His life will end, but his love, like that land, is eternal. And the film’s meaning is rooted in that splendor. This, "A Hidden Life" tells us — this beauty, this paradise, this heightened vision of what all of us call home — is the place Franz has been blessed with, and the one he will now leave, through his willingness to die. Every caress of Malick’s camera eye says (or, rather, forces the audience to ask), But how could Franz leave this place? The world that Malick presents is, in a way, too sublime for self-sacrifice. He will leave this beauty behind because, and only because, he glimpses a mirror of that beauty on the other side. Yet that becomes the measure of Franz’s radicalism.
That was their power and allure. What people were doing at Cannes this year was seeing movies that declared themselves, in dozens of different ways, to be movies. And the reason that no one was talking about Netflix very much — beyond the usual industry white noise of chatter about it — is that a number of the key films at Cannes this year owed their impact to the big screen in a way that was so potent and obvious and inevitable, so tied up with their molecular essence, that it literally went without saying.
It’s about how the quietest acts of resistance are part of what save civilization. The movie is cinema at its mightiest and holiest. Some, in fact, will prove resistant to it (it was not universally beloved), but "A Hidden Life," as much as any film I’ve seen in the 21st century, is totally contingent upon the big screen. It’s a movie you don’t just watch; it’s a movie you enter, like a cathedral of the senses. All of this hinges on our grand immersion in the world that "A Hidden Life" shows us. It needs to be bigger than you are, because it’s about bigger things than you — or anyone else.
But this year at Cannes, with Netflix literally out of the picture, all that dialogue seemed a distant memory. No one was sitting around debating the fine points of French government regulations about three-year windows, or whistling past the graveyard of America’s own inevitable streaming-vs.-theatrical, studio-vs.-exhibitor window war — a clash of capitalist–aesthetic forces so titanic it’s destined to make the battle between Hollywood talent agencies and the WGA look like a misunderstanding between friends.
In the middle of the column, there was a shockingly extreme and revealing quote from the late Steve Jobs, who in 2008 said, "It doesn’t matter how good or bad the product is, the fact is that people don’t read anymore." The column keyed off the surprising strength of books in the marketplace: the hours that people still devote to them, the proliferation of the independent bookstores that were supposed to be going the way of the dodo bird, the falling off of electronic reading devices like the Kindle. In the May 24 edition of The New York Times, there was a column by Timothy Egan, entitled "The Comeback of the Century: Why the Book Endures, Even in an Era of Disposable Digital Culture," that celebrated those things that come between two hard covers as a larger phenomenon than mere nostalgia.
After all, let’s assume that "Roma" had been part of the Cannes competition, and that it had won the Palme d’Or (which, in hindsight, doesn’t seem a farfetched scenario). It would say that if they can beat the movies there, they can beat them anywhere. What would it say to the world that even a Cannes Film Festival winner would then go out to be experienced, essentially, on a streaming platform? That’s what the war of words, at last year’s Cannes Film Festival, between the forces of Cannes and Netflix was really all about: not just the issue of whether Netflix films like "Roma" or "22 July" would be allowed to qualify as festival competition entries (they weren’t), but what the future was going to look like.
The reason that quote is so revealing is that 1) it was never really true, and 2), to the extent there was a small grain of truth to it (i.e., highbrow wags have been warning about declining literacy levels since the 1960s), you’d think that a cultural figure as dominant as Steve Jobs would have wanted to hold that glass up to the light and look for the part that was full. What that should tell you, since Jobs was a brilliant man, is that he got the death-of-reading thing so wrong because what he was really expressing was his wish. But no: He looked at book culture — and old media culture in general — and, in a few words, trashed it all, with staggering inaccuracy. You’d think he would have wanted to be a guardian of reading.
They want to belong to the Couch Potato Forever Club. How ironic it is, then, that in the movie-theater-vs.-streaming showdown, the old paradigm of going out to a movie (even a major commercial one) is now on the high-end/boutique/art side of the equation. The argument goes: People want what they want, at least where technology enables it, and what they want now is streaming. For a hundred years now, movies have been sparked by the art-vs.-commerce dialectic.
