The blogger tweeted about sick plans to embark on a killing spree similar to that of James Holmes, the suspect in the Aurora, Colorado murders, who stands accused of murdering 12 people and injuring 58 others during a midnight screening of the new Batman movie, The Dark Knight Rises, last month (20Jul12).
The Twitter user, whose identity is unknown, first posted on 29 July (12), "I might just shoot up this theater in new York I know they leave their exit doors unlocked. Ha now I gotta plan it step by step."
He went on to tweet, "i wanna kill alot (sic) of people" and added, "This s**t ain't no joke yo (sic) - I'm serious, people are gonna die like aurora".
Security has been stepped up at the Longacre Theatre, where former boxer Tyson is performing his one-man show, as cops put pressure on Twitter bosses to hand over information about the user's identity.
New York Police Department spokesman Paul Browne reveals executives at the social media website have been uncooperative so far and have denied detectives' requests for the user's contact information.
He tells the New York Post, "We'll cover the theatre until we find this guy. We needed a name and we needed it fast. Twitter (bosses) said no."
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Despite all the hype, Madonna came in second best at the weekend box office.
Studio tracking studies predicting a first-place opening for Paramount's "The Next Best Thing," the romantic comedy/drama teaming the Material Girl with Rupert Everett, were wrong. Instead, top honors went for the third consecutive weekend to Warner Bros.' "The Whole Nine Yards."
Bruce Willis "Yards," the R-rated hit comedy from Warners, Morgan Creek and Franchise Pictures, held strongly in its third weekend with an estimated $7.31 million (-24%) at 2,793 theaters (-117 theaters, $2,617 per theater). Its total is approximately $38.5 million.
Directed by Jonathan Lynn, "Yards" stars Bruce Willis and Matthew Perry.
"Unbelievable," Warner Bros. distribution executive Jeff Goldstein said Sunday morning, delighted with how well "Yards" was holding. "We're heading into the $60 millions with the movie.
"Thing," the PG-13-rated film produced by Lakeshore Entertainment and released by Paramount, had to settle for second place with a disappointing estimated $6 million at 2,007 theaters ($2,990 per theater).
Rupert Everett & Madonna Its per-theater average was the highest for any film playing in wide release (more than 1,000 theaters) during the weekend, although it was only a few dollars more than the estimated average for "Drowning Mona."
John Schlesinger ("Midnight Cowboy") directed "The Next Best Thing."
Where "Thing" actually will wind up when the final grosses are announced Monday, however, is anyone's guess. Some distribution sources were speculating Sunday morning that it would come in lower.
"By the end of this weekend, 'My Dog Skip' or 'Drowning Mona' may outgross it," said one insider. "They ('Thing') only went up 18% Friday to Saturday. That's the way these pop star movies play. They get a much hotter crush on Friday in relation to anything else. On Sunday, it's not going to play as well as 'Skip' or 'Mona.'"
Another studio distribution executive, who observed, "They only had an 18% increase between Friday and Saturday," made the same point. "I think, clearly, the public isn't rushing out to see the movie."
Warner Bros. PG-rated family drama "My Dog Skip," from Alcon Entertainment, went wide last weekend, barking loudly in third place with an encouraging estimated $5.94 million at 2,331 theaters (+2,310 theaters, $2,548 per theater). Its total, including its first seven weeks in limited release, is approximately $6.7 million.
As is typically the case with family films, "Skip" did not look strong in studio tracking studies, which don't tend to reflect what youngsters are going to see.
Directed by Jay Russell, "Skip" stars "Malcolm in the Middle's" Frankie Muniz, Diane Lane, Luke Wilson and Kevin Bacon.
"Talk about a real success story," Warner Bros. distribution executive
Jeff Goldstein said Sunday morning. "This is a movie we've really worked hard on and, it looks like we'll have a big payoff for it. It was a fairly inexpensive film to make -- I think they spent under $7 million. So it's a real success story, no question about it."
Destination Films' PG-13-rated comedy "Drowning Mona" was swimming strongly in fourth place, opening to a happy estimated $5.91 million at 1,981 theaters ($2,982 per theater).
Directed by Nick Gomez, "Mona" stars Danny DeVito, Bette Midler, Neve Campbell and Jamie Lee Curtis.
"We're proving we can compete," Destination President Barry London said Sunday morning, very pleased with "Mona's" performance. Destination went into business last fall with the horror genre pick-up "Bats." Earlier this year, it opened its psychological thriller pick-up "Eye of the Beholder," starring Ewan McGregor and Ashley Judd, in first place.
Destination became involved in "Mona" at the script stage, working closely on the film with Neverland Films and Jersey Shore.
Asked who the film's audience was, London replied, "It was pretty even -- male, female, older and younger, which is a surprise to me. I thought it would play slightly older. Neve Campbell probably had something to do with it [bringing in a younger audience]."
USA Films' R-rated sci-fi thriller "Pitch Black" continued flying in its fifth-place orbit in its third week, holding decently with an estimated $5.02 million (-29%) at 1,903 theaters (-27 theaters, $2,637 per theater). Its total is approximately $29.7 million.
