The Walking Dead Episode 706 Recap: Swear

The Walking Dead Episode 706 Recap: Swear

The Walking Dead Episode 706 Recap

Remember Tara and Heath? We haven’t seen them all season. They headed out on a scavenging trip shortly after Alexandria took out the Saviors’ satellite location. They have been gone for two weeks with virtually nothing to show for it. Heath is frustrated and having a hard time dealing with the attack. He thinks that no one is in this together anymore.

The pair go out for one last scavenge and find a camp set up on a bridge, walled off at either side. The place seems empty, and it looks like the people here had plans for something they didn’t get to finish. They find a couple of enormous trucks loaded with sand that had been dumped over. Tara pulls out a bag peeking out from under the sand, and it causes an avalanche that reveals dozens of dusty zombies. Free from their sandy tomb, they are ready to chomp and set off after Tara and Heath. They fight them off as best they can, but get separated. Heath is cornered on top of a car, out of bullets, while Tara fought off two zombies by hand. She promises Heath she is coming for him, that they are in this together… then the two zombies push her over the bridge, into the water.

Some time later, Cindy and Rachel, a child, are walking on the beach and they see Tara, alive but unconscious. Rachel wants to kill her, as is their way, but Cindy stops her, promising they don’t have to. Rachel isn’t going to snitch, but she also isn’t going to help Cindy, and runs home. Cindy drags Tara out of the water, and leaves her behind some driftwood on the beach. She leaves her two bottles of water, a dried fish, and a spear. Tara has been faking her unconsciousness and when Cindy leaves, Tara grabs a bottle of water and chugs it while pressed up against the driftwood. She sees Cindy in the distance, seemingly crying, then she leaves. Tara follows from a safe distance.

Tara follows Cindy to a hidden community in the woods. There are children playing, chores being done, handicrafts being made. One thing that sticks out immediately is that the community is all women. Tara watches and is excited when she sees one of the women open up doors leading to an impressive armory. There are some clicks, and the women rush to the armory, arm up, and fan out. They start shooting at Tara and she runs. One of the women, Beatrice, surprises Tara, and she knocks her down with her spear. She gets Beatrice’s gun and is dared to shoot. Instead, Tara pistol whips her. It doesn’t matter. She spins around and finds herself face to face with Rachel, who is aiming a gun at her. Cindy steps between them and tells her community to lower their guns. The matriarch of the clan steps in, and Tara offers to just go. No one backs down.

The Walking Dead Episode 706 Recap: Swear

Tara is taken into a house and chained to a radiator. Beatrice is there, as is another woman, Kathy. The matriarch introduces herself as Natania. Tara says that she is from Atlanta, and her and her friend worked on a fishing boat. They stayed on the move to survive. She needs to go back to get her friend. Natania doesn’t know what to do with her; normally they shoot strangers on sight. She tells Tara to rest up.

It is night when Kathy moves Tara to a different house, where a table is set for dinner. Natania serves fish stew, and seems much nicer over the dinner table. Tara scarfs her stew, and the other women are amused. Natania is hoping to convince Tara to stay. It would be the perfect solution. They wouldn’t have to kill her, and Tara seems pretty handy. She didn’t kill anyone, though she could have. They even offer to help her find her friend, and he can stay, too. Tara asks what happened to the men, and the women look at one another. Natania finally answers diplomatically: they got into a skirmish with another group and none of the men made it out. After that, they decided to protect themselves no matter what. They found this place and thought if they could stay hidden, they could stay alive. Natania still wants Tara to stay, even though she knows she is lying about where she is from. She finally admits she came from a community, that she has a girlfriend, and that her community has “done things” like they have. “There were these people threatening us, using an old satellite station.” She explains they took them out, every one of them, and they got what they deserved. The ladies look a little startled when they hear this, and Tara suggests the two groups could start working together. Natania comes up with a solution: Tara will go out with a guide and they will find Heath. Then they will go with Tara to her community and check things out. Cindy wants to go, but Natania, her grandmother, won’t let her out. Instead, Beatrice and Kathy will go. Tara promises Cindy there will be other chances.

