Miami Heat veteran Kevin Love was selected fifth overall by the Memphis Grizzlies in the 2008 NBA Draft. He was traded to the Minnesota Timberwolves and played with that team until 2014 before joining the Cleveland Cavaliers in a three-team trade. Love helped the Cavs win their first-ever NBA Championship in 2016. He became a free agent in 2023 and signed with the Heat.
While Love’s career is well-documented, many fans want to know about his life off the court as well. Here’s more about the basketball star and his wife, Kelly Bock, and where you may have seen her before.
Kate Bock and Kevin Love at event in Miami Beach, Florida | Romain Maurice/Getty Images for Carbone Beach What is Kate Bock’s occupation?
Bock was born on Jan. 30, 1988, in Vancouver, Canada to parents Doug and Laura.
Bock has a successful modeling career. She was discovered when she was 12 years old...
While Love’s career is well-documented, many fans want to know about his life off the court as well. Here’s more about the basketball star and his wife, Kelly Bock, and where you may have seen her before.
Kate Bock and Kevin Love at event in Miami Beach, Florida | Romain Maurice/Getty Images for Carbone Beach What is Kate Bock’s occupation?
Bock was born on Jan. 30, 1988, in Vancouver, Canada to parents Doug and Laura.
Bock has a successful modeling career. She was discovered when she was 12 years old...
- 4/27/2024
- by Michelle Kapusta
- Showbiz Cheat Sheet
Apple has spared no expense with its embrace of movie theaters, shelling out $200 million to produce historical epics, war dramas and action comedies… all while the global box office contracts and rivals scramble to tighten their budgets.
For most studios, these expenditures would be ruinous at a time when hardly any movie is earning enough money to justify that kind of budget. As one of the deepest-pocketed companies in the world, though, Apple’s spending habits in the entertainment space are jokingly called rounding errors. But can the tech behemoth keep spending big on big-screen misfires? Or will a string of underperforming blockbusters eventually force Apple to economize?
That’s the big question after Matthew Vaughn’s spy thriller “Argylle” bombed in its debut with $18 million domestically and a disastrous $35 million globally. It’s the third consecutive Apple release where an outsized budget will make it nearly impossible for the...
For most studios, these expenditures would be ruinous at a time when hardly any movie is earning enough money to justify that kind of budget. As one of the deepest-pocketed companies in the world, though, Apple’s spending habits in the entertainment space are jokingly called rounding errors. But can the tech behemoth keep spending big on big-screen misfires? Or will a string of underperforming blockbusters eventually force Apple to economize?
That’s the big question after Matthew Vaughn’s spy thriller “Argylle” bombed in its debut with $18 million domestically and a disastrous $35 million globally. It’s the third consecutive Apple release where an outsized budget will make it nearly impossible for the...
- 2/5/2024
- by Rebecca Rubin
- Variety Film + TV
“Ho ho ho no,” is what theater owners are saying as predictions for this year’s Christmas box office could lead to disaster. It’s that magical time of the year when Phoenix Theatres puts all its eggs in one tentpole basket, banking on the success of a top-flight cinematic experience to carry the holiday on its mighty shoulders. In 2022, Phoenix doubled down on Avatar: The Way of Water, with Spider-Man: No Way Home being 2021’s selection, with Star Wars: Rise of Skywalker for 2019. This year’s horse is the Dceu sequel Aquaman and the Lost Kingdom, which is currently tracking to make less than $45 million during its opening weekend in the United States. Woof!
According to Box Office Pro, Aquaman 2 is tracking toward $32-42 million during its opening weekend, with a domestic total range of $105-168 million. These numbers are suboptimal compared to previous years, with Aquaman and the...
According to Box Office Pro, Aquaman 2 is tracking toward $32-42 million during its opening weekend, with a domestic total range of $105-168 million. These numbers are suboptimal compared to previous years, with Aquaman and the...
- 11/28/2023
- by Steve Seigh
- JoBlo.com
Every year around Christmas, Phoenix Theatres puts all of its chips on one major tentpole, gambling on a movie so big, so broadly appealing, it’ll keep auditoriums stocked into the new year. In the recent past, the Midwest-based chain has gone all in on 2022’s “Avatar: The Way of Water,” 2021’s “Spider-Man: No Way Home” and 2019’s “Star Wars: The Rise of Skywalker.”
