For the second consecutive weekend, there’s no real contest at the U.S. box office as Disney-Marvel’s “Captain America: Civil War” will take at least $70 million in its sophomore session.
The opening of Sony’s George Clooney thriller “Money Monster” is heading for about $10 million at more than 3,000 locations while BH Tilt’s horror-thriller “The Darkness” will gross about $4 million at 1,754 sites.
“Captain America: Civil War”opened with $179.1 million, then added $13.2 million on Monday. Two similar Marvel titles — “Avengers: Age of Ultron” and “Iron Man 3” — both dropped 59% in their second weekends, so a similar decline will leave “Civil War” in the $75 million range.
All indications point to “Captain America: Civil War” joining the roster of ten titles that have exceeded $70 million in their second weekend. That list is headed by “Star Wars: The Force Awakens” at $149 million, “Jurassic World” with $106.6 million, “Marvel’s The Avengers” with $103.1 million and “Avengers: Age of Ultron” with $77.7 million.
Six other titles — “Avatar,” “The Dark Knight,” “The Hunger Games: Catching Fire,” “Iron Man 3,” “Shrek 2” and “Spider-Man” — have topped $70 million in the second weekend in the U.S.
Paul Dergarabedian, senior media analyst with ComScore, said that the strong reviews and A Cinemascore grade portend continued strong performance that could go above $80 million this weekend.
“Even though it doesn’t have ‘Avengers’ in the title, ‘Captain America’ has become a juggernaut simply because it’s so well liked,” he added. “And it puts ‘Money Monster’ and ‘The Darkness’ in the category of counter-programming.”
Sony is releasing “Money Monster” through its TriStar Pictures label on Friday, a day after its world premiere at the Cannes Film Festival. The movie, which carries a $27 million production budget, marks Julia Roberts’ first time with a film at Cannes and Jodie Foster’s second film there as a director.
Clooney stars as a blustery financial TV host while Roberts portrays his producer. Jack O’Connell plays an irate investor who has lost everything and takes over the studio while on live TV.
“The Darkness,” directed by Greg McLean, will be taking advantage of the Friday the 13th release date along with selecting locations that are historically frequented by die-hard genre fans. BH Tilt is aiming at finding an efficient middle ground for select movies aimed squarely at the horror audience.
The marketing campaign has been created and overseen by John Hegeman at BH Tilt with funding from Universal. The spending was designed so that the film will be a financial success if it opens to $4 million to $5 million.
“The Darkness” centers on a young boy who secretly brings home five mysterious stones he finds in a desert cave — unleashing ancient Native American demons that terrorize his family in increasingly malevolent ways. Kevin Bacon, Radha Mitchell, David Mazouz, Lucy Fry and Paul Reiser star.
BH Tilt launched last year with Eli Roth’s “The Green Inferno,” which opened with $3.5 million at 1,543 sites and grossed $7 million domestically.
By contrast,“Captain America: Civil War” topped $700 millionin worldwide grosses on Monday. With no serious competition until May 20 — when “Angry Birds,” “Neighbors 2: Sorority Rising” and “The Nice Guys” open — the tentpole has an excellent chance of topping the $1 billion milestone by the end of its run.
1) Goo Goo Dolls - "Never Take The Place of Your Man"
2) Mariah Carey - "The Beautiful Ones" 3) Leann Rimes - "Purple Rain"
4) M.C. Hammer - "Soft and Wet"
5) D'Angelo - "She's Always In My Hair
6) Tom Jones - "Kiss"
7) TLC - "If I Was Your Girlfriend"
8) Sinead O'Connor - "Nothing Compares To You"
9) Monotalk - "When Doves Cry"
10) Me'lisa Morgan - "Do Me Baby"
Bette Davis worried that the music would outshine her acting in Dark Victory
"The darkness, the strangers, the anticipation, the warm comfortable embrace of the cinema seat. We're ready to experience some big emotions," he says, "and the minute the music booms out, we are on board for the ride.
"Human beings are very good at interpreting sound. Right back to when our prehistoric selves will have heard a twig snap in a forest and thought 'that's it, I'm dead'.
Nino Rota wrote the renowned score, but there is no recognisable music in the famous restaurant scene. When Michael Corleone shoots his father's rival, sound designer Walter Murch heightens panic with the noise of a train screaming to a halt outside.
Psycho - 1960
Alfred Hitchcock initially told composer Bernard Herrmann to leave the iconic shower scene unscored. But Herrmann went ahead and wrote the jarring, jabbing notes, so redolent of screaming animals. Hitchcock, of course, changed his mind.
Bullitt - 1968
Composer Lalo Schifrin refused to write music for Steve McQueen's ten-minute chase through the streets of San Francisco. He felt twisting tyres and roaring engines would do the job for him. Schifrin is frequently complimented on his excellent scoring of this entirely un-soundtracked section of the film.
A Streetcar Named Desire - 1951
Hollywood's first drama with a full jazz soundtrack, but its ripe sensuousness angered self-appointed moralisers The American Legion of Decency. Composer Alex North was forced to tone it down.
