwhile, CBS Films' expanded "Pavarotti," Ron Howard's non-fiction film about the acclaimed opera tenor, to 288 screens. It added $532,000 this weekend, taking its domestic tally to $1.8 million.
domestic distribution chief. It can be tricky to find your audience, you just have to be more strategic." "The fact that 'Yesterday' did so strongly and ['Annabelle Comes Home'] got to $31.2 million shows the health of our business. "The interesting part of this weekend is the counter-programming that's out there," said Jeff Goldstein, Warner Bros.
As a whole, the domestic box office is down almost 10%, according to Comscore. Industry watchers are hopeful that "Spider-Man: Far From Home," "The Lion King" and "Fast & Furious Presents: Hobbs & Shaw" can help reverse the decline in ticket sales and push this summer to record heights.” />
The new numbers put Marvel's juggernaut roughly $26 million behind "Avatar," which has remained the highest-grossing film of all time for nearly a decade with $2.78 billion in global ticket sales. "Avengers: Endgame" added another $5.5 million in its 10th weekend of release, almost a 200% jump in ticket sales. That brings its box office receipts to $841 million in North America and $2.76 billion worldwide.
The special screening, which also included a video introduction from director Anthony Russo and a sneak peek at "Spider-Man: Far From Home," is in a bid to take down "Avatar" as the biggest movie of all time. A little farther down on domestic box office charts is "Avengers: Endgame," which returned to the top 10 after Disney re-released the blockbuster with an unfinished deleted scene that didn't make it into the initial film.
Rights to the catalog of John, Paul, George and Ringo's greatest hits don't come cheap, so Universal is hoping "Yesterday" has a long and winding road in theaters. In a close third, Universal and Working Title's "Yesterday" launched with $17 million from 2,603 venues. It carries an A- CinemaScore. The romantic comedy follows an aspiring songwriter (newcomer Himesh Patel) who, after a freak accident, discovers he's the only person who remembers the Beatles. The jukebox musical pulled in $7.7 million from foreign markets, bringing its weekend total to $24.7 million globally."Yesterday" appealed to an older female audience. "Yesterday" was directed by Danny Boyle ("Slumdog Millionaire," "Trainspotting") and written by Richard Curtis ("Love Actually"). Women represented 56% of ticket buyers, while 75% of moviegoers were over the age of 25.
Females accounted for 57% of opening weekend audiences, with 53% of crowds under the age of 25. Overseas, "Annabelle Comes Home" brought in $45 million for a global start of $76.2 million.
It earned $482,387 in its fourth outing, where it's playing in 155 venues. The drama, which debuted at Sundance, has grossed $2 million to date. A24 also brought "The Last Black Man in San Francisco" to additional theaters across the country.
"We know our audience is older," Jim Orr, Universal's president of domestic distribution, pointed out. "That group doesn't necessarily run out opening weekend. That combined should lead us to a long, healthy run at the domestic box office." Our audience scores on PostTrak and Rotten Tomatoes are tremendous.
Despite solid debuts from newcomers "Annabelle Comes Home" and "Yesterday," Disney and Pixar's "Toy Story 4" easily dominated North America. Woody, Buzz Lightyear and Forky are still ruling the box office.

"Avengers: Endgame," which originally opened April 26, has generated $2.76 billion worldwide, putting it about $26 million behind "Avatar." James Cameron's sci-fi epic has remained the highest-grossing movie ever for almost 10 years with $2.78 billion in global box office receipts.
The special screenings, dubbed a Bring Back event, also included a video introduction from director Anthony Russo and a preview of "Spider-Man: Far From Home," which hits theaters on Tuesday. Disney, ever determined to knock "Avatar" off that perch, brought "Avengers: Endgame" back to multiplexes before it even left, enticing audiences with additional content and deleted scenes that didn't make it into the initial three-hour movie.
Disney's re-release of "Avengers: Endgame" brought in another $5.5 million in its 10th weekend in theaters, marking a 200% increase in ticket sales from its previous outing. Earth's Mightiest Heroes are still doing whatever it takes to beat "Avatar's" all-time box office record.
"Avengers: Endgame," a culmination to the current phase of the Marvel Cinematic Universe, spotlights a cornucopia of heroes including Iron Man (Robert Downey Jr.), Captain America (Chris Evans), Captain Marvel (Brie Larson), Black Widow (Scarlett Johansson) and Ant-Man (Paul Rudd).
It's still a testament to Marvel that the juggernaut returned to the top 10 on domestic box office charts, placing seventh for the weekend after almost two months of release. It has now earned $841 million in North America and $1.92 billion internationally. It's also safe to assume Disney still has a few tricks up its sleeve to get the film to ultimate box office glory. "Avengers: Endgame" wasn't expected to pass "Avatar's" benchmark from this weekend alone (before the re-release it was pacing behind by $44 million).

I realize I’m the only critic in the universe who enjoyed "Dark Phoenix" And frankly, a big part of my franchise-fatigue fatigue is that I don’t necessarily trust franchise fatigue.
Rumors to the contrary aside, those of us who cover pop culture for a living are not cynics. More than that, there’s an ideology to franchise fatigue as it's routinely parsed by the media. And franchise fatigue, which seems all too real, but is also (ultimately) a grand illusion, is something that we tend to seize onto because it fuels the hope in us. We like this stuff; we want it to be good.
And they’re never going to learn it because the lesson, at heart, isn’t true. Actually, I have an answer for that: They’re never going to learn it.