But this holiday season is different. For the first time in more than a decade, excluding the pandemic-stricken 2020, there’s no surefire blockbuster with the potential to gross $1 billion globally to cap off the year.
“You can’t look at the release schedule between now and the end of the year and find one movie that stands out like ‘Avatar’ as the big film,” says Phoenix Theatres owner Cory Jacobson.
“Aquaman and The Lost Kingdom,” the follow-up to 2018’s megahit “Aquaman,” should be that big bet.
But this holiday season is different. For the first time in more than a decade, excluding the pandemic-stricken 2020, there’s no surefire blockbuster with the potential to gross $1 billion globally to cap off the year.
“You can’t look at the release schedule between now and the end of the year and find one movie that stands out like ‘Avatar’ as the big film,” says Phoenix Theatres owner Cory Jacobson.
“Aquaman and The Lost Kingdom,” the follow-up to 2018’s megahit “Aquaman,” should be that big bet.
- 11/28/2023
- by Rebecca Rubin
- Variety Film + TV
“The Hunger Games” prequel “The Ballad of Songbirds and Snakes” is nearing the $100 million mark worldwide after three days of release.
Those ticket sales, including $44 million in North America and $54.5 million internationally, were enough to top the box office. But they didn’t come close to recapturing the glory of the original “Hunger Games” franchise, which launched Jennifer Lawerence to stardom and collectively grossed $3 billion globally. The first four installments, released between 2012 and 2015, each generated at least $100 million domestically and $200 million globally in their respective opening weekends.
“We were a little lighter [than projections] domestically and a little over [projections] internationally, so we’re thrilled with the result,” says Adam Fogelson, vice chairman of Lionsgate Motion Picture Group. “It’ll be a great business result for the studio.”
Analysts agree “The Ballad of Songbirds and Snakes” is well positioned, financially speaking, in its theatrical run. It cost $100 million to produce, more than the first “Hunger Games,...
Those ticket sales, including $44 million in North America and $54.5 million internationally, were enough to top the box office. But they didn’t come close to recapturing the glory of the original “Hunger Games” franchise, which launched Jennifer Lawerence to stardom and collectively grossed $3 billion globally. The first four installments, released between 2012 and 2015, each generated at least $100 million domestically and $200 million globally in their respective opening weekends.
“We were a little lighter [than projections] domestically and a little over [projections] internationally, so we’re thrilled with the result,” says Adam Fogelson, vice chairman of Lionsgate Motion Picture Group. “It’ll be a great business result for the studio.”
Analysts agree “The Ballad of Songbirds and Snakes” is well positioned, financially speaking, in its theatrical run. It cost $100 million to produce, more than the first “Hunger Games,...
- 11/19/2023
- by Rebecca Rubin
- Variety Film + TV
Despite a day-and-date release, poor critics’ reviews, and a probable lack of awareness from most moviegoers old enough to remember using Windows 95, Universal’s “Five Nights at Freddy’s” has set a new opening weekend record for its production company Blumhouse with an impressive $80 million opening. Who to thank for its stellar turnout: Gen Z audiences that some exhibitors have been worried aren’t as interested in going out to the movies in 2023.
According to demographic data from Universal, 81% of the video game adaptation’s opening weekend crowd was under 25, with 43% being between the ages of 13-17. Over the past decade, the “Five Nights at Freddy’s” games have built a devoted following among Gen Z gamers that any video game or horror franchise would love to have. And even if the box office returns fall off sharply next weekend, this $20 million production has the makings of another new franchise for Blumhouse.
According to demographic data from Universal, 81% of the video game adaptation’s opening weekend crowd was under 25, with 43% being between the ages of 13-17. Over the past decade, the “Five Nights at Freddy’s” games have built a devoted following among Gen Z gamers that any video game or horror franchise would love to have. And even if the box office returns fall off sharply next weekend, this $20 million production has the makings of another new franchise for Blumhouse.
- 10/30/2023
- by Jeremy Fuster
- The Wrap
Taylor Swift may have singlehandedly salvaged the fall box office with “The Eras Tour.” The cinematic rendering of her sold-out stadium tour danced into theaters not just as a blockbuster, but a cultural phenomenon.