The trio head out in the morning. About halfway to the bridge, the ladies hear a zombie. Tara offers to take care of it, and heads out. Seeing the zombie is hopelessly tangled in tree branches, Tara instead runs. The girls fire at her, then give chase. Beatrice finally gets the drop on Tara, and holds her at gunpoint. “Your people are dead,” she insists, telling Tara she has “no idea” what they started with the Saviors. That was just an outpost and there are more. Beatrice explains that it was the Saviors who killed their men. Every man, every boy over ten years old were lined up and shot in the head. They tried to fight; the Saviors won. They were supposed to keep working for the Saviors, but they ran away in the middle of the night and found the community they now live in. Beatrice is worried that Tara will lead them back to the women, but before she can shoot, she is tackled by Cindy, who suggests Tara runs.

The Walking Dead Episode 706 Recap: Swear

The two meet up a short distance later, and Cindy makes Tara swear to never come back, and never tell anyone about them. Cindy doesn’t believe that people are evil, but Tara has seen it. Tara swears she won’t tell, and Cindy gives her a pack of food and water and takes her to the bridge. At the bridge, Cindy decides she has come this far and isn’t going back until Tara is safely on the other side. They roll out, killing zombies. Cindy gives Tara cover as she runs through the gauntlet of zombies. She runs out of bullets just as Tara reaches the end. Perfect timing. Tara is on the other side of the trucks and sees Kathy and Beatrice collect Cindy. Tara freezes when she thinks she sees Heath, stumbling about zombie-like, but it turns out it is just a woman with similar dreadlocks. She finds his glasses on the ground, and car tracks leading away. She pockets a keycard on the ground, with PPP written on it, and follows the tracks.

Tara has an otherwise easy, lighthearted trek back to Alexandria. She finds a curio shop to stay in overnight, and finds a doctor bobblehead and sunglasses to take back with her. In her supply pack from Cindy, she also finds a seashell bracelet. It is the sunshine happiness before she returns to Alexandria and discovers all the losses. Tara strides up to Alexandria like she owns the place – until Eugene meets her at the gate, crying. Her smile of triumph is shattered.

Tara sits sadly in the doctor’s office, staring at the bobblehead that was meant as a gift for her deceased girlfriend. Rosita is with her and begs her if there was a place she saw that has guns, ammo, anything. Rosita is desperate to make this right. But Tara lies. She didn’t see anything like that, anywhere.

You can watch previews for the next episode, titled “Sing Me a Song,” by clicking here.

First Look at The Walking Dead Episode 707

First Look at The Walking Dead Episode 707

First look at The Walking Dead Episode 707

AMC has released a first look at The Walking Dead Episode 707 in the form of two promos that you can watch in the players below. Underneath, you’ll also find a most talked about scene from “Swear,” which aired on Sunday.

Titled “Sing Me a Song,” Episode 707 is described as follows:

“A much more detailed look into the world of the Saviors and their home, the Sanctuary, is shown. Meanwhile, members of Alexandria look for supplies.”

As in previous seasons, the show’s seventh season of 16 episodes will air in two parts, with the first eight episodes now airing and the final eight returning February 2017.

The Walking Dead stars Andrew Lincoln (Rick Grimes), Steven Yeun (Glenn), Christian Serratos (Rosita), Norman Reedus (Daryl Dixon), Danai Gurira (Michonne), Michael Cudlitz (Abraham), Lauren Cohan (Maggie), Sonequa Martin-Green (Sasha), Ross Marquand (Aaron), Chandler Riggs (Carl), Josh McDermitt (Eugene), Tom Payne (Jesus) and Khary Payton (Ezekiel). Scott M. Gimple serves as showrunner and executive producer of The Walking Dead along with series creator Robert Kirkman, Gale Anne Hurd, Dave Alpert, and Greg Nicotero.