No, it’s the way they all combine in your head, the way Tarantino invites you to take a dip in his heightened vision of a Hollywood backwater that once was. I seriously doubt I’d be thinking about that movie in the same way if I hadn’t seen it on the big screen. And then there was Quentin Tarantino’s "Once Upon a Time…in Hollywood," a movie I saw close to a week ago, and what has stuck with me more than anything is the sense-memory of Quentin’s Los Angeles — not just the cars and fashions and pop songs, the sculpted mid-century neon kitsch of the restaurants and movie theaters (at one point, there’s dazzling montage of fabled nightspots flipping on their lights at dusk), the TV-Western backlots that are like knockoffs of old movies that were themselves imitations.
The films at Cannes that demanded, and earned, the big screen also included "Les Misérables," Ladj Ly’s jagged propulsive tale of police brutality in a French housing project; "Little Joe," Jessica Hausner’s stately trancelike horror film, with its armies of creepy red-tendril flowers and its sly skewering of psychotropic drugs as a conformist conspiracy; and the Palme d’Or-winning "Parasite," Bong Joon-ho’s grand teeming scurrilous social thriller about an impoverished family of con artists who launch a scam so gnarly and chaotic that every mad detail of it needs to be writ large.
Or another rapturous period piece that worked in exactly the opposite way: "Portrait of a Lady on Fire," Céline Sciamma’s tale of the slow-burn dance between a budding artist (Noémie Merlant) in the late 18th century and the young woman (Adèle Haenel), about to be married, whose portrait she’s engaged to paint. Movies like "The Lighthouse," Robert Eggers’ thrillingly atmospheric and tempestuous gothic face-off between a grizzled lighthouse keeper (Willem Dafoe) and his surly apprentice (Robert Pattinson), a movie that plunges you, with stunning authenticity, into the hardscrabble spookiness and mechanical ingenuity of the 19th century. Sciamma has made one of the rare romantic costume dramas that’s rooted in the creaky quietude of the era — it’s there in every inch of her delicate, hovering images, which the actresses undermine only with their eyes. There were other Cannes films, many of them, that needed to be bigger than you.
(The ads before the trailers, the cell phones and the popcorn munchers, the general sticky rudeness of it all: We’ve heard the anti-theater litany a thousand times.) If you buy into the catechism of the new technology, movies are still good for spectacle, and will be for quite a while — otherwise, the new Disney-Fox behemoth wouldn’t be plotting out blockbuster universe sequel systems through the next four centuries. If you believe everything you hear, then binge-watching is the key entertainment act of our time, and there are 4,379 good reasons not to bother going out to a movie theater anymore. But surely the rise, rise, and rise of streaming will do movies in! I get that same feeling when I hear prognosticators of the pop-cultural landscape talk about the the waning of the motion-picture experience.
It cannot be replaced. Yet the essence of that love is that it refuses to be measured only by numbers. But just as books made a "comeback," not the way vinyl made a comeback, as an analog-geek so-old-it’s-new-again novelty fetish object, but because books never went away, since it turned out people had a primal and timeless love for them, the motion-picture experience isn’t going away, because people have a primal and timeless love for it. It cannot be streamed without a loss of some of that essence. In reminding us of that, Cannes got back in touch with its glory.” /> It cannot be reduced. Going to the movies, as the key films at Cannes proved this year, is a sacramental experience.
Much of it was shot in the Austrian countryside, where Franz Jägerstätter (August Diehl), the farmer who refuses to enlist in Hitler’s army at the outset of World War II, works the land in a place that looks like the opening sequence of "The Sound of Music" as painted by Bruegel. Visually, the film is extraordinary. But that’s because Malick uses his camera as a virtual sensory heightener, transforming this land of mountains and grass into the Garden of Eden as seen through a wide-angle lens. There was no better example, to me, than "A Hidden Life," Terrence Malick’s epic, enveloping true-life drama about one man’s journey into the darkness — and the light — of self-sacrifice.