With $95 million to $97 million in its domestic debut and $130 million globally, it’s easily the best start of all time for a concert film, as well as one of the biggest opening weekends of the year. At the higher end of projections, it could be the top-grossing October debut in North American history, a record currently held by 2019’s “Joker” with $96 million.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
And Swift, who self-produced the concert film, shook up every aspect of the movie theater business — from top-tier pricing to unconventional distribution and marketing to lax cell phone etiquette — in the process.
With $95 million to $97 million in its domestic debut and $130 million globally, it’s easily the best start of all time for a concert film, as well as one of the biggest opening weekends of the year. At the higher end of projections, it could be the top-grossing October debut in North American history, a record currently held by 2019’s “Joker” with $96 million.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
And Swift, who self-produced the concert film, shook up every aspect of the movie theater business — from top-tier pricing to unconventional distribution and marketing to lax cell phone etiquette — in the process.
- 10/16/2023
- by Rebecca Rubin
- Variety Film + TV
In what may become an end-of-summer tradition, the National Association of Theatre Owners rallied together theaters, studios and premium format companies to host the second annual National Cinema Day, with thousands of cinemas selling movie tickets for just $4 on Sunday.
The event was quite successful, with NATO and Comscore reporting that 8.5 million tickets were sold on Sunday with overall grosses standing at $34 million, a 16% week-over-week increase from the previous Sunday. Theaters made more by charging less, in other words — and that’s not taking concessions into account.
The final weekends of the summer are usually slow periods for movie theaters, but the nationwide discount day brought an extra bit of business, so much so that Exhibitor Relations analyst Jeff Bock thinks that the film industry should consider trying these $4 days on other weekends when moviegoing is slow.
“This is something that the industry should really take a look at doing on a quarterly basis,...
The event was quite successful, with NATO and Comscore reporting that 8.5 million tickets were sold on Sunday with overall grosses standing at $34 million, a 16% week-over-week increase from the previous Sunday. Theaters made more by charging less, in other words — and that’s not taking concessions into account.
The final weekends of the summer are usually slow periods for movie theaters, but the nationwide discount day brought an extra bit of business, so much so that Exhibitor Relations analyst Jeff Bock thinks that the film industry should consider trying these $4 days on other weekends when moviegoing is slow.
“This is something that the industry should really take a look at doing on a quarterly basis,...
- 8/29/2023
- by Jeremy Fuster
- The Wrap
Ryan Knapp woke up before sunrise one morning in July and left his home in northern New Hampshire at 5:30 a.m. to catch a movie.
It wasn’t just any day at the cinema. In fact, it was a 14-hour round-trip journey that involved crossing two state lines by car, train and bus. That’s because Knapp wanted to see Christopher Nolan’s “Oppenheimer” the way the director intended: in Imax 70mm, a rare format crafted from Nolan’s film negative, with physical reels spanning 11 miles and weighing 600 pounds. It’s a movie nerd’s dream — but it’s only available on 30 screens worldwide, 19 of them in the U.S.
So Knapp trekked to Providence, R.I., for a 2 p.m. showing. The verdict? “It was definitely worth it.”
“Oppenheimer,” an R-rated three-hour drama consisting mainly of people talking in rooms, is not the type of movie audiences typically...
It wasn’t just any day at the cinema. In fact, it was a 14-hour round-trip journey that involved crossing two state lines by car, train and bus. That’s because Knapp wanted to see Christopher Nolan’s “Oppenheimer” the way the director intended: in Imax 70mm, a rare format crafted from Nolan’s film negative, with physical reels spanning 11 miles and weighing 600 pounds. It’s a movie nerd’s dream — but it’s only available on 30 screens worldwide, 19 of them in the U.S.
So Knapp trekked to Providence, R.I., for a 2 p.m. showing. The verdict? “It was definitely worth it.”
“Oppenheimer,” an R-rated three-hour drama consisting mainly of people talking in rooms, is not the type of movie audiences typically...
- 8/16/2023
- by Ethan Shanfeld
- Variety Film + TV
Disney opened “Haunted Mansion” in the heat of summer and months removed from the spookiest time of year.