If you missed the most recent season of The Walking Dead (or if you just need a refresher), be sure to check out our season seven recaps.

New TV Spot Hits as Rogue One Movie Tickets Go on Sale

New TV Spot Hits as Rogue One Movie Tickets Go on Sale

New TV spot hits as Rogue One movie tickets go on sale

The Walt Disney Studios and Lucasfilm have announced that Rogue One movie tickets are on sale now! To celebrate Rogue One: A Star Wars Story, several theater chains and ticket sellers are offering special promotions. You can find details on these promotions at StarWars.com.

Additionally, to kick off ticket sales, a new TV spot is now available, featuring the chilling sounds of an iconic villain. You can watch the Rogue One movie spot below!

From Lucasfilm comes the first of the Star Wars standalone films, Rogue One: A Star Wars Story, an all-new epic adventure. In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves.

Rogue One: A Star Wars Story is directed by Gareth Edwards and stars Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Riz Ahmed, with Jiang Wen and Forest Whitaker. Kathleen Kennedy, Allison Shearmur and Simon Emanuel are producing, with John Knoll and Jason McGatlin serving as executive producers. The story is by John Knoll and Gary Whitta, and the screenplay is by Chris Weitz and Tony Gilroy.

Rogue One: A Star Wars Story opens in U.S. theaters on December 16, 2016.

From Comics to Screen: Visual References in The Walking Dead Season One

From Comics to Screen: Visual References in The Walking Dead Season One

From Comics to Screen: Visual References in The Walking Dead Season One

Earlier this year, we debuted the latest entry in our ongoing series From Comics to Movies with a guide focused on the first season of Marvel’s Daredevil on Netflix, which followed our previous two guides on Christopher Nolan’s The Dark Knight Trilogy as well as the X-Men __film franchise. With these articles, we want to return to the source material that inspired the films and shows and examine the visual language of the comic book basis and how it has been translated onto the screen. Now comes our latest in the series, and potentially the first of a sub-category in our visual reference guides, AMC‘s The Walking Dead Season One!

Ever since The Walking Dead made its debut on AMC, the series has found unfathomable commercial success, which has translated not only to countless viewers but a comic series that consistently lands on the New York Times bestseller list. What separates The Walking Dead from other comic book adaptations? For one, creator Robert Kirkman. Kirkman has been heavily involved in the TV series, meaning that it seldom diverges too far from the source material, which you’ll come to find in the gallery below.

As with the previous articles in this series, most of the slides below show the near direct translation of a comic panel come to life on screen; however, some show where the series took its inspiration in the form of a line of dialogue, a setting, or a certain even that takes place at a different order in the TV series than in the comic book.

Check out the slideshow and compare the comic book panels with shots from the series below, and let us know your thoughts (and what __film or series we should do next) in the comments!

Jennifer Lawrence and Chris Pratt on a Space Date in Passengers Clip

Jennifer Lawrence and Chris Pratt on a Space Date in Passengers Clip

Jennifer Lawrence and Chris Pratt on a space date in Passengers clip

Sony Pictures has debuted a new Passengers clip featuring stars Jennifer Lawrence and Chris Pratt on a space date. You can watch the new clip using the player below. The film, also starring Michael Sheen and Laurence Fishburne, opens in theaters on December 21, 2016.

RELATED: The 2016 Holiday Movies Preview

On a routine journey through space to a new home, two passengers, sleeping in suspended animation, are awakened 90 years too early when their ship malfunctions. As Jim (Chris Pratt) and Aurora (Jennifer Lawrence) face living the rest of their lives on board, with every luxury they could ever ask for, they begin to fall for each other, unable to deny their intense attraction… until they discover the ship is in grave danger. With the lives of 5000 sleeping passengers at stake, only Jim and Aurora can save them all.