Directed by David Twohy, it stars Vin Diesel, Radha Mitchell, Cole Hauser and Keith David.
The weekend's other high-profile wide opening, Columbia's R-rated comedy "What Planet Are You From?" failed to land in the Top 10. It placed 14th with a weak estimated $3 million (see OTHER OPENINGS below).
Paramount and Nickelodeon Movies' PG-rated comedy "Snow Day" started to melt in its fourth week, falling four slots to sixth place with an estimated $5 million (-40%) at 2,717 theaters (+8 theaters, $1,840 per theater). Its total is approximately $49.2 million.
Coming in very close to "Pitch Black's" $5.02 million estimate, "Snow" has the potential to finish fifth when the box office dust settles Monday.
Dimension Films' R-rated thriller "Reindeer Games" tumbled four slots to seventh place in its second week with an unhappy estimated $4.80 million (-41%) at 2,204 theaters (theater count unchanged, $2,177 per theater). Its total is approximately $15.1 million.
Paramount's R-rated comedy-drama "Wonder Boys" added theaters in its second week but still fell one slot to eighth place with a dull estimated $4.15 million (-29%) at 1,504 theaters (+251 theaters, $2,759 per theater). Its total is approximately $11.5 million.
There was a close race for ninth place between the two leading Oscar nominees for Best Picture. Odds makers in Las Vegas and Mexico last week were calling Miramax's "The Cider House Rules" and DreamWorks' "American Beauty" both even-money bets.
DreamWorks' R-rated drama "American Beauty," a major Oscar contender with eight nominations, including Best Picture, held on to ninth place in its 25th week with a still-solid estimated $4.10 million (-11%) at 1,339 theaters (+16 theaters, $3,062 per theater). Its total is approximately $93.1 million.
"Beauty" was honored with five major awards by the Association of London Film Critics on Thursday. Its wins included best film, actor, actress, director and screenplay. The same evening, the film received a record 14 BAFTA nominations (from the British Academy of Film & Television Arts).
Miramax's PG-13-rated drama "The Cider House Rules," also a leading Oscar contender with seven nominations, including Best Picture, came in 10th in its 12th week, holding strongly with an estimated $4.05 million (even) at 1,496 theaters (+150 theaters, $2,707 per theater). Its total is approximately $37.2 million.
"It's amazing," Miramax Senior Vice President, Marketing, David Kaminow said Sunday morning. "By the time the (Oscars are announced) on Mar. 26, we'll have more than doubled our box office from between nominations and the actual Oscars. I think it's fantastic."
Last weekend also saw MGM's opening of the urban appeal R-rated comedy "3 Strikes" from Absolute Entertainment and Motion Picture Corp. of America, in a tie for 12th place (with Buena Vista/Disney's "The Tigger Movie") with an OK estimated $3.60 million at 678 theaters ($5,310 per theater). Its total after five days is approximately $4.5 million.
Written and directed by D.J. Pooh, it stars Brian Hooks.
"It's an MGM Distribution Co. release," an MGM official said Sunday morning. "It's not a negative pick-up, it's a distribution deal. Brad Krevoy's MPCA and Absolute Entertainment made it."
Unlike a negative pick-up, where studios put up money in return for distribution rights, the "3 Strikes" deal is a rent-a-system distribution arrangement. MGM reportedly is receiving 15% of the film-rental fee for its expertise in putting the film in theaters. The studio did not pay anything to get the film and did not pay for its prints and advertising costs.
Columbia's launch of its R-rated comedy "What Planet Are You From?" crashed in 14th place with an estimated $3 million at 2,248 theaters ($1,335 per theater).
Directed by Mike Nichols, it stars Garry Shandling, Annette Bening, Greg Kinnear, Ben Kingsley, Linda Fiorentino and John Goodman.
Artisan Entertainment's R-rated dark "Ghost Dog: Way of the Samurai" opened in 27th place with an OK estimated $0.18 million at 15 theaters ($11,930 per theater).
Directed by Jim Jarmusch, it stars Forest Whitaker.
USA Films R-rated drama "Agnes Browne" went into limited release, placing 32nd with an unexciting estimated $0.050 million at 21 theaters ($2,387 per theater).
Directed by Anjelica Huston, it stars Huston and Marion O'Dwyer.
Last weekend saw no national sneak previews.
On the expansion front, last weekend saw Fox Searchlight go wider with its Oscar contender "Boys Don't Cry," a nominee for Best Actress (Hilary Swank) and Best Supporting Actress (Chloe Sevigny), placing 23rd in its 22nd week with a solid estimated $0.50 million at 183 theaters (+81 theaters, $2,732 per theater). Its total is approximately $5.5 million.
USA Films PG-rated suspense drama reissue "Rear Window" widened in its seventh week, placing 28th with an OK estimated $0.15 million at 24 theaters (+2 theaters, $6,025 per theatre). Its total is approximately $1 million.