But what’s left out of this equation, too often, is the dynamic that fuels my franchise-fatigue fatigue. Live by the audience, die by the audience. Namely: If you’re going to interpret box-office numbers, especially when a movie tanks, as a sign of what the audience rejects, then you can’t do it with a double standard. Yes, they didn’t want a new "Shaft," and they didn’t want "Men in Black" with new stars (though if the old stars had been brought back, I’m not sure the results would have been that much better).
By "media," I don’t just mean reporters, critics, and box-office analysts. Over and over, in the rec-room rebel froth of reader comments, you encounter what  might be described as the moral-wrath version of franchise fatigue. It tends to sound something like this: "When are those idiots going to learn that they can’t just rehash the same old crap, over and over, and expect people to show up for it?" Media now includes social media and reader-comment threads, and the sentiments you encounter there on this subject tend to add up to a decisive endorsement of the following formula: bad moves = bad box office = franchise fatigue = Hollywood should really make better movies, dammit!
But here, measured by the numbers, is what they have wanted: the George Lucas "Star Wars" prequels, Disney strip-mining its holy animated catalogue for live-action remakes that are like uncanny-valley theme-park rides, the incredibly shoddy dinosaur sequel "Jurassic World" (domestic gross: $652 million; no franchise fatigue there!), and — despite the image the media created of these films as audience-alienating disappointments — "Batman v Superman: Dawn of Justice" (domestic gross: $330 million) and "Suicide Squad" (domestic gross: $325 million).
that loyal puppy of megaplex-product enthusiasm! The highly visible failure of films like "Dark Phoenix," "Men in Black: International," and "Shaft" went down as black eyes for the studios that produced and distributed them. More than that, they were signs that the audience — ah, the audience! We’ve got franchise fatigue." The audience voted, as it always has, with its ticket dollars, and what the vote said was, "Enough! until, all of a sudden, it isn’t — was now weary as hell, and it wasn’t going to take this anymore.
We think: If you build it (it being movies that truly enthrall and entertain, like "Avengers: Endgame" or "Toy Story 4"), they will come. (Remember those good old days?) For a righteous feverish moment or two, we look at bad sequels and the bad box-office performance that accompanies them, and the universe suddenly makes sense. Kind of like what happens when the American public, during a presidential election, doesn’t vote for the candidate who’s a scatter-brained fraudulent sociopath. At a moment of franchise fatigue, the capitalist/hedonist karmic equation of movie culture is in balance. If you build it badly, they will not come. Quality rules, and the lack of quality dies.
Movies that are casualties of franchise fatigue may be scarlet letters for the studios that made them, but ultimately they’re bumps in the road. I could go on and on, but the point should be obvious. But the system that produces franchise fatigue is one that the whole culture has never stopped embracing. As a phenomenon, franchise fatigue gets used, selectively, to represent the idea that the audience has somehow grown tired of junk-food movies.
It’s blockbuster movie season (otherwise known as: any given week of the year), and a handful of sequels, reboots, and tentpole-smash wannabes have all come out and performed badly. The symptoms are as follows. The eternal hope that a veteran franchise, one that has been in hibernation for a while, could wake up, take off, and fly again — those dreams crashed and burned. The studio dreams of box-office triumph were not fulfilled. The media predictions of weekend grosses were not met. I recently came down with an acute case of movie-world-itis — call it "franchise fatigue" fatigue.
— it works. That doesn’t mean that the film industry as a whole isn’t at a crisis point (it is, and for a great many reasons), and it doesn’t mean that I offer this reality up as some sort of clandestine defense of junk-food moviemaking. What it allows us to forget, each and every time, is that rehashing the same old crap, over and over, and expecting people to show up for it is what Hollywood has done for 40 years. More often than it doesn’t. I want to see mainstream studios give us films like "A Star Is Born" and "Gravity" and "American Hustle" and "Mad Max: Fury Road" and "La La Land," not more "X-Men" movies and endless "Star Wars" sequels feeding off fumes of nostalgia and reboots of reboots of reboots of slasher-movie franchises that are older than Pete Buttigieg. Franchise fatigue, in any given week, may be all too real, but one of its underlying aspects is collective amnesia. And — news flash!
If you eat too much at McDonald’s or Domino’s or KFC or Taco Bell, your body is probably, at some point, going to tell you to lay off, and you will — for, you know, a few days. But it's only then that the serious symptoms really started to show up. The first symptom is the reflexive use of the phrase "franchise fatigue." It’s an accurate description as far as it goes (audiences didn’t turn out because they’d grown bored with these series), though it’s a little akin to fast-food fatigue. Until the craving kicks in again.
The way the words "franchise fatigue" are now used, they’ve become a synonym for "good taste," and that’s a fatal mistake. In Hollywood, it’s still a rare day when anyone went broke underestimating the fatigue of the audience.” /> If ever a movie should have been a candidate for franchise fatigue, it was this one, but what it proved, instead, is that just as you can’t always count on the audience to show up, you can’t count on the audience not to show up either. But "The Last Stand" schlocked itself all the way to the bank (domestic gross: $234 million, the highest of any "X-Men" film not counting "Deadpool").
As the first pass the series took at the Phoenix saga, I would argue that it’s not nearly as good a film as "Dark Phoenix." (I stand by my enthusiasm), and interpreting its box-office failure as franchise fatigue seems fair enough (though it’s my feeling that if they’d simply entitled it "X-Men: Dark Phoenix," they might have upped the grosses by 30 percent). But just contrast the film’s decidedly lackluster performance with the way that Brett Ratner’s "X-Men: The Last Stand" performed 12 years ago. At the time, that film played like the concluding chapter of the franchise, and coming after the one film in the franchise that was actually good ("X2: X-Men United"), it felt like a major creative stumble.