Passengers was directed by Morten Tyldum (The Imitation Game) from a screenplay by Jon Spaihts (Prometheus).

Are you looking forward to seeing Passengers in the theater? Let us know in the comments below!

Santa Clarita Diet Premiere Date & First Photos

Santa Clarita Diet Premiere Date & First Photos

Santa Clarita Diet premiere date and first photos

Netflix has revealed the Santa Clarita Diet premiere date and first photos from the original dark comedy series, starring Drew Barrymore and Timothy Olyphant. Santa Clarita Diet premieres worldwide on Friday, February 3, 2017 on the streaming service. Check out the photos in the gallery below!

In Santa Clarita Diet, Joel (Timothy Olyphant, Justified) and Sheila (Drew Barrymore, Blended) are husband and wife realtors leading vaguely discontented lives in the L.A. suburb of Santa Clarita with their teenaged daughter Abby (Liv Hewson), until Sheila goes through a dramatic change sending their lives down a road of death and destruction…but in a good way.

Santa Clarita Diet stars Drew Barrymore as Sheila Hammond, Timothy Olyphant as Joel Hammond, Liv Hewson as Abby Hammond and Skylar Gisondo as Eric Bemis.

Showrunner Victor Fresco, Drew Barrymore, Timothy Olyphant, Aaron Kaplan, Tracy Katsky, Chris Miller and Ember Truesdell are executive producers on the series. Nancy Juvonen is a producer. Santa Clarita Diet is a Netflix production and is available globally only on Netflix on February 3, 2017.

Moana Sails to $81.1 Million Over the Thanksgiving Holiday

Moana Sails to $81.1 Million Over the Thanksgiving Holiday

Moana sails to $81.1 million over the Thanksgiving holiday

Walt Disney Animation Studios‘ Moana made a splash at the domestic box office over Thanksgiving, earning an estimated $81.1 million over the five-day holiday, including a $55.5 million first weekend. The five-day gross ranks as the second-biggest Thanksgiving debut ever behind only Frozen ($93.6 million five-day opening and $67.4 million first weekend). Disney now holds the top six five-day Thanksgiving debuts and the top eight three-day Thanksgiving debuts of all time.

In its international debut, Moana opened in a handful of territories earning an estimated $16.3 million, including one major market, China, where it opened Nov. 25 with $12.3 million for the weekend. The film’s global total so far is is $97.4 million. Next weekend sees openings in France, Spain, UK, Russia and Mexico, along with Belgium, Netherlands, Switzerland, Hungary, Slovakia, Iceland, South Africa, Philippines, Malaysia, Thailand, India, Paraguay and Peru.

Receiving an A CinemaScore from audiences, Moana was directed by John Musker and Ron Clements. The __film features the voices of Dwayne Johnson, Auli’i Cravalho, Jemaine Clement, Rachel House, Temuera Morrison, Nicole Scherzinger, and Alan Tudyk.

Warner Bros. Pictures‘ Fantastic Beast and Where To Find Them continued to perform strong its second weekend, adding $65.8 million over the five days domestically in second place ($45.1 million for the weekend). The North American total now stands at $156.2 million. Fueled by outstanding openings in China ($41.1 million) and Japan ($15.5 million), Fantastic Beasts took in $132 million internationally this weekend on 33,700 screens in 67 markets. The overseas total has already reached $317.5 million and the film’s worldwide gross is at $473.7 million. Directed by David Yates from a script by J.K. Rowling, Fantastic Beasts cost $180 million to make and stars Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Samantha Morton, Jon Voight, Ron Perlman, Carmen Ejogo, Jenn Murray, Faith Wood-Blagrove, Colin Farrell, and Zoe Kravitz.

