Image Entertainment, an RLJ Entertainment brand, announces the DVD and digital download release of the supernatural horror film Frankenstein vs. The Mummy.
Directed by Damien Leone, the film stars Max Rhyser, Ashton Leigh, Brandon DeSpain, Constantin Tripes, and Robert MacNaughton.
Dr. Victor Frankenstein and Egyptologist Naihla Khalil are both professors at a leading medical university. Victor’s latest grisly “experiment” is the re-animated corpse of a sadistic madman and Naihla’s most recent find is the cursed mummy of an evil pharaoh. When the two monsters face-off in an epic showdown, no one is safe from the slaughter. Can the murderous rampage be stopped and the carnage contained before it’s too late?
Frankenstein vs. The Mummy will be available on DVD for an SRP of $27.97 on Feb. 10, 2015.
Before you see BLACKHAT in theaters on January 16, delve deeper into the world of cyber-crime as Chris Hemsworth and Michael Mann take you behind the scenes in this new BLACKHAT featurette.
Set within the world of global cybercrime, Legendary’s BLACKHAT follows a furloughed convict and his American and Chinese partners as they hunt a high-level cybercrime network from Chicago to Los Angeles to Hong Kong to Jakarta.
Directed and produced by Michael Mann, the film stars Chris Hemsworth, Viola Davis, Tang Wei and Wang Leehom, and it is written by Morgan Davis Foehl and Mann. Legendary’s Thomas Tull and Jon Jashni produce alongside Mann, while Alex Garcia and Eric McLeod serve as the executive producers.
WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of BLACKHAT on January 13th at 7PM. We will contact the winners by email.
TO ENTER, ADD YOUR NAME AND EMAIL IN OUR COMMENTS SECTION BELOW.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. No purchase necessary.
This film has been rated R for violence and some language.
The Wall Street Journal reports “overall North American box-office receipts and attendance for 2014 declined more than 5% to $10.35 billion from $10.92 billion in 2013, according to box-office tracker Rentrak Corp. – the worst results since 2011.”
Kicking off 2015 with “Best of” lists and awards season on the minds of many Cinephiles, we offer our look back at the worst of 2014. Some awful, some horrendous, we were disappointed and flummoxed by some of the movies Tinseltown released into theaters (and on moviegoers) over the past 12 months.
As we shake our WAMG heads over the biggest letdowns, here we go with our Top 10 list of the Worst Films of 2014.
DISHONORABLE MENTION: HORNS
In HORNS Daniel Radcliffe played a grieving young man who inexplicably grows horns from his forehead after the community he lives in finds him culpable for the death and murder of his girlfriend. HORNS was a mishmash of genres that never quite fit together; crime drama, satanic horror and dark comedy, but the humor in the film mixed uneasily with the cheesy gore and it never well-established the rules of exactly what Radcliffe’s horns could do. At times it seemed as if the people had to ask his character for permission to perform darkest desires, but at others they simply did them even when he was against them. HORNS started off engaging enough but devolved but into a mess of empty symbolism and strangeness.
BIGGEST DISAPPOINTMENT: FOXCATCHER
FOXCATCHER should have been a compelling tale of money and madness but instead it was one long, suffocating 135 minutes. Director Bennett Miller let scene after scene ramble on and on, an instance of a filmmaker overvaluing his material beyond all good sense. FOXCATCHER wasn’t a fiasco, but considering the story, hype, and cast, it definitely was a huge letdown and its inclusion on this list is a reflection of expectation. FOXCATCHER had little to say and took far too long to say it.