Fox Searchlight Pictures' PG-13-rated dramatic comedy "The Closer You Get" widened in its second week, placing 33rd with a quiet estimated $0.040 million (-7%) at 14 theaters (+4 theaters, $2,857 per theater). Its total is approximately $0.1 million.
Key films -- those grossing more than $500,000 for the weekend - took in approximately $77.92 million, up about 4.06% from the comparable weekend last year when key films grossed $74.88 million.
This weekend's key film gross was down about 6.82% from last weekend, when key films grossed $83.62 million.
Last year, Warner Bros.' opening week of "Analyze This" was first with $18.38 million at 2,518 theaters ($7,301 per theater), and Sony's opening week of "Cruel Intentions" was second with $13.02 million at 2,312 theaters ($5,632 per theater). The top two films one year ago grossed $31.4 million. This year, the top two films grossed an estimated $13.3 million.
STUDIO MARKET SHARES
Based on business by key films, last weekend's top six distributors were the following:
Paramount was first with three films ("The Next Best Thing," "Snow Day" and "Wonder Boys") grossing an estimated $15.15 million or 19.4% of the market.
Warner Bros. was second with three films ("My Dog Skip," "The Green Mile" and "The Whole Nine Yards") grossing an estimated $14.33 million or 18.4% of the market.
Miramax (Miramax, Dimension) was third with three films ("Reindeer Games," "Scream 3" and "The Cider House Rules") grossing an estimated $11.75 million or 15.1% of the market.
Sony Pictures Entertainment (Columbia, TriStar) was fourth with two films ("Hanging Up" and "What Planet Are You From?") grossing an estimated $6.80 million or 8.7% of the market.
Destination Films was fifth with one film ("Drowning Mona") grossing an estimated $5.91 million or 7.6% of the market.
USA Films was sixth with one film ("Pitch Black") grossing an estimated $5.02 million or 6.4% of the market.
(11) "Hanging Up"/Columbia Theaters: 2,618 (0) Gross: $3.80 million (-49%) Average per theater: $1,451 Total: $31.6 million
(12) "The Tigger Movie"/Buena Vista/Disney Theaters: 2,646 (-172) Gross: $3.60 million (-43%) (tie) Average per theater: $1,355 Total: $35.5 million
(12) "3 Strikes"/MGM (see OTHER OPENINGS above)
(14) "What Planet Are You From?"/Columbia (see OTHER OPENINGS above)
(15) "Scream 3"/Dimension Theaters: 1,826 (-1,273) Gross: $2.90 million (-42%) Average per theater: $1,588 Total: $82.2 million
(16) "Boiler Room"/New Line Theaters: 1,004 (-331) Gross: $1.80 million (-42%) Average per theater: $1,793 Total: $13.8 million
(17) "The Beach"/20th Century Fox Theaters: 1,493 (-1,031) Gross: $1.60 million (-51%) Average per theater: $1,072 Total: $37.9 million
(18) "Fantasia 2000"/BV/Disney Theaters: 54 (0) (all IMAX) Gross: $1.50 million (domestic) (-8%) Average per theater: $27,079 Total: $28.9 million (domestic)
(19) "The Sixth Sense"/BV/Touchstone Theaters: 759 (-233) Gross: $1.19 million (-23%) Average per theater: $1,570 Total: $285.5 million
(20) "The Green Mile"/Castle Rock/Warner Bros. Theaters: 1,097 (-649) Gross: $1.09 million (-44%) Average per theater: $989 Total: $133 million
(21) "Next Friday"/New Line Theaters: 547 (-491) Gross: $0.55 million (-54%) Average per theater: $1,005 Total: $55 million
(22) "The Hurricane"/Universal Theaters: 589 (-757) Gross: $0.52 million (-59%) Average per theater: $885 Total: $49 million
(23) "Boys Don't Cry"/Fox Searchlight (see EXPANSIONS above)
(24) "Stuart Little"/Columbia Theaters: 733 (-567) Gross: $0.45 million (-58%) Average per theater: $614 Total: $136.9 million
(25) "Galaxy Quest"/DreamWorks Theaters: 525 (-292) Gross: $0.38 million (-48%) Average per theater: $730 Total: $69.6 million
(26) "Topsy-Turvy"/USA Films Theatres: 137 (-66) Gross: $0.28 million (-27%) Average per theatre: $2,020 Total: $5.0 million
(27) "Ghost Dog: The Way of the Samurai"/Artisan (see OTHER OPENINGS above)
(28) "Rear Window"/USA Films (see EXPANSIONS above)
(29) "Being John Malkovich"/USA Films Theaters: 95 (-40) Gross: $0.12 million (-26%) Average per theater: $1,245 Total: $22.2 million
(30) "Snow Falling on Cedars"/Universal Theaters: 187 (-112) Gross: $0.10 million (-34%) Average per theater: $535 Total: $14.2 million
(31) "End of Days"/Universal Theaters: 137 (-60) Gross: $0.085 million (-25%) Average per theater: $620 Total: $66.9 million
(32) "Agnes Browne"/USA Films (see OTHER OPENINGS above)
(33) "The Closer You Get"/Fox Searchlight (see EXPANSIONS above)