The "Spider-Man: Far From Home" Star continued his spoiler streak during Friday night's episode of the "Graham Norton Show" when he revealed one of the major deaths from "Avengers: Endgame."
"Spider-Man: Far From Home," which also stars Jake Gyllenhaal and Zendaya, is set to hit theaters July 2.” />
"The film is a direct continuation of "Avengers: Endgame" so we deal with the ramifications of the blip, of the death of Tony Stark,” Holland said while promoting his upcoming "Spider-Man" sequel. If you haven’t, then you’re living under a rock, to be honest." “Sorry if anyone hasn’t seen the film!
Although "Endgame" directors the Russo Brothers lifted the ban on spoilers last month, the important detail didn't sit well with many 'Graham Norton Show' viewers who took to Twitter to share their frustration.
Tom Holland just can't seem to keep his mouth shut.
In actuality, Holland's latest spoiler is far from his worst. Holland has a long history of releasing major Marvel details, which have spanned everything from his revelation of "Spider-Man: Far From Home's" title on social media to his  announcement of Marvel's plans to turn the first "Spider-Man" film into a trilogy. More recently, he walked into an "Avengers: Infinity War" theater and shouted, “I’m alive!” giving away the film's climactic ending.

Comscore senior media analyst Paul Dergarabedian said the 2019 slate — held down by a slow start in January and February — could still top last year's record-setting total of $11.9 billion.
Universal's second session of "A Dog's Journey" was seventh with $5.5 million at 3,279 sites, lifting its 11-day total to $16.4 million. United Artists' third weekend of "The Hustle" followed in eighth with $4.8 million at 2,377 locations to pass $30 million in 18 days.
Disney's ninth weekend of "Dumbo" made $1.3 million at 346 locations to give the reboot $113 million after 60 days — just ahead of what "Aladdin" grossed in its first four days. Sony's fourth weekend of "The Intruder" pulled in $2.9 million at 1,612 venues to finish ninth, followed by Lionsgate's fourth frame of "Long Shot" with $2.1 million at 1,354 sites to round out the top 10.
"It's going to take patience and time to erase more of the current deficit as a series of upcoming blockbusters will take a strong stand against last year's comps and with the massive slate on tap, including Disney's own 'The Lion King,' the opportunity to pull ahead of last year is certainly not an impossible task," he added.
Sony's launch of horror-thriller "Brightburn" came in fifth with $9.5 million at 2,607 venues, and United Artists-Annapurna's opening of teen comedy "Booksmart" followed with $8.7 million at 2,505 locations. Both debuted slightly below pre-release forecasts.
Disney's live-action "Aladdin" soared far above the competition in North America, with an estimated $112.7 million at 4,476 sites over four days.
Disney holds the record for the holiday, with 2007's "Pirates of the Caribbean: At World's End" at $139 million. It's the fifth-highest Memorial Day weekend total ever, topping "X-Men: Days of Future Past's" 2014 mark of $110.4 million.
"Aladdin" easily outperformed Disney's pre-opening domestic projections, which were in the $75 million to $85 million range for the four days — and underlined the validity of the studio's strategy of rebooting its animated classics such as "Beauty and the Beast" and "The Jungle Book." In this case, it remade the original 1992 animated movie with Mena Massoud as Aladdin, Will Smith as the Genie, Naomi Scott as Jasmine and Marwan Kenzari as Jafar. Guy Ritchie directed.
Overall 2019 domestic box office reached $4.34 billion as of Sunday, 10% behind last year's total, despite "Avengers: Endgame's" massive haul. Upcoming releases during the next month include "Godzilla: King of the Monsters," "The Secret Life of Pets 2," "Men in Black: International" and "Toy Story 4." Disney's live-action reboot of "The Lion King" opens on July 19 — 25 years after the original animated blockbuster dazzled audiences with $422 million domestically.
It's also the second-biggest worldwide performer ever with $2.68 billion, or about $100 million short of "Avatar." Disney's fifth weekend of "Avengers: Endgame" followed with $22.3 million at 3,810 locations, increasing its domestic take to $803.3 million. "Endgame" is the second-highest North American grosser of all time, following Disney's "Star Wars: The Force Awakens" at $936 million.
Lionsgate's second weekend of "John Wick: Chapter 3" finished a distant second with $31 million, giving the Keanu Reeves actioner about $107.6 million domestically in its first 11 days. The studio announced a week ago that it had already greenlit "John Wick 4" for 2021.
The family adventure will finish the frame at the $120 million mark. Warner Bros.' third weekend of "Pokemon Detective Pikachu" followed in fourth place over the holiday weekend with $17 million at 3,824 sites.

Disney distribution chief Cathleen Taff told Variety that she's particularly pleased that "Aladdin" has racked up a 93% audience score on Rotten Tomatoes and an "A" Cinemascore. The site recently revised its scoring in that measurement to limit responses to verified ticket buyers.
"Aladdin" has outperformed Disney's pre-opening domestic projections, which were in the $75 million to $85 million range, taking in $86.1 million in its first three days. Guy Ritchie directed "Aladdin," produced by Dan Lin and Jonathan Eirich. The reboot of the original 1992 animated movie — which generated $502 million in worldwide box office — stars Mena Massoud as Aladdin, Will Smith as the Genie, Naomi Scott as Jasmine and Marwan Kenzari as Jafar.
"'Aladdin' is performing exactly the way we were hoping," Taff added. "We should see strong performance in the coming weeks as we get into the summer season."
The family adventure will finish the weekend at the $120 million mark in North America. Warner Bros.' third weekend of "Pokemon Detective Pikachu" will follow in fourth with about $17 million.