10. POMPEII
Few place names evoke such thoughts of human tragedy on a colossal scale. There are many works of literature and film that capture the enormity of the events of 2,000 years ago, but we’re afraid last year’s film POMPEII was not one of them. Stock characters, bad acting, cheesy dialogue, corny plotting, and unconvincing CGI were all on display in 3-D and by the end you’ll have wished that the volcano would have exploded upon director Paul W.S. Anderson just so that you can be saved from anymore of his catastrophic disasters
9. A HAUNTED HOUSE 2
Marlon Wayans is a gifted comedian, but in A HAUNTED HOUSE 2 he worked hard his schtick; mugging, eye-rolling and screaming in that high-pitched voice, to squeeze out just a couple of laughs. The humor aimed low with scatological, fart and crude sex references aplenty but it got tiresome quickly. The found-footage horror film may have seemed ripe for parody a couple of years ago but by now the gimmick has done a decent job of parodying itself. Spoof movies don’t have to be lame timewasters and the genre can have its merits when done right but A HAUNTED HOUSE 2 was not one of those times.
8. SABOTAGE
After finishing up his political career, “Ah-nold” continues to try to jump-start his action movie dynasty, but seems to hitting the brick wall that he easily plowed through in those golden 1980’s actioners. At least he trying to grab the “hard R-rated” high calibre fans, but this misfire goes from gritty police caper to “who’s gonna’ buy it next?” slasher send-up. As we said in the original review, ” After the mystery is revealed the film is further dragged down by a brutal, ludicrous epilogue. ” We know you’ve got a few more great flicks in you, “guv-er-nator”, so don’t waste your time on cinema sludge like this, okay?
7. A MILLION WAYS TO DIE IN THE WEST
So, you feel like having a few laughs at Western movie clichés? Well then, there’s a nifty 40th Anniversary edition Blu Ray of BLAZING SADDLES. Or THE SHAKIEST GUN IN THE WEST. Anything, anything, but this stale bit of sagebrush! Literally, all of the chuckles are in the trailer. And after years behind the scenes, and the microphone as different animated voices and TED, Seth McFarlane proves to be a mediocre leading man (from our original review ” Seth appears more inconvenienced and annoyed than truly terrified “). We also said ” it sputters out of steam at just under two looong hours”. Now vamoose ya’ varmit!!
6. TAMMY
She was an unexpected delight, stealing scenes in her supporting role in BRIDESMAIDS. But her trip to “above the title” star has been a rocky one for Ms. McCarthy. So, maybe the best plan is to create a project with her talented and funny hubby Ben Falcone, who also directs. Nope, didn’t work. While Ms. M had a great comedy partner in THE HEAT with Sandra Bullock, here’s she’s mis-matched with a miscast Susan Sarandon as her Grandma” (!?!). As we said in the original review, “Despite the salt-and-pepper wig, she seems too youthful for the role”. As for McCarthy’s Tammy, ” the character is toned down by the story’s end to inject some clumsy bits of pathos and romance”. Happily by year’s end MM scored some points with another great supporting turn in ST. VINCENT. Nice career save after a big stumble!
5. LEGEND OF HERCULES
Hercules has never felt more wooden and emotionless. It’s tragic to see such a famous and mighty hero given such a cheap revamping. Renny Harlin directs the film like a dated 90’s action flick, complete with an endless amount of awkwardly choreographed and bloodless action sequences. Everything from the script, to the cast, to the overall production, feels like a schlocky cash-grab attempting to replicate the box-office success of 300. I love that Hollywood wants to bring back the sword and sandal adventures of yesteryear, however I have to urge you to use all your strength and avoid this epic travesty.
4. THIRD PERSON
In THIRD PERSON Paul Haggis copied his CRASH template by setting up three seemingly random episodes with three seemingly random sets of characters, some of whom eventually became intertwined with one another during a two-day period. The result was self-indulgent, thoroughly uninteresting, and at 137 minutes, far too long. Not just long, but long about getting to its points and to its connections because it had to set up so many characters and their situations first before showing how they connect. By halfway, one could see it was a strange, rambling wreck of a movie. That wouldn’t have been so bad if THIRD PERSON was clever or entertaining or at least so-bad-it’s-good. But it wasn’t. It was just deadly, deadly dull.