Whether the release date is connected, ticket sales were veering on scary as the comedic thriller debuted in third place to a lackluster $24 million. Competition was heightened as “Barbie” and “Oppenheimer” remained unexpectedly strong in their sophomore outings, collecting a combined $140 million over the weekend. Of course, nobody anticipated the power of “Barbenheimer” when setting the film calendar.
The $150 million-budgeted “Haunted Mansion” reboot was also hobbled by the actors’ strike because the cast, including Lakeith Stanfield, Tiffany Haddish, Owen Wilson, Jamie Lee Curtis and Jared Leto, wasn’t able to promote the movie on talk shows or in the press.
Internationally, the film collapsed with $9.1 million from 35 markets, bringing its worldwide tally to just $33 million. That’s a disappointing start for a family-friendly tentpole, which will struggle to get out of the red in its theatrical run.
Whether the release date is connected, ticket sales were veering on scary as the comedic thriller debuted in third place to a lackluster $24 million. Competition was heightened as “Barbie” and “Oppenheimer” remained unexpectedly strong in their sophomore outings, collecting a combined $140 million over the weekend. Of course, nobody anticipated the power of “Barbenheimer” when setting the film calendar.
The $150 million-budgeted “Haunted Mansion” reboot was also hobbled by the actors’ strike because the cast, including Lakeith Stanfield, Tiffany Haddish, Owen Wilson, Jamie Lee Curtis and Jared Leto, wasn’t able to promote the movie on talk shows or in the press.
Internationally, the film collapsed with $9.1 million from 35 markets, bringing its worldwide tally to just $33 million. That’s a disappointing start for a family-friendly tentpole, which will struggle to get out of the red in its theatrical run.
- 7/31/2023
- by Rebecca Rubin
- Variety Film + TV
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The “Barbenheimer” craze that has lifted the box office to rare heights isn’t expected to stop anytime soon, and that could mean bad things for many films on the late summer slate, including Disney’s “Haunted Mansion,” which hits theaters this weekend and is projected to open below “Barbie” and “Oppenheimer” with a launch in the low $30 million range.
Based on the beloved Disneyland ride, “Haunted Mansion” was the first major studio release to host a premiere without striking actors, which was particularly notable for this film given its ensemble cast that includes Lakeith Stanfield, Danny DeVito, Jamie Lee Curtis and Owen Wilson.
But even having the cast to promote “Haunted Mansion” probably wouldn’t be much help, as the family film is getting mixed reviews with a 49% rating on Rotten Tomatoes.
The “Barbenheimer” craze that has lifted the box office to rare heights isn’t expected to stop anytime soon, and that could mean bad things for many films on the late summer slate, including Disney’s “Haunted Mansion,” which hits theaters this weekend and is projected to open below “Barbie” and “Oppenheimer” with a launch in the low $30 million range.
Based on the beloved Disneyland ride, “Haunted Mansion” was the first major studio release to host a premiere without striking actors, which was particularly notable for this film given its ensemble cast that includes Lakeith Stanfield, Danny DeVito, Jamie Lee Curtis and Owen Wilson.
But even having the cast to promote “Haunted Mansion” probably wouldn’t be much help, as the family film is getting mixed reviews with a 49% rating on Rotten Tomatoes.
- 7/26/2023
- by Jeremy Fuster
- The Wrap
Sheldon Harnick, the nimble lyricist who partnered with composer Jerry Bock to create the songs for some of Broadway’s greatest musicals, including Fiddler on the Roof, Fiorello! and She Loves Me, has died Friday. He was 99.
Harnick died of natural causes at his apartment overlooking Central Park on the Upper West Side, spokesperson Sean Katz told The Hollywood Reporter.
Harnick, who credited actress Charlotte Rae for inspiring him to become a Broadway lyricist, had an uncanny knack of making it sound as if the singer were having a conversation with the audience. His lyrics for such tunes as “If I Were a Rich Man,” “Sunrise, Sunset,” “She Loves Me” and “Little Tin Box” were simple and straightforward yet deeply moving at the same time.
“A theater lyricist is a playwright who writes short plays in verse that have to be set to music,” Harnick said in a 2016 interview with the Los Angeles Times.