Comscore estimated that total domestic business for the four-day weekend was $226 million. That was about $1.8 million shy of the total for the same frame last year, when "Solo: A Star Wars Story" launched with $103 million. The top Memorial Day weekend took place in 2013 when "Fast and Furious 6" launched and North American moviegoing totaled $314 million for the four days.
"Aladdin" is the third biggest launch of 2019, following the record-setting $357 million for "Avengers: Endgame" and $153 million for "Captain Marvel."
"Aladdin" is also dominating moviegoing internationally with $121 million in 56 markets. It's the sixth-highest Memorial Day weekend total ever, topping the 2011 mark of $103.4 million for "The Hangover Part II." The top total came in 2007, when "Pirates of the Caribbean: At World's End" took in $139 million in its first four days.
The lag is due to a dismal performance during the first two months of this year. Overall moviegoing for 2019 has hit $4.34 billion as of Sunday, down 10% from the same point last year.
"A very solid Memorial Day weekend was led by the bigger-than-expected performance of Disney's 'Aladdin' conjured up huge numbers of moviegoers looking for the perfect family-friendly treat over the extended holiday weekend," he said.
"A very strong 22% said they would see the film again in theatres — much higher than the norm of 14%," noted Paul Dergarabedian, Comscore's senior media analyst.
Notably, 39% said their affection for the original was their primary reason for seeing the film, a high percentage that reflects moviegoers' love for the "Aladdin" brand and the characters in the film. Comscore’s PostTrak general audience survey found that 67% of patrons said they would "definitely recommend" the film to their friends.
The actioner will wind up the holiday weekend with $107 million domestically. Lionsgate's second session of "John Wick: Chapter 3" should be runner-up with $30.5 million following its surprisingly strong opening of $56.8 million.
Disney's live-action "Aladdin" is flying high with an estimated $105 million in North America during the four-day Memorial Day holiday weekend.
Both were positioned as counter-programmers to "Aladdin" and finished slightly below forecasts. Sony's launch of horror-thriller "Brightburn" should pull in about $9 million for the holiday weekend to finish fifth and United Artists-Annapurna's teen comedy "Booksmart" will open in sixth at around $8 million.
Disney's fifth frame of "Avengers: Endgame" will finish third in the $22 million range, increasing its haul to about $803 million domestically by the end of Memorial Day. "Endgame" trails only "Star Wars: The Force Awakens" in domestic gross, with the space saga having grossed $936 million.

The mega-tentpole has hit $2.68 billion in worldwide box office as of Sunday, leaving it about $110 million behind the final $2.79 billion for the current champion "Avatar." "Avengers: Endgame" took in $32 million globally over the weekend, including $16.8 million in North America through Sunday.
Mexico generated the top opening in Latin America with an estimated $9.2 million for three days, 121% ahead of "Cinderella" with a 65% market share. Aladdin is the top release this year in Indonesia as well as the second highest in India and Vietnam. It also scored the third highest opening weekend to date in 2019 in Australia, New Zealand and the Philippines.
Disney's "Aladdin" is showing plenty of worldwide drawing power with $121 million overseas for the weekend, opening in first place in nearly all international markets.
The U.K. The "Pets" sequel opened with $4.1 million. Disney said that in Europe, "Aladdin" is tracking ahead of "Maleficent" and "Cinderella" for the same markets. is the top European market with $8.4 million ahead of openings of both "Rocketman" and "The Secret Life of Pets 2," which both debuted ahead of their US launches.
The reboot stars Mena Massoud as Aladdin, Will Smith as the Genie, Naomi Scott as Jasmine and Marwan Kenzari as Jafar. Guy Ritchie directed “Aladdin,” produced by Dan Lin and Jonathan Eirich. The original 1992 animated movie generated $502 million at the worldwide box office.
Italy generated $6.6 million for "Aladdin" in its second highest opening weekend to date in 2019, behind only "Avengers: Endgame" with a 52% market share. "Aladdin" also posted the second highest opening weekend to date in 2019 in Spain, 37% ahead of "Maleficent" with a 60% market share.
"John Wick: Chapter 3" grossed $24.8 million from 74 markets this weekend, pushing the international total to $74.4 million. China led the way with $7.2 million for an $84 million total after three weeks. Warner Bros.' "Pokemon: Detective Pikachu" pulled in $24.3 million this weekend on 17,225 screens in 72 markets, lifting the overseas total to $236.8 million and the total worldwide gross to $352.9 million.
China leads the way with an estimated $18.7 million for its three days for a first-place finish. The reboot of the 1992 animated classic has received strong family attendance with a significant gain on Saturday and Sunday.
Disney-Marvel's "Avengers: Endgame" took in $15 million internationally over the weekend to lift its total to $1.88 billion. China is the top international market by far with $629 million as the final gross, making it the third highest film in that market behind only "Wolf Warrior 2" and "The Wandering Earth." "Avengers: Endgame" has crossed $110 million in the UK, where it is all-time highest grossing movie.

The family adventure should wind up the weekend with a 10-day North American total of about $93 million. Warner Bros.' sophomore frame of "Pokemon: Detective Pikachu" is showing decent holding power, with a 57% decline to the $24 million range.
"Avengers: Endgame" is currently the third-highest-grossing movie of all time at the domestic box office, with $738 million in 20 days, behind "Avatar" ($760.5 million) and "Star Wars: The Force Awakens" ($936.7 million). It's also the second-biggest film ever globally with $2.48 billion, trailing behind "Avatar's" $2.78 billion. If the $30 million domestic estimate holds for "Endgame," it will become only the fifth title to have hit that mark in its fourth weekend.
will see poor results from "The Sun Is Also a Star," a teen drama based on Nicola Yoon's novel of the same name. Warner Bros. It's anticipated to make $3 million to $4 million from 2,073 locations — well under forecasts. "Grown-ish" actress Yara Shahidi stars as a brainy student who forms a relationship with a charming exchange student ("Riverdale's" Charles Melton), as her family faces deportation.