The fact that Fox Searchlight paid $12 to $14 million to obtain distribution rights, in the U.S. Yet that film made $61 million worldwide, and "A Hidden Life," with its European vantage on Third Reich fascism (an unfortunately timely theme right now), has the potential to be a landmark event in foreign territories. It felt like an act of faith, a vote for nothing less than the unique transcendent appeal of movies. and several international territories, to "A Hidden Life" may seem like a corporate folly, given that Malick's "The Tree of Life," which starred Brad Pitt, only grossed $13 million domestic. (We'll learn, later this year, if it is vindicated.) That said, the audacity of the Fox Searchlight deal — $12 million for a three-hour Terrence Malick art film — is that it felt like more than just a deal.

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.

He is repped by LBI Entertainment.” />
The plan is for the film to shoot in the fall as del Toro fills out the remaining roles.
Miles Dale with TSG Entertainment, with Fox Searchlight acquiring worldwide distribution rights to the film. The pic is being produced and financed by Guillermo Del Toro and J. Del Toro will direct the pic and co-wrote the script with Kim Morgan.
Leonardo DiCaprio is in negotiations to star in Fox Searchlight's remake of "Nightmare Alley," Guillermo del Toro's follow-up to his Oscar-winning film "The Shape of Water."
The film is based on the 1947 Fox movie that starred Tyrone Power as an ambitious young con-man who hooks up with a female psychiatrist who is even more corrupt than he is. At first, they enjoy success fleecing people with their mentalist act, but then she turns the table on him, out-manipulating the manipulator.
Sources close to del Toro say the film will be based on the William Lindsay Gresham novel of the same name.
DiCaprio has not been seen in a movie since his Oscar-winning performance in "The Revenant" in 2015, choosing to take some time off before signing on to star in Quentin Tarantino's next film, "Once Upon a Time in Hollywood." That film, which also stars Brad Pitt and Margot Robbie and centers on the Manson family murders, is scheduled to bow on July 26.
After "The Shape of Water" went on to win several Oscars, including best picture and best director for del Toro, the auteur decided to hold off on picking his next directing gig, only focusing his efforts as a producer on the Searchlight movie "Antlers."

The movie starred Ariel Chavarria, Maximiliano Ghione, and Norberto Gonzalo. The original "Terrified" is set in a neighborhood in Buenos Aires where a doctor specializing in the paranormal, her colleague, and an ex-police officer investigate horrifying events and attempt to stop the evil before it spreads.
Demián Rugna, who directed the original from his own script, will helm the remake. In April, Searchlight signed an overall deal with del Toro that covers live-action feature films to be written, produced, and/or directed by the filmmaker. Del Toro won Academy Awards in March for producing and directing "The Shape of Water," which was distributed by Fox Searchlight.
Guillermo Del Toro has come on board to produce "Terrified," an English-language remake of last year's Argentinian horror thriller, for Fox Searchlight, with Sacha Gervasi set to write the script.
The Story of Anvil," and HBO’s "My Dinner with Herve," which he directed from his own script. Gervasi's credits include "The Terminal," "Hitchcock," the documentary "Anvil! That film stars Peter Dinklage, Jamie Dornan, and Andy Garcia and has been nominated for a WGA Award for best longform original.
Del Toro and Rugna are repped by WME and Gary Ungar at Exile Entertainment. The news was first reported by Deadline Hollywood.” /> Gervasi is repped by CAA and Lichter, Grossman.

The drama about an impoverished family living on the margins took home the Palme d’Or at Cannes and is Japan’s entry for best foreign language film at the Academy Awards. Also at the specialty box office, Magnolia's "Shoplifters" opened in five locations where it made $88,000, for a per-screen average of $17,600.
That brings its domestic tally to $116.5 million. Warner Bros.' "Fantastic Beasts: The Crimes of Grindelwald" picked up $43.3 million for the five-day outing and $29.2 million its sophomore frame. As new releases swarmed multiplexes, a number of holdovers still managed to draw crowds.
Unfortunately, it's not all holiday cheer at the box office. Lionsgate's "Robin Hood" pocketed an tepid $14.2 million at 2,715 venues for the five-day period and $9 million for the weekend, a potentially disastrous result given the live-action adventure's roughly $100 million production budget. Taron Egerton and Jamie Foxx lead "Robin Hood" in the latest rendition of the swashbuckling bandit.