3. ANNABELLE
Even though ANNABELLE was advertised as a creepy doll film, it often feels like nothing of the sort. In fact, the porcelain figure appears on-screen for maybe a total of 10 minutes. An exhausting amount of effort is spent trying to show the expecting couple in a sympathetic light. It’s almost as if the film felt the need to compensate for weak dialogue by giving us so much dialogue and narrative between them instead of focusing on thrills and chills. ANNABELLE should have been a fun and scary night at the movies. If an emphasis had placed on being fun than perhaps it wouldn’t feel like such an overly serious slog to get through.
2. MEN, WOMEN AND CHILDREN
MEN, WOMEN & CHILDREN is a dreary drama that sticks to its heavy handed style at the cost of the audience’s enjoyment. In telling a story about how emotionless and distant we have become with one another, director Jason Reitman has given the audience characters that might not be what he had intended – a herd of mindless drones that you don’t actually care about. Good drama rests entirely on characters successfully interacting with one another while simultaneously engaging the audience. When you have a film where the basis of the story is about these artificial connections, how are we supposed to connect with them if they can’t even connect with each other?
1. TRANSCENDENCE
A couple of good ideas can go a long way. Other times they could be just that – ideas without a proper framework to support them. Wally Pfister’s directorial debut seems to struggle to find a purpose for the “high-concept” thoughts that seem to expand its own head rather than that of the audience. Mostly though TRANSCENDENCE just feels stagnant. It exists and that’s barely an appropriate description of it. There’s not any new parts in this machine which makes all the gear spinning all the more tedious since there isn’t any energy pushing them. Pfister obviously knows how to present a striking image – which he frequently does here as he previously did working with Christopher Nolan – but his images alone can’t elevate this vacant film.
Here’s our individual lists. What movies were your worst of the year?
Tom Stockman –
Biggest disappointment: FOXCATCHER
10. THE WILD
9. OCULUS
8. BLENDED
7. BEGIN AGAIN
6. BRICK MANSIONS
5. TAMMY
4. HAUNTED HOUSE 2
3. ANNABELLE
2. THIRD PERSON
1. TRANSCENDENCE
Michelle McCue –
Biggest Disappointment: EXODUS: GODS AND KINGS
10. A HAUNTED HOUSE 2
9. THIRD PERSON
8. ANNABELLE
7. THE LEGEND OF HERCULES
6. DUMB AND DUMBER TO
5. SABOTAGE
4. TAMMY
3. A MILLION WAYS TO DIE IN THE WEST
2. MEN, WOMEN & CHILDREN
1. TRANSCENDENCE
Jim Batts –
Biggest Disappointment: THE AMAZING SPIDER-MAN 2
10. THE LEGEND OF HERCULES
9. ANNABELE
8. OUIJA
7. A MILLION WAYS TO DIE IN THE WEST
6. THIRD PERSON
5. TUSK
4, THE BEST OF ME
3. AND SO IT GOES
2. MEN,WOMEN & CHILDREN
1. TRANSCENDENCE
Michael Haffner –
Biggest disappointment: TIE – Interstellar and Horns
10. NYMPHOMANIAC PART 1
9. A HAUNTED HOUSE 2
8. JERSEY BOYS
7. ANNABELLE
6. SABOTAGE
5. THE FACE OF LOVE
4. MEN, WOMEN & CHILDREN
3. POMPEII
2. TRANSCENDENCE
1. THE LEGEND OF HERCULES
To celebrate the Blu-ray release of GET ON UP on January 6, WAMG is giving away copies to a few of our lucky readers.
Based on the incredible life story of the Godfather of Soul, GET ON UP gives a fearless look inside the music, moves, and moods of James Brown, taking audiences on the journey from his impoverished childhood to his evolution into one of the most influential figures of the 20th century.
Chadwick Boseman (42) stars as Brown, and is joined by Viola Davis, Octavia Spencer, Nelsan Ellis, Jill Scott, Craig Robinson, and Dan Aykroyd in the Tate Taylor directed drama.
CONTEST IS OVER
Answer the following:
What was James Brown’s first top 20 Pop hit?