Taxi Driver - 1976
Bernard Herrmann initially refused to look at the script, telling director Martin Scorsese: "I don't do films about cabbies". But his attention-grabbing percussive sound overlaid with smooth saxophone became a key part of the film's success.
"We have a very deep understanding of what music is doing, and it's very physical," adds Brand.
"We can feel it going into our ears via sound waves and it can produce all sorts of physical responses, including in the right circumstances an actual thud to the stomach."
Noise of panic
The simplest examples of this are found in thriller and horror films, which employ dissonant, screeching sounds we unconsciously associate with animals in distress.
A 2010 study by the University of California found that human sensitivity to non-linear alarm sounds, such as ones made by groundhogs to warn about predators, is being employed by film composers to unsettle and unnerve.
In films like Hitchcock's 1960 classic Psycho, straining strings and overblowing brass are mimicking the noise of panic in nature.
For audiences who enjoy a lush romantic score, a 2011 experiment at Canada's McGill University studied the neural mechanics of whyhumans get goosebumps from great tunes.
Far from being a purely aural experience, scans suggested that the regions of the brain that light up with music are those linked to euphoric stimuli such as food, sex and drugs.
Blood flow in the brain is responding to areas associated with reward, emotion and arousal.
Science writer Philip Ball, author of The Music Instinct, says soundtracks can produce the same reaction in us whether the music is good or bad.
"Our response to certain kinds of noise is something so profound in us that we can't switch it off," he says.
"Film composers know that and use it to shortcut the logical part of our brain and get straight to the emotional centres."
Some filmmakers are now using infrasound to induce fear in audiences. These extreme bass waves or vibrations have a frequency below the range of the human ear.
Low frequency sounds are thought to have created fear in Paranormal Activity
While we may not be able to hear infrasound, it has been demonstrated to induce anxiety, extreme sorrow, heart palpitations and shivering.
Naturally-occurring infrasound has been associated with areas of 'supernatural activity', as well as being produced prior to natural disasters such as storms and earthquakes.
Producers of the 2002 French psychological thriller Irreversible admitted to using this technique.
Audience members reported feeling disorientated and physically ill after just half an hour of infrasound, leaving before the most shocking visual sequence on screen.
In the 2007 horror Paranormal Activity, audiences also reported toweringly high fear levels despite a lack of action onscreen. It is believed this was caused by the use of low frequency sound waves.
"It doesn't affect everyone equally," adds Ball, "but it does seem likely that in cinemas we will see, or at least feel, more of it in the future."
An equal temperament is a musical temperament, or a system of tuning, in which every pair of adjacent pitches is separated by the same interval. In other words, every equal temperament can be produced by repeating some smallest generating interval. Equal intervals also means equal ratios between the frequenciesof any adjacent pair, and, since pitch is perceived roughly as the logarithm of frequency, equal perceived "distance" from every note to its nearest neighbor.
In equal temperament tunings, the generating interval is often found by dividing some larger desired interval, often the octave (ratio 2/1), into a number of smaller equal steps (equal frequency ratios between successive notes). For classical music and Western music in general, the most common tuning system for the past few hundred years has been and remains twelve-tone equal temperament (also known as 12 equal temperament, 12-TET, or 12-ET), which divides the octave into 12 parts, all of which are equal on alogarithmic scale. That resulting smallest interval, 1/12 the width of an octave, is called a semitone or half step. In modern times, 12TET is usually tuned relative to a standard pitch of 440 Hz, called A440, meaning one pitch is tuned to A440, and all other pitches are some multiple of semitones away from that in either direction, although the standard pitch has not always been 440 and has fluctuated and generally risen over the past few hundred years.
Other equal temperaments exist that divide the octave into other numbers of equal divisions than 12 (some music has been written in 19-TET and 31-TET for example, and 24-TET which is used in Arabic music), but inWestern countries when people use the term equal temperament without qualification, they usually mean 12-TET. To avoid ambiguity between equal temperaments that divide the octave into equal parts and those that divide some other interval (or use any arbitrary generator without first dividing a larger interval), the term equal division of the octave, or EDO is preferred for the former. According to this naming system, 12-TET is called 12-EDO, 31-TET is called31-EDO, and so on.
An example of an equal temperament that finds its smallest interval by dividing an interval other than the octave into equal parts is the equal-tempered version of the Bohlen–Pierce scale, which divides the just interval of an octave and a fifth (ratio 3/1), called a "tritave" or a "pseudo-octave" in that system, into 13 equal parts.
String ensembles and vocal groups, who have no mechanical tuning limitations, often use a tuning much closer to just intonation, as it is naturally more consonant. Other instruments, such as some wind, keyboard, and fretted instruments, often only approximate equal temperament, where technical limitations prevent exact tunings. Some wind instruments that can easily and spontaneously bend their tone, most notably trombones, use tuning similar to string ensembles and vocal groups.