Harnick died of natural causes at his apartment overlooking Central Park on the Upper West Side, spokesperson Sean Katz told The Hollywood Reporter.
Harnick, who credited actress Charlotte Rae for inspiring him to become a Broadway lyricist, had an uncanny knack of making it sound as if the singer were having a conversation with the audience. His lyrics for such tunes as “If I Were a Rich Man,” “Sunrise, Sunset,” “She Loves Me” and “Little Tin Box” were simple and straightforward yet deeply moving at the same time.
“A theater lyricist is a playwright who writes short plays in verse that have to be set to music,” Harnick said in a 2016 interview with the Los Angeles Times.
- 6/23/2023
- by Chris Koseluk
- The Hollywood Reporter - Movie News
Spoiler Alert: This story mentions a few significant plot developments in “The Flash,” currently playing in theaters.
In the climax of “The Flash,” Barry Allen (Ezra Miller) watches helplessly as his timeline-hopping escapades cause several other superhero universes to careen into each other and become obliterated in the process. Ironically, Warner Bros. is facing almost an identical dilemma — and the stakes could be nearly as existential.
“The Flash” is the second of four mega-budgeted DC adaptations the studio is set to release this year, starting with “Shazam! Fury of the Gods” in March, and followed by “Blue Beetle” and “Aquaman and the Lost Kingdom” in August and December. Yet these movies were conceived and greenlit by an executive team that all have departed the studio; in their place, new DC Studios chiefs James Gunn and Peter Safran have announced they will reboot the DC franchise in 2025, starting with Gunn’s “Superman: Legacy.
In the climax of “The Flash,” Barry Allen (Ezra Miller) watches helplessly as his timeline-hopping escapades cause several other superhero universes to careen into each other and become obliterated in the process. Ironically, Warner Bros. is facing almost an identical dilemma — and the stakes could be nearly as existential.
“The Flash” is the second of four mega-budgeted DC adaptations the studio is set to release this year, starting with “Shazam! Fury of the Gods” in March, and followed by “Blue Beetle” and “Aquaman and the Lost Kingdom” in August and December. Yet these movies were conceived and greenlit by an executive team that all have departed the studio; in their place, new DC Studios chiefs James Gunn and Peter Safran have announced they will reboot the DC franchise in 2025, starting with Gunn’s “Superman: Legacy.
- 6/21/2023
- by Adam B. Vary
- Variety Film + TV
Pixar’s chief creative officer Pete Docter recently told the press that he doesn’t “think of Pixar as making children’s programming.”
By the look of box office returns for the studio’s recent animated offerings, it would appear that kids have taken notice — and haven’t been so inclined to watch those movies in theaters.
Over the weekend, “Elemental” collapsed at the domestic box office with a $29.5 million opening, by far the worst debut in Pixar’s 28-year history. Even forgettable Pixar adventures, like 2015’s “The Good Dinosaur” ($39 million), 2020’s “Onward” ($39 million) and last year’s massive money-loser “Lightyear” ($51 million), managed to fill more seats in their opening weekends.
The film didn’t rebound much at the international box office with $15 million from select markets, bringing its global tally to a disastrous $44.5 million.
There’s a bigger issue for Pixar: it’s not just youngsters, but general audiences,...
By the look of box office returns for the studio’s recent animated offerings, it would appear that kids have taken notice — and haven’t been so inclined to watch those movies in theaters.
Over the weekend, “Elemental” collapsed at the domestic box office with a $29.5 million opening, by far the worst debut in Pixar’s 28-year history. Even forgettable Pixar adventures, like 2015’s “The Good Dinosaur” ($39 million), 2020’s “Onward” ($39 million) and last year’s massive money-loser “Lightyear” ($51 million), managed to fill more seats in their opening weekends.
The film didn’t rebound much at the international box office with $15 million from select markets, bringing its global tally to a disastrous $44.5 million.
There’s a bigger issue for Pixar: it’s not just youngsters, but general audiences,...
- 6/19/2023
- by Rebecca Rubin
- Variety Film + TV
“Dungeons & Dragons: Honor Among Thieves” rolled the dice at the weekend box office, taking out “John Wick: Chapter 4” with its $38.5 million debut. But Paramount and eOne’s adaptation of the popular role-playing game needs to hold up against “Super Mario Bros.” to be successful in its theatrical campaign.