This five-day outing surpassed $314 million, exceeding the record set in 2013 with $294 million. The crowded Turkey Day didn't just bring back solid receipts; it set a new record, according to Comscore.
Set in the early 18th century, it centers on the drama between two cousins (Rachel Weisz and Emma Stone) jockeying to be court favourites during the reign of Queen Anne (Olivia Colman). In limited release, Fox Searchlight's "The Favourite" bowed in four theaters in New York and Los Angeles, earning $420,000. That averages out to $105,500 per location, marking the best theater average of the year. Yorgos Lanthimos directed "The Favourite," an absurdist period drama that's seen as a solid Oscar contender.
That marks the best debut for a live-action film during the holiday frame. Sylvester Stallone returns as Rocky Balboa. MGM and New Line's "Creed II" was a knockout as the boxing drama earned $55 million from 3,350 venues over the five days and $34 million for the weekend. Jordan as Donnie Creed, the son of heavyweight champ Apollo Creed. "Ralph" wasn't the only sequel to thrive this weekend. Those numbers also top the start of "Creed," which launched with $29 million over the three-day frame. "Creed II" stars Michael B.
Universal's domestic distribution chief Jim Orr stressed that word of mouth will be exceptionally important for "Green Book's" life at the box office.
Reilly and Sarah Silverman reprise their roles from "Wreck It Ralph" as the video game villain and his best friend navigate the internet. "Ralph Breaks the Internet" carries a hefty $175 million production budget, so it will need to keep up momentum worldwide to turn a profit. The original film picked up $49 million over its first three days of release. "Ralph Breaks the Internet" sees John C. Propelled by solid word of mouth, the Disney animated sequel now ranks as the second-best Thanksgiving debut ever, behind another Disney title, "Frozen," which earned $93.6 million during its first five days.
"We think it's going to be in theaters and an awards darling for quite some time." "It's definitely going to be a marathon, not a sprint," Orr said.
Netflix's awards bait film "Roma" debuted in three theaters in New York and Los Angeles, though the streaming service does not report box office numbers. Alfonso Cuaron directed the semi-autobiographical drama that hits Netflix on Dec. 14.” />
Disney's "Ralph Breaks the Internet" dominated the Thanksgiving box office, generating a massive $84.6 million at 4,017 locations over the five-day holiday period and $56 million for the weekend.
"There is so much competition in the overall marketplace, but it shows there's room for other movies," said Frank Rodriguez, Fox Searchlight's head of distribution. "Thank god for exhibitors knowing their audience was passionate about seeing the film."
It moved into 1,063 theaters and made $5.4 million for the weekend and a lackluster $7.4 million during the five-day frame. Viggo Mortensen, who drew controversy after using of the N-word at a screening, co-stars alongside Mahershala Ali in the comedic drama that centers on a renowned black pianist's tour through the Deep South during the Jim Crow era. Universal is distributing "Green Book," which was co-produced by DreamWorks and Participant. Meanwhile, awards hopeful "Green Book" had a disappointing expansion.
Rounding out the top five is Fox's "Bohemian Rhapsody." The Queen biopic drummed up another $19 million during the five-day holiday, bringing its North American total to $151 million.
Universal's "The Grinch" is still doing formidable business in its third week of release, and the family-friendly film will duke it out with the "Fantastic Beasts" sequel for third and fourth place once final numbers come in Monday. Seuss holiday classic stole another $42 million for a stateside haul of $180 million. The animated adaptation of the Dr.
"It’s a thrill to see both its legacy and new generation of audiences continue to respond to Rocky Balboa and Adonis Creed in this time when we need uplifting stories," said Joanthan Glickman, president of MGM's motion picture group.
"The filmmakers built this world out with such attention to detail that people were ready to come back and enjoy these characters. We're really excited about the momentum as we head into the holidays." "Whenever we look at sequels, they have to be additive," Cathleen Taff, Disney's president of global distribution, said of "Ralph Breaks the Internet's" impressive opening.

