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Spider-Man: No Way Home Slings Past Avengers and Furious 7 as 8th Biggest Movie Ever

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Spider-Man: No Way Home Slings Past Avengers and Furious 7 as 8th Biggest Movie Ever

Spider-Man: No Way Home has continued to dominate the box office and is now the worldwide 8th biggest movie ever, with 6th position in its sights.

Doc Ock
Sony/Marvel Studios

Although it was always expected that Spider-Man: No Way Home would be the biggest movie of 2021, no one could have foreseen just how big the film would get beyond that. This weekend saw more records falling to the might of Tom Holland’s friendly neighborhood Spider-Man as the movie of the moment stormed into the Top 10 worldwide movies of all time by not only passing former number ten Frozen II, but also 2012’s The Avengers and Furious 7 to claim the number 8 spot with both The Lion King and Jurassic World in its sights.

Of course, depending on how you break down the global box office, the film has overtaken some movies on one list but not on another. When it comes down to it though, there is no denying that in the current climate Spider-Man: No Way Home has proven that audiences will return to cinemas for the right movie, and considering the film has now grossed double the nearest Hollywood blockbuster and doesn’t seem to be slowing down yet with another huge haul at the weekend box office. Here are just a few of the Charts that Spider-Man: No Way Home has charged into over the last few weeks.

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2021 Releases Domestic

  1. Spider-Man: No Way Home – $668.7 million

  2. Shang-Chi and the Legend of the Ten Rings – $224.5 million
  3. Venom: Let There Be Carnage – $212 million
  4. Black Widow – $183.65 million
  5. F9: The Fast Saga – $173 million

2021 Releases Worldwide

  1. Spider-Man: No Way Home – $1.53 billion
  2. The Battle at Lake Changjin – $905 million
  3. Hi, Mom – $841 million
  4. No Time to Die – $770 million
  5. F9: The Fast Saga – $721 million

All-Time Domestic

  1. Star Wars: The Force Awakens – $936 million
  2. Avengers: Endgame – $858 million
  3. Avatar -$760 million
  4. Black Panther – $700 million
  5. Avengers: Infinity War – $678 million
  6. Spider-Man: No Way Home – $668.7 million

All-Time Worldwide

  1. Avatar – $2.845 billion
  2. Avengers: Endgame – $2.797 billion
  3. Titanic – $2.207 billion
  4. Star Wars: The Force Awakens – $2.064 billion
  5. Avengers: Infinity War – $2.048 billion
  6. Jurassic World – $1.669 billion
  7. The Lion King – $1.654 billion
  8. Spider-Man: No Way Home – $1.53 billion

Marvel Cinematic Universe (Worldwide)

  1. Avengers: Endgame – $1.939 billion
  2. Avengers: Infinity War – $1.369 billion
  3. Spider-Man: No Way Home – $1.53 billion

Related: Spider-Man: No Way Home Continues Box Office Reign with $33M Haul

The pandemic’s impact on cinema audience numbers has been as unpredictable as the Covid virus itself, with movies that should have drawn people in failing to break $100 million on their opening weekends and that included offerings from Marvel. While some movies weren’t helped out by dual releases on streaming platforms, there is also another issue that has mostly been ignored when it comes to the reason why so many films have continued to struggle to perform.

Decades ago, a new movie released in cinemas would not see a home media release for around a year, with the film then taking at least another year to be seen on TV. Thanks to the pandemic, those unsure whether to venture out to a cinema have only a couple of months to wait to get their hands on their own copy of new movies making it much more likely that some will just wait rather than spend so much money to see a movie once then they can see it so soon after in the comfort of their own homes.


Regardless of this, Spider-Man: No Way Home’s continued dominance of the box office must have given Marvel Studios a good feeling about some of their upcoming movies this year with strong returns expected for Doctor Strange in the Multiverse of Madness, Thor: Love and Thunder and Black Panther: Wakanda Forever. It is also an undeniable sign that the demand for more MCU movies is certainly not waning in any way.


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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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