The first "John Wick" debuted with $14.4 million in 2014 and 2017's "John Wick: Chapter Two" launched with $30.4 million. "John Wick 3" sees Reeves return as an ex-hitman on the run from assassins. Halle Berry, Laurence Fishburne, Mark Dacascos and Asia Kate Dillon also star. Stuntman-turned-director Chad Stahelski helmed the movie, written by series creator Derek Kolstad.
Universal's "A Dog's Journey," starring Dennis Quaid and a variety of charming canines in the sequel to 2017's "A Dog's Purpose," is expected to perform slightly under forecasts with about $9 million at 3,267 screens. "A Dog's Purpose" debuted with $18 million and ended its domestic box office run with $64 million.
"Avengers: Endgame" is due to decline by about 53%, following decreases of 58% in the second and third weekends following its historic $357 million launch in late April.
"John Wick: Chapter 3 – Parabellum" is gearing up to take down Earth's Mightiest Heroes.
With at least $50 million at 3,850 sites, it should handily beat the fourth weekend of Disney-Marvel's megahit "Avengers: Endgame," which is heading for about $30 million. Lionsgate's third installment of the Keanu Reeves action franchise is over-performing forecasts, which had been in the $30 million and $35 million range.

United Artists' "The Hustle" had generated forecasts of $9 million and $14 million from 3,007 locations. Reviewers have been unimpressed, giving the film a dismal 17% score on Rotten Tomatoes.
It had been expected to earn between $7 million and $10 million when it launches in 2,750 venues. "Poms," which also stars Jacki Weaver, Pam Grier, Celia Weston and Rhea Perlman, follows a group of women in a retirement community who form a cheerleading squad. Its current Rotten Tomatoes score is 28%.
The opening of revenge comedy "The Hustle," starring Rebel Wilson and Anne Hathaway, is performing at the top of expectations with about $14 million while the launch of Diane Keaton's cheerleader comedy "Poms" is headed for the low end of forecasts with about $7 million to $8 million. Fox Searchlight's "Tolkien" is showing little traction in its launch with about $3 million.
"Avengers: Endgame" is heading for around $68 million in its third weekend in North America, fending off the opening of "Pokémon Detective Pikachu" with about $55 million, early estimates showed Friday.
When it comes to the box office, the Avengers' moves are still super effective.
Fox Searchlight's biopic "Tolkien" is also debuting at 1,495 sites amid modest expectations. Nicholas Hoult, Lily Collins, Colm Meaney and Derek Jacobi star in the film — the first Fox Searchlight title to hit theaters since the Fox studio was acquired by Disney in March.” />
"Star Wars: The Force Awakens" has the record for top third weekend, with $90 million domestically, followed by "Avatar" at $68 million and "Black Panther" at $66 million. "Avengers: Endgame" could also wind up with the second-largest third weekend domestically of all time.
"Endgame" is heading into the weekend with $660.4 million in its first two weeks in North America and should wind up the frame with a total of around $725 million. It will go past "Black Panther" at $700 million and "Avengers: Infinity War" at $679 million during the weekend. The would leave it behind only two titles on the all-time domestic chart: "Star Wars: The Force Awakens" at $936 million and James Cameron's "Avatar" at $760 million.
The story centers on Justice Smith's teenage character teaming up with his dad's Pokemon partner to search for his missing father. Rob Letterman directed the film, based on the popular Pokemon series and the 2016 video game of the same name. "Detective Pikachu" carries the drawing power of Ryan Reynolds, who voices the yellow Pokemon in the fantasy-mystery.
Warner Bros.-Legendary's "Detective Pikachu" is coming in somewhat above studio estimates, which had forecast a three-day total of around $50 million.

But that particular title was scooped up after the Weinstein Co. filed for bankruptcy. The studio also had success with "The Upside," a feel-good drama with Bryan Cranston and Kevin Hart, which crossed $100 million worldwide. Here's hoping that "Bad Mom's Moms," a recently announced installment, completes the trifecta of popular maternal hijinks. When it comes to original content, STX has had modest wins, but it hasn't had a bona fide hit outside of its "Bad Moms" franchise. STX has long posited itself as a disruptor to the major studios, spending a fraction of what the big guys shell out to market a movie. Then it's a wonder why the studio would opt to release a movie that was intended to kick off a lucrative film franchise, along with a Hulu series, against the box office juggernaut that is "Endgame." Outside of its rocky foray into animation with "UglyDolls," STX has found somewhat of a footing with cost-effective romantic comedies like Jennifer Lopez's "Second Act." The $16 million film earned $72 million globally.
"Spending $40 million on a rom-com is too much these days when you have too many on Netflix right now," Bock said. That math doesn't add up unless it's something special." You are competing against $15 a month versus $15 to see 'Long Shot'? "Netflix is upping their game.
ticket sales. Legacy Hollywood studios have started to ditch the mid-budget movie, instead choosing to invest either a ton — or essentially nothing at all — when it comes to the theatrical experience. While Disney's tentpole-filled slate continues to fuel the box office, smaller studios producing mid-range films continue to struggle in finding their footing. So far, 2019 has been mostly void of any moderately priced hits. Mega-blockbusters such as "Captain Marvel" and "Avengers: Endgame" and smaller-budgeted films like Jordan Peele's "Us" are driving U.S.
"They are eating everything up in sight.' "The question Hollywood is going to be asking is, 'How far away do we have to be from a Marvel movie?,'" said Jeff Bock, a box office analyst at Exhibitor Relations.