Marvel Studios‘ Doctor Strange crossed the $600 million mark in global box office this weekend with an estimated $616 million through Sunday, including $205.1 million domestic and $410.9 million international. The __film earned $18.9 million over the five-day holiday domestically ($13.4 million for the weekend) and added $9.8 million overseas. Doctor Strange is the ninth Marvel Cinematic Universe film to cross the $600 million mark and Disney’s fifth release of 2016 to do so. It has surpassed the lifetime totals of The Incredible Hulk ($263M), Captain America: The First Avenger ($371M), Thor ($449M), Ant-Man ($520M), and now Iron Man ($585M), making it the biggest single-character introduction in the MCU. The film still is yet to open in Japan (Jan. 27). Made for $165 million and directed by Scott Derrickson, Doctor Strange stars Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Michael Stuhlbarg, Mads Mikkelsen, Tilda Swinton, Scott Adkins, Amy Landecker and Benedict Wong.

At the domestic box office, Paramount Pictures held the next two spots, with director Robert Zemeckis’ Allied, starring Brad Pitt and Marion Cotillard, earning $18 million over the five days in fourth place ($13 million for the weekend). The $85 million-budgeted film received a B CinemaScore. In fifth, sci-fi drama Arrival, starring Amy Adams and Jeremy Renner, grossed $15.6 million over the holiday ($11.3 million for the three-day weekend). The Denis Villeneuve-directed film has earned $62.4 million in three weeks.

DreamWorks Animation and 20th Century Fox’s Trolls dropped down to sixth place in North America with $14.3 million for five days and $10.3 million over the weekend. The animated movie has earned a total of $135.1 million domestically after four weeks. Internationally, Trolls earned $7.2 million from 59 markets, boosting its overseas total to $155.9 million and worldwide sum to $291 million.

The other two wide releases didn’t fare so well. Broad Green Pictures and Miramax debuted Bad Santa 2 in 2,920 theaters, but the sequel managed to bring in just $9 million over the five days, with $6.1 million coming from the weekend. Receiving a C+ CinemaScore, Bad Santa 2 was made for $26 million. The first film opened to $16 million in 2003 and went on to earn $60 million domestically. The Mark Waters-directed comedy stars Billy Bob Thornton, Kathy Bates, Tony Cox, Brett Kelly, Christina Hendricks, Jenny Zigrino, Ryan Hansen, and Jeff Skowron.

Warren Beatty’s Rules Don’t Apply (20th Century Fox, New Regency), meanwhile, bombed with just $2.2 million from 2,382 theaters over the five days ($1.6 million for the weekend). Starring Beatty, Lily Collins and future Han Solo Alden Ehrenreich, the film received a B- CinemaScore and cost $25 million to make.

Production Begins on Canadian Horror Trench 11

Production Begins on Canadian Horror Trench 11

Production has started in Winnipeg on genre bending horror flick Trench 11

Set in 1918 France, director Leo Scherman’s new Canadian wartime horror movie Trench 11 stars Rossif Sutherland (Hellions, Knock Knock brother to Kiefer Sutherland) as Berton, a surly Allied tunneller. Sutherland was nominated for best leading actor in Canada at the CSA’s last year for his captivating performance in River, one of the buzz titles at TIFF 2015.

The First World War will be remembered as one of the worst times in history, but it was also a renaissance for technological development of lethal force weaponry. The machine gun and mustard gas were first introduced into warfare. Trench 11, presupposes that in the final days of WW1, the Germans were developing a biological weapon far more profane and deadly than any other. The Allies send Canadian tunneller (Sutherland) behind enemy lines, into a German underground bunker to find and destroy the weapon.

Cast also includes multi award-winning French Canadian actress Karine Vanasse (The Forbidden Room, Polytechnique), Charlie Carrick (Reign), Shaun Benson (ARQ, Channel Zero), and Ted Atherton (River). Rounding out the cast is award-winning German actor Robert Stadlober (Summer Storm).

Toronto-based producer Tyler Levine and his production company Carousel Pictures have been developing the project since 2011. Levine has partnered with Buffalo Gal Pictures through their genre Insidious Pictures label. Together they’ve assembled some of Canada’s best to recreate the front lines of war torn 1918 France, in Winnipeg.