ENTER YOUR NAME, ANSWER AND E-MAIL IN OUR COMMENTS SECTION BELOW. WE WILL CONTACT YOU IF YOU ARE A WINNER.
OFFICIAL RULES:
1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.
2. WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.
Digital Copy of Get On Up (Subject to expiration. Go to NBCUCodes.com for details.)
• Includes UltraViolet (Subject to expiration. Go to NBCUCodes.com for details.)
• Deleted/Extended/Alternate Scenes
• Full Song Performances
• Extended Song Performances
• Long Journey to the Screen
• Chadwick Boseman: Meet Mr. James Brown
• The Get On Up Family
• On Stage with the Hardest Working Man
• The Founding Father of Funk
• Tate Taylor’s Master Class
• Feature Commentary with Director/Producer Tate Taylor
PADDINGTON tells the story of the comic misadventures of a young Peruvian bear who travels to the city in search of a home. Finding himself lost and alone, he begins to realize that city life is not all he had imagined -until he meets the kindly Brown family who read the label around his neck that says “Please look after this bear. Thank you,” and offer him a temporary haven. It looks as though his luck has changed until this rare talking bear catches the eye of a museum taxidermist. The film features an entirely computer-generated bear who interacts with a cast of esteemed actors.
The film stars Hugh Bonneville, Sally Hawkins, Julie Walters, Jim Broadbent, Peter Capaldi, Nicole Kidman, and Ben Whishaw as the voice of Paddington.
Directed by Paul King, PADDINGTON opens in theaters January 16.
Ready for an adventure with this adorable bear? WAMG invites you to enter for a chance to win passes (Good for 4) to the advance screening of PADDINGTON on Saturday, January 10th at 10AM.
We will contact the winners by email.
Answer the following:
Who was the very first illustrator to draw Paddington?
What’s the name of the first book?
TO ENTER, ADD YOUR NAME, ANSWERS AND EMAIL ADDRESS IN OUR COMMENTS SECTION BELOW.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
Veteran actor Edward Herrmann, 71, who played in director Joel Schumacher’s THE LOST BOYS and Richard Gilmore on television’s Gilmore Girls, died Wednesday (Dec. 31) in New York.
Herrman had been in treatment for brain cancer for months according to a statement released by his talent agent, Robyn Stecher.
His family told TMZ, which first reported the news, he had been in a hospital intensive care unit for nearly a month when the decision was made to remove him from a respirator.
Herrmann won a Tony Award for his 1976 portrayal of Frank Gardner in the Broadway play Mrs. Warren’s Profession. He earned Emmy nominations as Franklin Delano Roosevelt in the made-for-television productions Eleanor and Franklin in 1976 and Eleanor and Franklin: The White House Years in 1977.
His previous film work included The Town That Dreaded Sundown (2014), The Wolf of Wall Street (2013), The Aviator (2004), Intolerable Cruelty (2003) and The Cat’s Meow (2001).
Herrmann’s voiceover work could be heard on a number of programs on PBS and The History Channel, as well as television commercials for Dodge.
In his review, Omar P.L. Moore (PopcornReel.com) says, “SELMA is an instant classic, a film that will be revered and applauded throughout the annals of American history, long after we are gone.”
SELMA is the story of a movement. The film chronicles the tumultuous three-month period in 1965, when Dr. Martin Luther King, Jr. led a dangerous campaign to secure equal voting rights in the face of violent opposition. The epic march from Selma to Montgomery culminated in President Johnson (Tom Wilkinson) signing the Voting Rights Act of 1965, one of the most significant victories for the civil rights movement.
Director Ava DuVernay’s SELMA tells the story of how the revered leader and visionary Dr. Martin Luther King Jr. (David Oyelowo) and his brothers and sisters in the movement prompted change that forever altered history.
Starring David Oyelowo, Tom Wilkinson, Cuba Gooding Jr., Alessandro Nivola, Giovanni Ribisi Common, Carmen Ejogo, Lorraine Toussaint, with Tim Roth and Oprah Winfrey as “Annie Lee Cooper,” SELMA opens in St. Louis on Friday, January 9.
WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of SELMA on January 6 at 7PM in the St. Louis area. We will contact the winners by email.
Answer the following:
Martin Luther King Jr. and Coretta Scott King led thousands of protesters during the Selma to Montgomery March in March 1965.
Name the bridge they crossed over.
(Photo courtesy of The Birmingham News)
TO ENTER, ADD YOUR NAME, ANSWERS AND EMAIL ADDRESS IN OUR COMMENTS SECTION BELOW.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
Left to right: David Oyelowo (as Dr. Martin Luther King, Jr.) discusses a scene with Director/Executive Producer Ava DuVernay on the set of SELMA, from Paramount Pictures, Pathe, and Harpo Films.
(c) 2014 Paramount Pictures. All Rights Reserved. Photo credit: Atsushi Nishijima
Jerry Goldsmith, PLANET OF THE APES (1968) Nominee for Best Original Score for a Motion Picture
By Michelle McCue and Melissa Thompson
As 2014 comes to a close, we take a look back at some of the best movie music from this past year. The backbone of any movie, audiences heard rocket engines roar, traveled through LEGO worlds and made spiritual connections all thanks to the musical vision of the composer.
In a mix that was soulful, haunting and fun, this year’s soundtracks covered a range of emotions, from light to dark, to atmospheric and assaultive.
Our Top 15 scores wouldn’t be complete without an honorable mention…
Michael Giacchino – DAWN OF THE PLANET OF THE APES
The story about the birth of a civilization and “restart” for the planet Earth was no more prevalent than with the emotional reality of composer Michael Giacchino’s score. Director Matt Reeves’ sequel to 2011’s Rise of the Planet of the Apes found its musical language through the empathetic sounds of the apes in the environment Caesar has created for them.
Making his fifth collaboration with filmmaker Christopher Nolan, composer Hans Zimmer steered clear of any musical expressions he’d explored in the past with the director, and invented a whole new palette for the film with the earthy yet elevating notes of an organ.
We went for a spectacular adventure on a journey into the universe and Zimmer’s score gave humanity’s mission to the stars a very primeval quality.
2. Alexandre Desplat – THE IMITATION GAME, GODZILLA and THE GRAND BUDAPEST HOTEL
Three of the best scores this year, six-time Academy Award Nominee Alexandre Desplat’s music was heard by audiences throughout 2014.
Desplat developed one of his most unusual scores for THE GRAND BUDAPEST HOTEL – one played entirely without traditional orchestral instruments. Instead, he brought in a host of Central European instruments, including balalaikas and the cimbalom, a type of hammered dulcimer common to Eastern European gypsy music.
With THE IMITATION GAME, the composer took us to the Bletchley Park codebreaking centre and inside the Enigma machine. Desplat may see his first Oscar win with his beautiful score to the Alan Turing biopic.
Lastly with the great force of GODZILLA propelling the action and keeping the tension high, Desplat made a big sonic impact with the music. “I’ve never done a monster movie before, so coming to this with more than a hundred musicians—double brass, double horns—allowed me to open the frame of my imagination to another territory, and that’s very exciting.”
3. Jóhann Jóhannsson – THE THEORY OF EVERYTHING
Filled with a charming score, composer Jóhann Jóhannsson’s music for director James Marsh’s THE THEORY OF EVERYTHING was a mix of orchestral instruments and synthesized sounds giving the story of astrophysicist Stephen Hawking and Jane Wilde an ethereal, lovely sound.
David Fincher returned again to work with Trent Reznor and Atticus Ross (THE SOCIAL NETWORK, THE GIRL WITH THE DRAGON TATTOO) for the surging undertow to GONE GIRL.
Trent Reznor said, “In terms of the palette of sounds what’s unique on this one is that we used a more organic, less synthetic soundscape. We didn’t want it to feel too slick so we used a lot of interesting homemade equipment. There are moments where the rhythm is just me tapping on a wooden box so it feels repetitive but drifts around a bit like a human heartbeat.”