So far, “Dungeons & Dragons” has generated $71 million globally — including $33 million at the international box office. Those numbers aren’t bad, but the film cost a hefty $150 million to produce and tens of millions more to market, so it’s not yet a clear theatrical winner. The fantasy action-comedy needs to stick around in North American and overseas theaters through the spring to justify its price tag and potentially ignite a new franchise.
The good news: analysts believe it’s primed to keep bringing in crowds given its great reviews and enthusiastic word-of-mouth. The bad news: “Dungeons & Dragons” has...
So far, “Dungeons & Dragons” has generated $71 million globally — including $33 million at the international box office. Those numbers aren’t bad, but the film cost a hefty $150 million to produce and tens of millions more to market, so it’s not yet a clear theatrical winner. The fantasy action-comedy needs to stick around in North American and overseas theaters through the spring to justify its price tag and potentially ignite a new franchise.
The good news: analysts believe it’s primed to keep bringing in crowds given its great reviews and enthusiastic word-of-mouth. The bad news: “Dungeons & Dragons” has...
- 4/3/2023
- by Rebecca Rubin
- Variety Film + TV
What will it take to get older crowds back to movie theaters? It’s a question that’s been worrying the industry since the early days of the pandemic. Apparently, the answer is simple: unite four Hollywood icons in a feel-good film with a runtime that doesn’t test the bladder of audiences.
Buzzing along at a brisk 98 minutes, Paramount’s octogenarian comedy “80 for Brady” touched down on the higher end of expectations with 12.5 million in its opening weekend, landing impressively in second place on box office charts.
The film, starring Lily Tomlin, Jane Fonda, Rita Moreno and Sally Field as best friends whose obsession with Tom Brady brings them to the Super Bowl, marks one of the best starts in some time for a traditional comedy. It also bucks conventional wisdom about the film’s target demographic. Like 2018’s “Book Club,” another funny film catering to similar audiences,...
Buzzing along at a brisk 98 minutes, Paramount’s octogenarian comedy “80 for Brady” touched down on the higher end of expectations with 12.5 million in its opening weekend, landing impressively in second place on box office charts.
The film, starring Lily Tomlin, Jane Fonda, Rita Moreno and Sally Field as best friends whose obsession with Tom Brady brings them to the Super Bowl, marks one of the best starts in some time for a traditional comedy. It also bucks conventional wisdom about the film’s target demographic. Like 2018’s “Book Club,” another funny film catering to similar audiences,...
- 2/6/2023
- by Rebecca Rubin
- Variety Film + TV
Who says adults aren’t going to the movies?
Well, the numbers don’t exactly lie: Movies aimed at older audiences have majorly struggled at the box office in Covid times. For the most part, they aren’t going to the movies. But Sony’s “A Man Called Otto,” a heartfelt drama starring Tom Hanks as a cranky widower, has seemingly defied the odds with its 12.6 million debut from 3,802 North American theaters. It’s expected to reach 15 million through the Martin Luther King Jr. holiday frame, bringing its domestic tally to 21.2 million after playing in limited release for two weeks. That’s a better-than-expected result, at least in the pandemic era.
Will the 50 million-budgeted “Otto” remain a theatrical draw throughout the rest of winter? That’s far from a forgone conclusion. But already, box office watchers are feeling optimistic about the latest big-screen adventure from Hanks.
David A. Gross, who...
Well, the numbers don’t exactly lie: Movies aimed at older audiences have majorly struggled at the box office in Covid times. For the most part, they aren’t going to the movies. But Sony’s “A Man Called Otto,” a heartfelt drama starring Tom Hanks as a cranky widower, has seemingly defied the odds with its 12.6 million debut from 3,802 North American theaters. It’s expected to reach 15 million through the Martin Luther King Jr. holiday frame, bringing its domestic tally to 21.2 million after playing in limited release for two weeks. That’s a better-than-expected result, at least in the pandemic era.
Will the 50 million-budgeted “Otto” remain a theatrical draw throughout the rest of winter? That’s far from a forgone conclusion. But already, box office watchers are feeling optimistic about the latest big-screen adventure from Hanks.