Production designer Chad Giesbrecht (Goon) is in charge of cities transformation. Director of photography Dylan Macleod (He Hated Pigeons) controls the look, while make-up SFX designer Francois Dagenais (The Witch, Dawn of the Dead) brings his world-renowned artistry to this unique project. Michael Munn (Stories We Tell, Owning Mahowney) is editing.

A number of celebrated producers are involved including executive producers Martin Katz (Hotel Rwanda, Maps to the Stars), Walter Gasparovic (Spotlight, Eastern Promises) and Phyllis Laing (The Forbidden Room). Isaac Clements is co-producing.

Trench 11 is made possible with the financial participation of Telefilm Canada, Bell Media’s The Harold Greenburg Fund, Manitoba __film and Music and the Cogeco Fund.

Raven Banner Entertainment also serves as executive producer and holds Canadian distribution and worldwide rights.

Remembering 2002’s Queen of the Damned

Remembering 2002

A look back at the ill-conceived 2002 adaptation of Anne Rice’s Queen of the Damned

Visionary Irish director Neil Jordan’s mesmerizing 1994 adaptation of Anne Rice’s breakthrough 1976 bestseller Interview with the Vampire is rightly regarded as a Gothic horror classic and fine realization of the hyper-sensual world Rice birthed. It was an ideal marriage of sensibilities, as Jordan had already proved his abilities at creating lush, erotic dark fantasy with 1984’s The Company of Wolves, as well as gritty character drama with films like 1986’s Mona Lisa and 1992’s The Crying Game. And Rice had been a fan of all of these films and greatly approved of Warner Bros.’ decision to have Jordan on board, a decision made at her suggestion. She was less enthused by the casting of hot shot Hollywood actor Tom Cruise as her beloved “Brat Prince” Lestat, the rebellious, narcissistic blonde vampire who complexities propel the narrative of the story (though that first book is most assuredly Louis’ tale, the mopey vamp played in the __film by Brad Pitt). She changed her tune when she saw just how good Cruise was in the role and how rich and evocative and full blooded the picture turned out to be.

But what about the sort of sequel? The misguided and comparatively impoverished Queen of the Damned?

With news breaking that rights to Rice’s extensive “Vampire Chronicles” series of books have reverted back to the author, we’re taking another look at that universally-reviled picture, a movie that actually has some value, making its glaring flaws and woeful missteps all the more unfortunate.

But first, some history, subjective and otherwise.

Rice followed Interview with the Vampire with 1985’s The Vampire Lestat, an epic novel that flipped the format of the first novel, which saw Louis telling the tale of the malevolent Lestat and the lethal antics he got up to. Here, Rice would give Lestat the chance to tell his tale. And what a tale. When this writer first read The Vampire Lestat, it was instant love. Told from the first person, the novel sees Lestat waking up from his self-imposed near-century sleep when he hears the blaring sound of ’80s hard rock and recognizes the music as vampiric in and of itself. He rises, drinks the blood of a victim or three and joins a local Louisiana band, taking over the group, becoming their front man, using his undead charisma and preternatural powers to propel them to super-stardom. And while his flashy, shameless antics anger the secret society of international vampires who see Lestat as a major threat to their existence, we are treated to the tragic, fascinating and wildly sexual story of Lestat’s youth as a wealthy French nobleman whose freewheeling charms attract an ancient vampire that turns him into what he would become.

When I read this book as a kid, a lover of horror and the idea of the vampire, I imagined I was Lestat; a bold, brave eternal youth whose hunger for blood was nowhere near his hunger for beauty and meaning in his long, long life. It was a breathless, addictive, fascinating read and I became a Goth because of its neo-romanticism. And I was not alone. The book was a bible to so many others I would meet on my own travels, not just a horror book but a work of philosophy and history laced with contemporary kink.