Under the new leadership of Joe Drake, the studio is attempting to capture magic on mid-range titles that other studios have given up on. David Harbour's "Hellboy" also misfired last month, while "Cold Pursuit," a vigilante thriller starring Liam Neeson, just barely made back its production budget. Other than "John Wick" installments (with another due out this summer), its been a rough go-around for Lionsgate. "Robin Hood," last year's big-budget adaptation of the swashbuckling bandit in green, was a massive flop, ending its box office run with $84 million worldwide. Similarly, Lionsgate has struggled to figure out the kinds of movies to make for anyone who's not just watching what Disney is producing. Recent films like Tyler Perry's "A Madea Family Funeral" and the YA drama "Five Feet Apart" scraped together enough to get out of the red. But the former was the last installment in a long-running franchise, and the latter was part of a distribution deal with CBS Films.
Indeed, Netflix offers a smattering of sappy movies that audiences can't get enough of. The gap in mid-budgeted movies has left smaller companies such as Lionsgate and STX are struggling to punch up against the major studios. "To All The Boys I've Loved Before," "The Kissing Booth," and "The Perfect Date" are just a few streaming titles that have been fueling online chatter. The box office pennies from "Long Shot" and "UglyDolls" demonstrate that even with big stars like Seth Rogen, Charlize Theron, Kelly Clarkson and Nick Jonas, there's an undeniably increased difficulty in competing with behemoths like Disney. While both STX and Lionsgate have fielded the occasional hit, neither have fully figured out how to navigate the world of counterprogramming. Binge-watchers can't get enough of Noah Centineo — and they don't need to leave their couch to get their fill. With that in mind, most studios have all but abandoned the type of movie that has now comfortably found a life on streamers.
But Marvel has the kind of track record that makes any competitors want to steer clear. On some level, choosing to open a movie a week after one the most anticipated movie of the decade is a suicide mission. Of course, when Lionsgate and STX set their respective release dates, they didn't know just how high "Avengers: Endgame" would soar during its debut.
Last weekend's box office charts were a stark reminder of the domination of big-budget blockbusters.
Only one newcomer, Sony and Screen Gem's "The Intruder," was able to scrape together more than $10 million in ticket sales. "Long Shot" and "UglyDolls" aren't the kind of mistakes cause a studio to go under, but the $40 million romantic comedy and the $45 million animated adventure presented a riskier bet for the studios backing them. And Sony had the least to lose this weekend — "The Intruder" only cost $8 million. "Long Shot," debuted with a tepid $9.7 million, and "UglyDolls," launched with a disastrous $8.6 million. With "Avengers: Endgame" once again sucking up all the oxygen in theaters, new releases like "UglyDolls" and "Long Shot" failed to capture a big slice of the box office pie.
"It's not a huge hole, but it's enough where clever studios can get a foothold."” /> "There's a hole in the market these kinds of movies," Bock said.

The duo previously nailed versions of Styx's "Too Much Time on My Hands" and Go West's "King of Wishful Thinking." Rudd also joined his "Avengers: Endgame" castmates earlier this week for a cover of Billy Joel's "We Didn't Start the Fire" (watch below). This isn't the first time the pair teamed up for a remake.
Jimmy Fallon and Paul Rudd once again teamed up for a return to '80s video glory, this time recreating Dead or Alive's "You Spin Me Round (Like a Record)" on "The Tonight Show Starring Jimmy Fallon" Thursday night (April 25).
The video for the 1985 hit — which reached No. The song was originally included on the Dead or Alive album, "Youthquake." 11 spot on the Billboard Hot 100 chart –is a shot-by-shot replication, down to the late Pete Burns' signature eye patch, hip swivels, choreography and bravado. Dead or Alive originally financed the video themselves, Burns had stated in interviews. The original clip, directed by Vaughan Arnell and Anthea Benton, was an homage to the Hindu God of Protection, the six-armed Vishnu, re-imagined by Burns amidst images of a disco ball and gold flags.
The song has had multiple second lives, too — Adam Sandler famously sang it in the opening montage to 1998 film "The Wedding Singer" (set in 1985), and Jessica Simpson recorded a cover in 2006.
The cause of death was cardiac arrest. Burns died October 23, 2016 at the age of 57.
Rudd, currently starring in 'Avengers: Endgame," and Fallon nailed the visual of the video, going the extra mile using their own vocals.
https://www.youtube.com/embed/-onk-Qm7ATw” />
"He's got such a strange vibrato." "He's hard to sing, Pete Burns," Rudd told the late-night host.

This weekend's offerings amassed a combined $112 million in ticket sales, the lowest haul since 2005, according to Comscore. "La Llorona" is the latest horror movie to outperform expectations, further cementing the genre as one of the most reliable box office draws. Even so, "La Llorona" and other new releases "Breakthrough" and "Penguins" couldn't salvage movie theaters from suffering the worst Easter weekend showing in almost 15 years. The decline in sales is likely because the rest of Hollywood avoided opening a big movie ahead of Disney and Marvel's "Avengers: Endgame," which is expected to crush records when it debuts on April 26.
Warner Bros. and New Line's "The Curse of La Llorona" ascended to the top of domestic box office charts, conjuring $26.5 million when it opened in 3,372 North American theaters.
The film, directed by Max Minghella and starring Elle Fanning, has grossed $305,356 to date. Another musically-infused title, LD Entertainment and Bleecker Street's "Teen Spirit," picked up $250,536 when it expanded to 696 theaters, averaging a disappointing $360 per venue.