David A. Gross, who...
- 1/15/2023
- by Rebecca Rubin
- Variety Film + TV
For decades, Steven Spielberg has been synonymous with the movie business. The filmmaker has created some of the big screen’s most enduring moments, delighting audiences by spinning fantasies involving lovable aliens, menacing dinosaurs and one very hungry shark. And he’s even done the unimaginable and made movies about brutal subjects like the Holocaust and the D-Day landing that find commercial success, as well as critical plaudits.
But with “The Fabelmans,” his semi-autobiographical look at growing up as a film-obsessed teenager in Arizona and Northern California, Spielberg is confronting a movie business that is unrecognizable from the one in which he came of age as a director. It’s an industry that is simultaneously offering more platforms than ever before for “content,” as well as an art form that is, at least in terms of its big screen incarnation, rapidly diminishing in cultural importance. Streaming services, not cinemas, are the dominant force these days.
But with “The Fabelmans,” his semi-autobiographical look at growing up as a film-obsessed teenager in Arizona and Northern California, Spielberg is confronting a movie business that is unrecognizable from the one in which he came of age as a director. It’s an industry that is simultaneously offering more platforms than ever before for “content,” as well as an art form that is, at least in terms of its big screen incarnation, rapidly diminishing in cultural importance. Streaming services, not cinemas, are the dominant force these days.
- 11/14/2022
- by Brent Lang
- Variety Film + TV
Have you heard of the movie that’s so disturbingly stomach-churning, so horrifyingly gruesome, it’s allegedly causing some audience members to vomit, faint and even need to get carried out of movie theaters?
That very question is inspiring horror fiends and skeptics to go to their local cinemas in droves to assess the hype for themselves. The ultra-gory, micro-budget slasher film has overcome relative obscurity to defy the odds and emerge as one of the unlikeliest box office successes of the season. “Terrifier 2” — and no, you don’t need to watch the original movie first — has landed in the top 10 in recent weeks on its path to generating a scary-good 7.6 million in domestic ticket sales. And it’s achieved those returns without a major movie star on the marquee and hardly any promotion.
“This is where word-of-mouth becomes more important than any paid advertisement,” says Jeff Bock, an analyst with Exhibitor Relations.
That very question is inspiring horror fiends and skeptics to go to their local cinemas in droves to assess the hype for themselves. The ultra-gory, micro-budget slasher film has overcome relative obscurity to defy the odds and emerge as one of the unlikeliest box office successes of the season. “Terrifier 2” — and no, you don’t need to watch the original movie first — has landed in the top 10 in recent weeks on its path to generating a scary-good 7.6 million in domestic ticket sales. And it’s achieved those returns without a major movie star on the marquee and hardly any promotion.
“This is where word-of-mouth becomes more important than any paid advertisement,” says Jeff Bock, an analyst with Exhibitor Relations.
- 10/31/2022
- by Rebecca Rubin
- Variety Film + TV
Federal prosecutors have indicted 47 people in connection with an alleged fraud scheme that saw 250 million, meant to help feed hungry kids in Minnesota, instead go to luxury cars, commercial real estate, and vacation homes.
The numerous charges were announced Tuesday, Sept. 20, with the Department of Justice unsealing six separate indictments. In a statement, Attorney General Merrick Garland described the alleged plot as “the largest pandemic relief fraud scheme charged to date.”
The scheme allegedly centered around the non-profit group, Feeding Our Future, whose founder and executive director, Aimee Bock, was among the 47 people indicted.
The numerous charges were announced Tuesday, Sept. 20, with the Department of Justice unsealing six separate indictments. In a statement, Attorney General Merrick Garland described the alleged plot as “the largest pandemic relief fraud scheme charged to date.”
The scheme allegedly centered around the non-profit group, Feeding Our Future, whose founder and executive director, Aimee Bock, was among the 47 people indicted.
- 9/20/2022
- by Jon Blistein
- Rollingstone.com
Will Box Office Success Help ‘The Woman King,’ ‘Elvis’ and Other Studio Hits Stay in the Oscar Race?