Thank god for exhibitors knowing their audience was passionate about seeing the film." "It's way beyond our expectations," said Frank Rodriguez, Fox Searchlight's head of distribution. "There is so much competition in the overall marketplace, but it shows there's room for other movies.
Set in the early 18th century, it centers on the drama between two cousins (Rachel Weisz and Emma Stone) jockeying to be court favourites during the reign of Queen Anne (Olivia Colman). Yorgos Lanthimos directed "The Favourite," an absurdist period drama that's seen as a solid Oscar contender.
There's a new favourite at the specialty box office.
That showing marks one of the strongest openings in Fox Searchlight history, behind just Wes Anderson's "The Grand Budapest Hotel," which generated $202,000 per screen in 2014 and "Birdman," Alejandro Inarritu's best picture winning black comedy that picked up $106,000 per location the same year.
It generated $179,806 when it debuted in two locations, translating to an impressive $89,903 per venue. Prior to "The Favourite," the best screen average of 2018 belonged to "Suspiria," Guadagnino's gory arthouse remake of the 1977 Italian supernatural thriller.
14. The studio plans to expand "The Favourite" next weekend to around 30 locations in seven markets including San Francisco, Dallas, Austin, Washington D.C., Boston, Chicago, and Phoenix. Fox Searchlight will continue to slowly grow its theater count and hopes to get to its widest reach, around 600 theaters, by Dec.
Other notable screen averages this year include National Geographic's documentary "Free Solo" with $75,201 per location, Bo Burnham's coming-of-age drama "Eighth Grade" with $63,071 per venue, and Anderson’s stop-motion animation “Isle of Dogs” with $60,011 per screen.” />
Fox Searchlight's "The Favourite" bowed in four venues in New York and Los Angeles, generating a hefty $420,000. That averages out to $105,500 per location, ranking as the best theater average since "La La Land" ($176,221) almost two years ago. "The Favourite" now holds the biggest screen average since Luca Guadagnino's "Call Me By Your Name" ($103,233) in 2017.

Moreover, Disney will be doing all of this while simultaneously launching a streaming service that it hopes can rival Netflix. Keeping that service supplied with compelling content will be one of the tasks of the film team, and what exactly that process will look like is still being determined. And while much of Disney's current box office hot streak is attributable to a series of mega-mergers, the company has never faced such a knotty assimilation. When Disney bought Pixar, Marvel, and to a lesser degree LucasFilm it more or less left them alone, giving them the independence to run their own shops with minimal interference or, in the case of Pixar's Emeryville campus, at a geographic remove. With the possible exception of Searchlight, which Disney CEO Bob Iger has hinted will keep churning out awards bait, that doesn't seem to be the plan with Fox.
Disney inherited a lot of executive talent with its multi-billion purchase and a boatload of promising film franchises that include everything from "Avatar" to "Kingsmen." Fanboys are already salivating about the potential for an X-Men and Avengers crossover. But corporate integrations are notoriously difficult things to pull off, and it remains to be seen how letting a Fox in a Mouse House will change the climate at the most successful studio in the movie business.” /> Its rivals are understandably concerned about being out-manned and out-gunned.
Their new gigs have been among the worst kept secrets in Hollywood (though woe to the entertainment journalist who wrote they had deals in place!), making the news something of a meh moment. Once Disney wraps up its $71.3 billion acquisition of much of Rupert Murdoch's media empire, Fox film vice-chairman Emma Watts, Fox 2000 head Elizabeth Gabler, Fox Searchlight co-heads Steve Gilula and Nancy Utley, Fox animation co-heads Andrea Miloro and Robert Baird, and Fox Family president Vanessa Morrison will all be making the move. On Thursday, the Walt Disney Company unveiled the list of 20th Century Fox film executives who scored a visa to the Magic Kingdom.
In fact, it was a studio lot that could appear downright Darwinian at times. It seems as though Disney is still trying to determine exactly how these new film assets will be integrated into its studio. When Horn took the job at Disney in 2012, he vowed to "keep the waters calm." That kind of diplomacy may come in handy in the coming months as inevitable turf wars flare up. There are also a number of cultural questions to be raised about the Fox integration. Disney, at least in recent years, has had a buttoned-up style. For the past decade, Fox has had a different, more sharp-elbowed and unruly reputation. For the most part, its kept the internal disagreements under wraps, with executives on the film side appearing to work well with one another.