Industry prognosticators aren't worried about the decline in ticket sales — Thanos and Earth's Mightiest Heroes are gearing up to save the day.” /> Overall, the domestic box office is pacing nearly 17% behind last year, according to Comscore.
3, generating $11 million over the weekend and $14 million during its first five days of release. That's a solid start for "Breakthrough," Disney's first Fox release since the $71 billion merger, considering the film cost $14 million to produce. Roxann Dawson directed the movie, which was produced by DeVon Franklin (“Miracles from Heaven,” “Heaven Is for Real,”) and executive produced by NBA star Stephen Curry. "Breakthrough," a faith-based film about a parent's unwavering love for their children, debuted at No.
"It's very encouraging to have such a strong start," Franklin said. "The response we've been getting from people is they are having a cathartic emotional experience. Given the climate of things going on in the world, a film like 'Breakthrough' can really provide inspiration."
At the specialty box office, "Her Smell," a musical drama starring Elisabeth Moss, continued its platform release. It picked up $68,736 when expanded to 24 theaters ($2,864 per screen), bringing its domestic total to $117,577.
Females accounted for 65% of the domestic opening weekend crowd for "Breakthrough," while 70% of moviegoers were over the age of 25. "Breakthrough" stars “This Is Us” actress Chrissy Metz as a mother who refuses to give up hope after her adopted son suffers a near-fatal fall through an icy lake. Audiences embraced the film, giving it an A CinemaScore. Overseas, "Breakthrough" earned $5.9 million for a global start of $20.5 million.
Universal's "Little" rounded out the top five with $8 million for a domestic tally of $29 million.
"We are thrilled how much it overperformed," said Jeff Goldstein, Warner Bros. president of domestic distribution. "The folklore of the Weeping Woman is so prevalent throughout Latino culture that even with its rating, it transcended expectations."
Warner Bros. Overseas, "Shazam!" crossed the $200 million mark for a worldwide total of $322.8 million. and New Line claimed the top two spots at the box office as last weekend's champ "Shazam!" dropped to second place. The DC comic-book adventure added another $17 million in its third weekend of release, taking ticket sales to $121 million at the domestic market.
It debuted below expectations, picking up $2.3 million from 1,815 venues and $3.3 million through its first five days in theaters. Disney also released "Penguins," a documentary narrated by Ed Helms.
Magnolia opened director Penny Lane's Satantic Temple documentary "Hail Satan?" in three venues, where it earned $25,700.
Negative reviews didn't deter moviegoers, who branded "The Curse of La Llorona" with a B- CinemaScore. Hispanics accounted for roughly 50% of opening weekend audiences, and 60% of ticket buyers were over 25 years old.
"And with excellent reviews and word of mouth, we expect a healthy run ahead." "Roxann Dawson, DeVon Franklin, and the Fox 2000 team have delivered a wonderfully crafted, deeply emotional film that we’re thrilled to see resonating with audiences," said Cathleen Taff, Disney's president of global distribution.
Elsewhere, "Under the Silver Lake," A24's drama with Andrew Garfield, debuted in two locations, grossing $40,157 for a per-screen-average of $20,079.
"Captain Marvel" likely saw a bump in ticket sales as fans ready for "Avengers: Endgame," the final chapter to Phase 4 of the Marvel Cinematic Universe. That bounty puts the female-fronted superhero movie past the $400 million mark in North America. "Captain Marvel" has now earned $1.09 billion, making it the eighth biggest superhero movie of all time. In fourth place, Disney's "Captain Marvel" pocketed $9 million in its seventh weekend in theaters.
James Wan, known for his work on “Aquaman,” “The Conjuring,” and “Saw,” served as a producer. The R-rated supernatural thriller, based on the Mexican folklore about the Weeping Woman, carries a $9 million production budget. "The Curse of La Llorona" also launched this weekend in 71 international markets, where it collected $30 million for a global start of $56.5 million.

Last year, the actor, who plays Drax the Destroyer in the series, called the firing "nauseating" and tweeted "['Guardians of the Galaxy'] without James Gunn just isn’t ['Guardians of the Galaxy']."
"I am contractually obligated [to do the third movie], but I think that Marvel and Disney –– if I had really stood my ground and said, 'I don't want to do this without James' –– I think that they are decent enough that they would've let me out of my contract," Bautista told Variety's Marc Malkin at CinemaCon on Tuesday.
The release date for the third "Guardians of the Galaxy" movie has yet to be announced, but it is assumed it will land somewhere in the next phase of the Marvel Cinematic Universe after "Avengers: Endgame" wraps up the current storyline. On March 15, Disney announced it had rehired Gunn for the film.
Moving forward without James was a real personal issue with me."” /> "I wanted to use James' script because it's a beautiful script. "I wanted to bring it home. These guys are like family to me and I wanted to be involved in the third one," Bautista said.
"Guardians of the Galaxy" star Dave Bautista, who staunchly supported director James Gunn after his firing last year, thinks Disney might have let him out of his contract if he protested against doing the third movie without him.
"I just spoke my mind and was honest about the way I felt about it. I thought he was given a raw deal. I thought it was a bad call, bad decision," he said.
Bautista was one of the strongest supporters of Gunn after Disney fired the director from "Guardians of the Galaxy Vol. Along with the rest of the movie's main cast, Bautista signed a petition calling for Gunn's reinstatement, and he also threatened to quit the film if Disney didn't use Gunn's original script. 3" in July 2018 after offensive tweets from years ago resurfaced. Gunn was rehired for the project last month.

"Captain Marvel" brought in a mighty $87 million globally this weekend, including $52 million from international territories. At the domestic box office, "Captain Marvel" brought in an impressive $35 million during its third weekend of release, bringing its North American tally to $320 million. It has now generated $589 million overseas for a global haul of $910 million.