It’s been proven time and time again that Academy Award attention has little to do with box office glory. Just look at recent winners like “Moonlight,” “The Hurt Locker,” or “Coda,” the first streaming movie to land the Oscar’s top prize, all of which were more beloved than seen, at least by the general public.
But during a year in which several commercial movies, including “Top Gun: Maverick” (1.44 billion globally and counting), “Elvis” (284 million globally) “Black Panther: Wakanda Forever” (scheduled for Nov. 11) and “Avatar: The Way of Water” (scheduled for Dec. 16), look to find themselves in the awards race, film industry analysts believe the box office may play a part in keeping movies from major studios in the conversation.
Another Oscar hopeful that has been well received by audiences is Sony’s historical action-epic “The Woman King,” which opened over the weekend to a strong 19 million. The studio...
But during a year in which several commercial movies, including “Top Gun: Maverick” (1.44 billion globally and counting), “Elvis” (284 million globally) “Black Panther: Wakanda Forever” (scheduled for Nov. 11) and “Avatar: The Way of Water” (scheduled for Dec. 16), look to find themselves in the awards race, film industry analysts believe the box office may play a part in keeping movies from major studios in the conversation.
Another Oscar hopeful that has been well received by audiences is Sony’s historical action-epic “The Woman King,” which opened over the weekend to a strong 19 million. The studio...
- 9/19/2022
- by Rebecca Rubin
- Variety Film + TV
Hollywood, which has faced plenty of highs and lows in its struggle to rebuild the box office after a long pandemic shutdown, faces new challenges as it heads into the last four months of the year: a shortage of wide-release studio movies to lure moviegoers back into theaters.
According to the box office database The Numbers, there are 34 wide releases scheduled to open between September and December this year — not only is that well under the 47 that opened in pre-pandemic 2019 but it’s also below the 42 wide releases that opened last year in the same period.
That may make it difficult to match the 2.36 billion domestic box office for the last four months of 2021. Sony’s “Spider-Man: No Way Home” alone accounted for a quarter of that September-to-December haul last year, while seven other films contributed at least 100 million each (including Disney/Marvel’s “Shang-Chi and the Legend of the Ten Rings...
According to the box office database The Numbers, there are 34 wide releases scheduled to open between September and December this year — not only is that well under the 47 that opened in pre-pandemic 2019 but it’s also below the 42 wide releases that opened last year in the same period.
That may make it difficult to match the 2.36 billion domestic box office for the last four months of 2021. Sony’s “Spider-Man: No Way Home” alone accounted for a quarter of that September-to-December haul last year, while seven other films contributed at least 100 million each (including Disney/Marvel’s “Shang-Chi and the Legend of the Ten Rings...
- 9/15/2022
- by Jeremy Fuster
- The Wrap
When “The Woman King” opens wide this Friday in theaters, it will be seeking to break new ground with American audiences, selling a story that Hollywood has almost never seen before: a female, Black African action drama.
The dilemma for the distributor, Sony, is: How do you sell a movie without a proven audience?
Most movies fall into clear-cut categories like action-adventure, horror, rom-com, sci-fi, thriller, comedy or drama. And after decades of Hollywood training, audiences immediately know if a movie is “for them.” Marketing campaigns have to aim for their core target before ever hoping to widen into the coveted four-quadrant audience.
But what about a movie that attempts to do something entirely different? With “The Woman King,” Sony has taken a 50 million leap with a story about African history, set in Africa, with a mostly unknown, mostly female Black cast, led by an Oscar-winning actress best known for non-muscled drama,...
The dilemma for the distributor, Sony, is: How do you sell a movie without a proven audience?
Most movies fall into clear-cut categories like action-adventure, horror, rom-com, sci-fi, thriller, comedy or drama. And after decades of Hollywood training, audiences immediately know if a movie is “for them.” Marketing campaigns have to aim for their core target before ever hoping to widen into the coveted four-quadrant audience.
But what about a movie that attempts to do something entirely different? With “The Woman King,” Sony has taken a 50 million leap with a story about African history, set in Africa, with a mostly unknown, mostly female Black cast, led by an Oscar-winning actress best known for non-muscled drama,...
- 9/14/2022
- by Sharon Waxman and Jeremy Fuster
- The Wrap
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