While she will report to Disney studio chief Alan Horn along with Gabler and the Fox Searchlight team, she will share Miloro, Baird, and Morrison as direct reports with Horn. He mentioned that the film groups will exist "under the umbrella of The Walt Disney Studios," a sign perhaps that the label may be joining Time Warner in the land of unloved corporate monikers. There were a few hints buried between the list of executives and statements that were heavy on superlatives, namely some indications that Watts will be tasked with running herd over some of the new transplants. Horn's statement may have also answered questions about what will happen to the 20th Century Fox brand. What was interesting was how little information there was in the Disney release about what Watts, Gabler, and the rest of the Fox team would be doing under their new leaders.
Now comes the hard part.

The first film launched with $6 million. The stoner comedy has a 35% rating on Rotten Tomatoes, the same score as the first film. Another newcomer, Fox Searchlight's "Super Troopers 2," opened in fourth, burning by projections to make $14.7 million from 2,038 locations. The audience score of the sequel, however, is down significantly from the original's, at 68% compared to the first movie's 90%. The sequel reunites the 2002 cult classic's leads — Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske — collectively known as Broken Lizards.
The final weekend opener is Lionsgate’s Codeblack Films' "Traffik," which took in $3.9 million in 1,024 theaters.
That could change next weekend as "Avengers: Infinity War" eyes a monstrous opening weekend. The domestic box office is up 12.6% compared to the same weekend last year, though the year to date box office is down 2.4%.
"People just want to find something they can have a good time with," he said. "This audience knew they'd laugh and have a communal experience that makes them feel good.
"Truth or Dare" has pulled in $7.9 million internationally, combining for a global tally of $38.3 million. Rounding out the top five is Universal and Blumhouse's "Truth or Dare." Lucy Hale and Tyler Posey lead the thriller, which scored $7.9 million in 3,068 locations. In total, the horror film has made $30.4 million in two weeks.
"A Quiet Place" had another noisy weekend at the domestic box office, reclaiming the No. 1 slot in its third frame.
"A Quiet Place" had another impressive holdover, declining only 34% to bring its domestic tally to $132 million. John Krasinski's thriller co-starring Emily Blunt continued on its stellar run, earning $22 million from 3,808 locations. That was enough to top Dwayne Johnson's "Rampage" and Amy Schumer's "I Feel Pretty."
The Schumer-led comedy also features Michelle Williams, Rory Scovel, Emily Ratajkowski, Busy Phillips and Aidy Bryant. STX's "I Feel Pretty" bowed in third with $16.2 million from 3,440 theaters. "I Feel Pretty" is currently averaging a tepid 34% rating on Rotten Tomatoes, as well as a B+ CinemaScore.
"The industry is bracing for the record-setting debut of the highly anticipated 'Avengers: Infinity War' that is expected to break through the $200 million opening weekend sound barrier as the summer movie season of 2018 gets off to an early and auspicious start," said comScore box office analyst Paul Dergarabedian.
Aside from action hero movies, Rodriguez says it's a generally underserved group. Frank Rodriguez, head of distribution at Fox Searchlight, says the movie's key demographic of males between the ages of 25 and 49 is to thank. "Super Troopers 2" did more than double the numbers that estimates suggested.
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2, Dwayne Johnson's "Rampage" collected $21 million in 4,115 theaters in its second weekend. Bumped down to No. That brings its global tally to $283 million. It has crossed the $200 million mark overseas, claiming $57 million this weekend. Luckily, "Rampage" has been able to justify its expensive price tag with a strong international showing. So far, the film has made $66.6 million at the North American box office.

Broken Lizard was formed at Colgate University as a comedy troupe, leading to the micro-budget 1996 comedy "Puddle Cruiser." The film attracted the attention of Harvey Weinstein at Miramax, where "Super Troopers" was originally developed.
"You're never completely sure that it's going to work until then," Pirello added. Pirello and Chandrasekhar agree that getting through the first fan screening on March 19 in Los Angeles was the major milestone.