5. Antonio Sánchez – BIRDMAN or The Unexpected Virtue of Ignorance
Drums, cymbals, sticks, mallets and rods were used for the percussion heavy score in director Alejandro G. Iñárritu’s BIRDMAN or The Unexpected Virtue of Ignorance. Four-time Grammy Award winner and composer Antonio Sanchez effectively sets the pace and rhythm to convey Riggan Thomson’s (Michael Keaton) tonal tightrope between comedy and pathos, illusion and reality.
Composer John Powell’s fantastic soundtrack on HOW TO TRAIN YOUR DRAGON 2 was filled with emotional triumphant orchestral pieces and a resounding chorus making it one of our favorites scores of the year.
7. Henry Jackman – BIG HERO 6, THE INTERVIEW and CAPTAIN AMERICA: THE WINTER SOLDIER
Jackman had three big scores in 2014.
He composed a grandiose action score for North Korea’s favorite film – THE INTERVIEW. While building on his previous collaboration with Evan Golderberg and Seth Rogen on THIS IS THE END, Jackman scored the film as if it were a classic action-blockbuster to ground the film’s comedic moments. Jackman also created a score that celebrated the comic-book style action of BIG HERO 6, while weaving in the original music from American rock band Fall Out Boy.
But none was more epic than Jackman’s contemporary take on his superhero score for CAPTAIN AMERICA: THE WINTER SOLDIER. Up next for Jackman is Kingsman: Secret Service and Marvel’s Captain America: Civil War.
Just as Price did on his Oscar-winning score for GRAVITY, where the sounds of radio waves were incorporated into the score, the British composer was able to find a distinctive voice for the music of FURY by using unusual and unconventional instruments in a fusion with the orchestral, choral and solo writing featured throughout. The daunting sounds put the audience inside the WWII tanks alongside Brad Pitt and his crew.
Marco Beltrami’ s created a rustic sounding landscape in director Tommy Lee Jones’ THE HOMESMAN. Alongside his work on SNOWPIERCER, THE GIVER and THE NOVEMBER MAN in 2014, the Oscar-nominated composer’s score for THE HOMESMAN evoked the desolation of the homesteaders by drawing out the essence of the wind with an innovative wind piano that contained 175 feet long wires.
10. James Newton Howard – MALEFICENT and THE HUNGER GAMES: MOCKINGJAY – PART 1
The sweeping emotions and volatile moods of THE HUNGER GAMES: MOCKINGJAY – PART 1 and MALEFICENT are evoked not only in the performances and visual designs but in the music, which once again is driven by an original orchestral score from eight time Oscar nominee James Newton Howard. The music for both films cover the whole breadth of experience from scenes of epic action to moments of epic heartache and intimate poignancy.
Howard also composed the score for Dan Gilroy’s NIGHTCRAWLER and Edward Zwick’s PAWN SACRIFICE.
11. Hanan Townshend – THE BETTER ANGELS
Directed by A.J. Edwards, executive produced by Terrence Malick with a beautiful score by Hanan Townshend (TO THE WONDER), THE BETTER ANGELS music took a poetic approach to Abraham Lincoln’s childhood in the harsh wilderness of Indiana.
12. EDGE OF TOMORROW – Christophe Beck
The composer created a score that captured the suspense, the action and the fun of Cage (Tom Cruise) and Rita’s (Emily Blunt) extraordinary journey in director Doug Liman’s awesome EDGE OF TOMORROW.
Combining a rich orchestral score with familiar rock tunes, composer Tyler Bates’ score for director James Gunn’s GUARDIANS OF THE GALAXY was one of the most popular of the year.
The soundtrack featured classic 1970s songs like Blue Swede’s “Hooked on a Feeling,” “I’m Not in Love” by 10cc, Redbone’s “Come and Get Your Love,” and The Runaways’ “Cherry Bomb.”
Bates also composed the score for the heart-pounding revenge thriller JOHN WICK starring Keanu Reeves.