Meanwhile, Jordan Peele's "Us" launched abroad with $16.7 million from 47 foreign markets. Starring Lupita Nyong'o and Winston Duke, the psychological thriller about a family terrorized by a group of doppelgangers drummed up a massive $70 million at the domestic box office for a worldwide start of $86.95 million. "Us" saw the best debut in the United Kingdom ($3.7 million), followed by France ($2 million), Spain ($1.2 million), and Germany ($1.4 million).
Brie Larson's "Captain Marvel" continues to do heroic business. In its latest box office milestone, the female-fronted superhero tentpole zoomed past $900 million in ticket sales worldwide.
It now ranks as the 10th-biggest comic-book release of all time, surpassing the lifetime hauls of superhero movies like "Thor: Ragnarok" ($854 million), "Venom" ($855 million), and "Spider-Man: Homecoming" ($880 million).
At the end of "Avengers: Infinity War," Marvel set up Larson's Carol Danvers as the last, best hope after Thanos turned half of life in the universe to dust. It's no surprise, considering Marvel positioned the film as an essential stepping stone ahead of "Avengers: Endgame," the epic conclusion arriving this summer that will determine the fate of a number of Earth's Mightiest Heroes. It's far and away the biggest movie of the year. "Captain Marvel" injected a much-needed boost into the worldwide box office.
Aside from "Captain Marvel" and "Us," Hollywood movies took a backseat overseas. Chinese titles "Song of Youth" and "Money" rounded out box office charts, generating $11.2 million, and $10.3 million, respectively.” /> "More Than Blue," a remake of the 2009 South Korean film, amassed $29.6 million from six territories for a global tally of $136 million.

In addition to predicting which films will score over the next 12 months, we also take a look at the movies that face headwinds. Here’s a survey of the coming crop of what figure to be hits and potential misses. Inevitably, there will be bombs amid the blockbusters.
The Lion King, Disney
"Avengers: Endgame," Disney
"Once Upon a Time in Hollywood," Sony
M. Night Shyamalan’s film combines superheroes and horror — two genres that couldn’t be hotter at the box office. The thriller has Bruce Willis and Samuel L. Jackson reprising their roles from 2000’s “Unbreakable” and James McAvoy returning as Kevin Wendell Crumb from “Split.” This is a match-up that will leave fanboys and fangirls salivating.
All signs point to the shape-shifter striking twice. Andy Muschietti's adaptation of “It” was such a runaway success, raking in $700 million on a $35 million production budget, that it’s hard to imagine the second chapter of Stephen King’s novel failing to deliver. Pennywise the Dancing Clown returns to theaters the same weekend the original did two years ago.
Tessa Thompson and Chris Hemsworth proved they have chemistry in “Thor: Ragnarok.” Can their on-screen charm make us forget about original stars Will Smith and Tommy Lee Jones?
If the filmmakers are able to recapture the magic that catapulted 2017’s “Jumanji” to nearly $1 billion at the box office, Kevin Hart and Dwayne Johnson will have another gargantuan hit on their hands.
"Jumanji 3," Sony
"Men in Black: International," Sony
Just ask the makers of “Super Mario Bros.” Kids love their Pokémon cards. But the history of video-game-to-big-screen adaptations is filled with more flops than hits. Don’t believe us?
"Glass," Universal
If it falls flat, “Joker” will be another “Justice League”-style dud from struggling DC.” /> If the gambit works, they’ll be laughing all the way to the bank. Todd Phillips and Joaquin Phoenix team up to see if moviegoers want to watch the Clown Prince of Crime sans Batman.
Tarantino is no stranger to controversy, but will the inevitable headlines translate into ticket sales? However, it will fall to the “Pulp Fiction” director to somehow dramatize the events and characters surrounding the brutal Manson murders without seeming to be exploitative. “Tasteful” and “Quentin Tarantino” are words that rarely appear in the same sentence.
Combine that awareness with the prospect of hearing Beyoncé sing “Circle of Life,” and it’s a safe bet that Jon Favreau’s take on the iconic Disney tale will be massive. “Hakuna matata,” indeed. Just about every person on the planet is familiar with the story of Simba’s coming of age.
It’s safe to say this year has its work cut out for it. It will be difficult to top 2018’s banner year at the box office. A number of overperforming blockbusters, combined with a healthy crop of surprise hits, propelled the domestic market to record heights.
Now this big-budget adaptation of Eoin Colfer’s 2001 novel will try to shake off the curse and revive a genre that went out of favor with the conclusion of “The Hunger Games” and “Twilight.”  “Divergent” and “Mortal Engines” found that out the hard way. Young adult books aren’t the sure-fire box office winners they once were.
"Joker," Warner Bros.
"Artemis Fowl," Disney
"Pokémon: Detective Pikachu," Warner Bros.
"It: Chapter 2," Warner Bros.
“Infinity War”  dominated the box office last summer, but the sequel could give its predecessor’s $2 billion global haul a run for its money. Iron Man (Robert Downey Jr.), Black Widow (Scarlett Johansson) and Black Panther (Chadwick Boseman) are among the spandexed heroes reteaming to defeat Thanos in what will surely be an epic conclusion.
There will be one big winner even if ticket sales fall short of a record. Fortunately, an intrepid lion cub, a demonic dancing clown and Earth’s Mightiest Heroes are riding to the rescue. As Disney prepares to merge with Fox, the Magic Kingdom’s chokehold on the box office is only going to intensify. Industry analysts and studio heads are bullish that 2019’s slate of films is strong enough to match — or even surpass — last year’s bounty.