The 2015 crowdfunding campaign  wound up raising $4.4 million — the second-most successful crowdfunding campaign ever for a movie. It was funded through  Indiegogo with over 50,000 contributors, approaching the $5.7 million record set by the “Veronica Mars” movie on Kickstarter in 2013. Fox Searchlight had agreed to release the sequel if the $2 million goal was met.
Incentives sold on the first day included a producer title for $10,000, a speaking actor role for $10,000, a trip to the ballpark with the main actors for $15,000 and even the patrol car that was used in the filming — $35,000. The 17-city tour was largely for fans who bought the incentive to attend a fan screening prior to the release.
"Harvey had really liked 'Puddle Cruiser' but the indie world was changing and the movie was perceived as a big risk on nobodies," recalled Richard Pirello, who produced both "Super Trooper" films.
"I've been on a 17-city tour for the fan screenings, and we've been going out to party and I've been performing stand-up between the screenings, so it's been a busy time," director Jay Chandrasekhar told Variety.
Seventeen years after the original "Super Troopers," the sequel is arriving in theaters with a massive assist from fans of the wacky police comedy.
"Canadians laughed louder at the insults to the United States." "What I've found is that humans do laugh at the same things everywhere," Chadrasekhar said.
The quintet play profane Vermont state troopers with a penchant for pranks and feuding with other local law enforcement officers. The film reunites all five Troopers from the original film — Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter and Erik Stolhanske — collectively known as Broken Lizard. “Super Troopers 2” begins opening Thursday night in North America in previews and expands to 2,040 locations Friday.
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Though its $23 million worldwide gross was not remarkable, it became a cult favorite, beloved by buzzed viewers in the same way "Animal House" was a generation before. The sequel's opening was therefore planned for 4/20. The first “Super Troopers” was made for $1.2 million — funded by a single investor — and acquired by Fox Searchlight at the 2001 Sundance Film Festival.
"At one point in Vancouver, we walked into a bar and there were 10 guys dressed like us in state trooper gear," he recalled. "There's a level of fan interest that's very gratifying."
"Once the first film was so successful, there was always this barrage of fan pressure to do the sequel," said Pirello. But then we got to the initial goal of $2 million in a little more than 24 hours." "So after years of that, we had a big debate about using crowdfunding and we were a little worried that we'd fall short.
We’d get pulled over by cops who would thank us and then would let us go." "But it did so well after that it in ancillary markets that it became impossible for us to get away from it. "'Super Troopers' did well but not crazy well theatrically," Chandrasekhar recalled.
The troopers may be back again. "We do have a 'Super Troopers 3: Winter Soldiers' script that we're working on," Chandrasekhar admitted.
The troupe performed in “Broken Lizard Stand Up” for Comedy Central in 2010. Broken Lizard also made 2004’s “Club Dread” and 2006’s “Beerfest,” which grossed $20 million.

Isaac Guzmán is the editor-in- chief of MexFlix.org” />
Gordon was seated in the audience during the talk, prompting another bon mot from Nanjiani: “Actors to watch are up here. Writers to watch are out there.” The relationship that inspired the film turned out OK in the end: Nanjiani wound up marrying Emily Gordon and she co-wrote “The Big Sick” with him.
Grace Van Patten, daughter of “Sopranos” director Tim Van Patten, said all her time growing up in Hollywood didn’t prepare her for director Noah Baumbach’s audition strategy. “You just gotta breathe.” When she went to read for a part in the upcoming “The Meyerowitz Stories (New and Selected),” she was handed 15 pages of sides and given 10 minutes to prepare. “You’ve just got to tell yourself that everybody is in the same position,” she said.
Big ideas and hot-button social issues fueled conversation between “Get Out” star Daniel Kaluuya, “The Big Sick” lead Kumail Nanjiani, and other emerging talents during a panel discussion with Variety’s 10 Actors to Watch on Saturday at the 25th annual Hamptons International Film Festival, moderated by Variety executive editor Steven Gaydos and IndieWire deputy editor Eric Kohn. But no matter the social or artistic merit of the topic, all were upstaged by a single question: What’s it like to have sex with a peach?