According to Suge Knight’s lawyer, Thomas Mesereau, the former Death Row Records leader would cringe at his portrayal, played by R. Marcos Taylor, on the silver screen. “I’m sure he wouldn’t like it because a lot of it is exaggerated and silly and ridiculous,” Mesereau said in an interview with TheWrap. Knight obviously can’t view the film since he’s currently in jail for attempted murder and murder charges, but his attorney continued to fight for his client’s persona, stating the movie failed to highlight the positive impact Knight has had on people.
“A lot of the media does not realize how many good things he did for people, particularly in his community,” Mesereau said. “He financed athletic facilities in schools, he gave money to the homeless, money to people in need. He tried to arrange truces on the streets so people weren’t killed.” He later continued, “He funded funerals for families who were devastated by violence. He used to give a dinner every year for single moms in Compton to recognize their courage and their achievement.”
Knight is currently in the Twin Towers Correctional Facility in Los Angeles, Calif. being held on a $10 million bond and is awaiting trial.
O'Shea Jackson Jr., 24, is receiving rave reviews for playing Ice Cube in the hit N.W.A. biopic "Straight Outta Compton."
You could say he was born to play the role, as he's the real-life son of N.W.A. member Ice Cube, whose real name is O’Shea Jackson. But the part wasn’t handed to him.
To earn the role, Jackson went through a grueling two-year process that included constant auditions and working with three different acting coaches.
"It's all these things to build confidence within me," Jackson told Entertainment Weekly about the process.
And though Cube was supportive of this son's growth, as a producer on the film he had to find the best actor to play himself.
"If we found a better Cube, then we had to go with the best man for the job," Cube told People. "That's how acting and movie shoots work. So I couldn't give it to him — and I wouldn't if I could because that's easy."
Actors and rappers also auditioned for the role, with a short list coming down to Jackson and two others gunning for the Cube role, Jackson told People.
But the final decision didn’t come down to who had the look or tone of Cube, but to who had the best rapping skills.
The actors chosen to play the members of N.W.A. had to also be able to convincingly perform the classic songs from the group's debut album, "Straight Outta Compton." There would be no dubbing of voices for the songs featured in the movie — they would have to rap just like the legends they were portraying.
It was Jackson's prowess on the mic that inevitably landed him the role.
Ultimately, Jackson perfectly portrayed his dad in the movie. Many who have seen the film have been blown away by Jackson's performance. Cinema Blend writes that it's Jackson's "uncanny ability to embody his father, from his presence to his quirks, that gives the film its oomph."
Much like the 2Pac biopic that has been in the pipeline since before some readers were born, a movie chronicling N.W.A.’s rise and fall seemed like a pipe dream. But despite the Hollywood machine’s reluctance–and despite nakedly racist law enforcement efforts to keep fans at home–Straight Outta Compton was a runaway success, to the tune of more than $60 million at the box office in its opening week. And when one rap narrative is the biggest movie in the country, it only makes sense that producers start looking for another. According to TMZ, reports that a sequel “of sorts” is in the works, and will trace the respective rises of Snoop Dogg, Warren G, Tha Dogg Pound, Nate Dogg and others. Can you imagine taking the whole family to see Daz and Kurupt on the big screen?
Though Straight Outta Compton covered the entire time period that Death Row ruled rap, Snoop was in the movie only sparingly. In reality, his 1993 debut, Doggystyle, was one of the most anticipated rap albums of all time, to the point that it was instrumental in making fans care about release dates. No script has been released, nor have producers announced any details, but one would assume that the movie also shed light on Warren G’s role picking samples for Dr. Dre’s The Chronic. TMZ says that Dr. Dre’s son, Curtis Young, will play his father; the outlet is also reporting that Daz says the film will not whitewash the gang violence that surrounded the rappers in the early- and mid-1990s. No release date has been set, nor have directors or other actors been attached.
50 Cent’s Starz drama Power finished its second season last Saturday (Aug. 15) and broke the all-time ratings records for the premium cable network’s most popular original series on record. Variety reports the finale “got 2.39 million viewers in Nielsen’s “live plus-3” estimates, which includes both same-night viewership (1.54 million) and time-shifted playback done over the next three days (850,000). This was up 51% vs. the show’s first-season finale last year (1.59 million) and broke the network’s “live plus-3” record set the previous week when “Power” averaged 2.29 million.” Over the weekend Power drew 4.42 million gross viewers over the weekend, which is also a network record. That is 42% higher from last year’s finale of the show (3.10 million). Read more about the statistics here.
The television drama has already been renewed for a third season. Creator, executive producer and showrunner Courtney Kemp Agboh alongside executive producers 50 Cent, Mark Canton, Randall Emmett and newly elevated Gary Lennon will all be back next season. Power stars Omari Hardwick as a New York City nightclub owner/drug kingpin. If you were watch the finale, Fif premiered his the mini-film for his song “9 Shots” after the show ended. If you haven’t seen it yet, watch it here.
50 Cent and show creator, Courtney Kemp Agboh, sat down exclusively with XXL before the season to discuss Power. Check out the video below.