Another beautiful score from composer Alex Ebert (ALL IS LOST), the haunting music for director J.C. Chandor’s A MOST VIOLENT YEAR transported audiences into the treacherous yet stunning landscape of NYC, 1981. Ebert’s score uses piano, synth, and percussion to capture the tension and emotional pressure faced by Oscar Isaac’s Abel Morales, as he fights to protect his business and family.
Displaying his versatility, Ebert also recently composed the score for Disney’s animated short FEAST, which is currently being shown in theaters prior to BIG HERO 6.
Brick by Brick, composer Mark Mothersbaugh’s fun score for THE LEGO MOVIE
Filmgoers went along for the hilarious ride with Emmet, Wyldstyle, Vitruvius, Lord Business, Unikitty, Batman, Benny the Spaceman and Bad Cop/Good Cop and it truly was the most AWESOME time at a movie theater this year!
Listen as The Hollywood Reporter discusses with Marco Beltrami (The Homesman), Danny Elfman (Big Eyes), John Powell (How To Train Your Dragon 2), Trent Reznor (Gone Girl) and Hans Zimmer (Interstellar) the process behind scoring the top films of the year.
THE HOBBIT: THE BATTLE OF THE FIVE ARMIES has charged past the half-billion mark in only its second week in worldwide release. A production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), the film has taken in an astounding global total of $573.6 million and counting.
The conclusion to Peter Jackson’s acclaimed “The Hobbit” Trilogy, based on the timeless classic by J.R.R. Tolkien, THE HOBBIT: THE BATTLE OF THE FIVE ARMIES has continued to play to sold-out houses in North America, where the film has earned an estimated $168.5 million domestically to date and is still #1 at the box office.
Internationally, the film has grossed an estimated $405.1 million as it continues its roll out, setting records and/or topping the box office in countries around the globe, including Germany, Spain, Russia, Mexico, Brazil, Holland, Switzerland and Austria, to name only a few. The film just opened on December 26 in Australia, Poland and Iceland, with much-anticipated release dates upcoming in Argentina, Uruguay and Venezuela on January 1, and China on January 23, 2015.
Scores of moviegoers worldwide are also opting to experience the adventure in the immersive IMAX format. On the heels of its record-breaking IMAX opening, THE HOBBIT: THE BATTLE OF THE FIVE ARMIES has gone on to earn $25 million on 360 domestic screens, and $23 million on 228 screens overseas, including a Christmas day record of $1.02 million, for a global total of $48 million.
The top 12 worldwide weekend box office estimates, listed in descending order, per data collected as of Sunday, Dec. 28, 2014, are below. (Rentrak)
Hobbit: The Battle of the Five Armies – Warner Bros. – $130.6M
Night At The Museum: Secret Of The Tomb – 20th Century Fox – $50.9M
Exodus: Gods And Kings – 20th Century Fox – $37.8M
Unbroken – Universal – $34.4M
Into The Woods – Disney – $32.6M
Big Hero 6 – Disney – $29.6M
Taking Of Tiger Mountain, The – Bona Film – $25.0M
Annie – Sony – $22.5M
Penguins Of Madagascar – 20th Century Fox – $19.4M
Hunger Games: Mockingjay, Part 1, The – Multiple – $17.9M
P.K. – UTV Communications – $17.8M
International Market – CJ Entertainment – $14.0M
The top 12 domestic weekend box office estimates, listed in descending order, per data collected as of Sunday, Dec. 28, 2014, are below.
Hobbit: The Battle of the Five Armies – Warner Bros. – $41.4M
Unbroken – Universal – $31.7M
Into The Woods – Disney – $31.0M
Night At The Museum: Secret Of The Tomb – 20th Century Fox – $20.6M
Annie – Sony – $16.6M
Hunger Games: Mockingjay, Part 1, The – Lionsgate – $10.0M
Gambler, The – Paramount – $9.3M
Imitation Game, The – The Weinstein Company – $7.9M