This had pros and cons for an actor: “It was good because I didn’t have to imagine what it was like, I just had to remember what it was like,” he said. “But was bad because you’re kind of forcing yourself to relive the most traumatic experience of your life.”
“He gave me all four names at once,” she said. It wasn’t until Baumbach told her that she had the part that she learned who her co-stars would be: Adam Sandler, Ben Stiller, Dustin Hoffman and Emma Thompson, among other luminaries. “I couldn’t handle myself.” Like many of Baumbach’s previous films, “The Meyerowitz Stories” depicts a complicated family relationship that is at turns harrowing and hilarious. It won the Palm D’or at Cannes in May.
In fantasizing about his older flame, Elio employs the fruit, a technique both the young actor and director experimented with to make sure it could actually be done. He plays teenage Elio, who falls for Armie Hammer’s college-age Oliver in director Luca Guadagnino’s film, which has drawn raves from festival crowds. The answer fell to Timothée Chalamet, star of the new film “Call Me By Your Name,” in which he follows a path blazed by Jason Biggs in “American Pie.” “I’ve been looking for a project to have sex with fruit in for a long time,” Chalamet deadpanned.
Danielle Macdonald, star of “Patti Cake$,” faced two challenges in portraying a budding New Jersey rap star known as Killa P in director Geremy Jasper’s film. First, she’s from Australia, not the Tri-State Area. Second, she claims, “I’m not musical at all. The film sparked a bidding war at Sundance, where it was picked up by Fox Searchlight for $9.5 million. I was terrified.” She did pretty well for herself. It was a very big challenge for me to be a rapper.
It’s crazy right now.” Daveed Diggs, who has parlayed his Tony Award from Broadway’s “Hamilton” into steady film and television work including Stephen Chbosky’s upcoming “Wonder,” was asked about the night the “Hamilton” cast came out after curtain and directly requested that then-Vice President-elect Mike Pence treat all Americans with equal respect. “What people don’t know is that the crazy backlash of that night happened mostly to the Chicago company,” Diggs said. “The day after that, there was somebody in the audience yelling, ‘Get these ni—— off the stage.’ The country is f—–! Diggs had already left the cast at that point, but his girlfriend was touring with the production in Chicago.
“I’m not making this up, there’s a huge dog parade!” Chalamet almost missed his opportunity to comment on the scene, as he arrived late to East Hampton’s Rowdy Hall due to an unexpected delay. “I apologize — there’s a huge dog festival or something,” Chalamet said.
"That’s not a very obvious choice." “You don’t often see a person of color from Vietnam in a lead role opposite Matt Damon," she explained. Hong Chau, who grew up in a Vietnamese refugee community in New Orleans, saw progress in director Alexander Payne casting her in a significant role in his sci-fi satire “Downsizing,” about a worldwide movement to counteract overpopulation by actually shrinking people. The ethnically diverse panel addressed racial tension in both Hollywood and the nation.
Kaluuya saw his starring turn in Jordan Peele’s horror satire “Get Out,” about a young black man’s creepy first visit with his white girlfriend’s parents, inspire major discussions about race in America. It was poignant and it was fun. “It felt like [the film] really connected to the people, and people got creative with it,” said Kaluuya, referencing “The Get Out Challenge,” in which thousands have posted re-creations of a crucial scene to YouTube. There’s joy in ‘Get Out.’” “It resonated because it articulated an experience that hadn’t really been put to film yet.
“I have a theory,” he said. And now, in real life, you have to defeat nazis.” Because there’s a goal in the video game — you have to defeat nazis. Nanjiani had an unusual take on how new generations shoulder the challenges of a tumultuous society. “I think young people who grow up playing video games are more resilient.
He had been dating a woman for a few months when she fell ill and slipped into a coma. “You use that excuse every time! Unsure of what he should do, he wound up spending 10 days with her parents while she recovered. It’s always a dog parade,” quipped former stand-up comedian Nanjiani, who also co-stars in HBO’s “Silicon Valley.” Nanjiani’s first leading film role, in “The Big Sick,” which he also wrote, was based on a real-life experience.