And the immediate sequel, Queen of the Damned, was almost as good, with Lestat’s rock music waking the dreaded Egyptian Queen Akasha, the first vampire who had been sitting in a state of marble until she was stirred by the sound and mind of this magnetic young ghoul. Akasha believes all men to be the root of evil and the cause of war and pain and aims to make Lestat her lover and her soldier, helping her to exterminate most of the planet’s living male mortals and allowing women to take control.

QueenDamned2

These two books read together are unlike anything else. Though they have been copied to death. And Rice of course would push Lestat into many other adventures (her latest Lestat book releases this week in fact!) as well as give many of the peripheral vampire characters their own books too. But man, The Vampire Lestat and Queen of the Damned… poetry.

Okay, so Neil Jordan’s Interview with the Vampire was a huge critical and commercial hit and Jordan was tapped to adapt The Vampire Lestat with Rice next, a project that died on the vine. Warner had a small window to prep their sequel before the rights lapsed back to Rice and so they began scrambling to make a sequel. Rice said she’d write it for free, taking a deferred payment. They weren’t interested. Neither were they interested in adapting the novel at all, deeming it too expensive and expansive to crush into a feature-length format. So instead, they opted to steal parts of the novel – chiefly the rock star angle and the meeting of Marius the vampire and skip right instead to adapt Queen of the Damned, while dropping that novel’s most fascinating element, that of the mass male genocide.

Producer Jorge Saralegui tapped Australian director Michael Rymer to direct, the budget was cut and the production was cheaply put together in Australia, with actor Stuart Townsend replacing Cruise as Lestat and rising pop star Aaliyah as Akasha, not to mention French actor Vincent Perez as Marius (and he’s awful, by the way). In the book, Lestat’s brand of rock and roll is a kind of blend of Bruce Springsteen and The Sisters of Mercy, but for the film, Nu Metal star Jonathan Davis of the whiny band Korn and composer Richard Gibbs (who had just come off of Big Momma’s House!) were stuck together to do the music and Davis was charged to write some songs for Lestat to sing. Instead of the majestic, operatic rock of the novel, we get… Korn.

And instead of a richly detailed, grandiose work of irreverent, imaginative Gothic melodrama we got a mostly static, flash-cut soaked cornball vampire movie that, despite its trimmings of the source material, still retained enough of a glut of underdeveloped plot threads and characters to turn the brief narrative into a jumbled mess.

And then, while in post, Aaliyah was tragically killed in a plane crash.

None of it felt right. It was, as Rice would say, an ill-conceived project from the get-go. A cash grab put together by tone-deaf producers and a greedy studio.

At this time, I was a junior publicist at Warner Bros. Canada and my job was to sell the movie. I, being a fan, took great interest in the __film and, due to the Rice-led fan backlash, Saralegui started an online message board for the film wherein he would personally communicate with the fans to assure them how amazing the movie would be. I was on that site daily, for business and pleasure and it seemed the producer was genuinely excited about the picture. And he was swaying the fans. Many were hoping that maybe, just maybe, this thing might just work. Rice then met with Townsend and Rymer and she liked them both, found them sweet and sincere. And then she saw the movie and admitted there was enough of her story in there to warrant her keeping her name on the film.

QueenDamned3

And there is admittedly plenty of Rice in the film and Queen of the Damned does indeed have some things that work. Townsend is actually a great Lestat, with his weird accent and leering yet sweet, curious face lending humanity to the character in both immortal and mortal states of being. He’s lithe and looks great shirtless. The opening scenes showing his rise and attraction to the local goth rock band he eventually absorbs are terrifically weird and Gothic as is the scene where he goes bananas on the gypsy violin. And Rymer was most assuredly a fan. He just was not the right director for this film. Whereas Jordan brought a brooding, fluid sense of dread and pervasive gloomy sexuality to his first film. Rymer stages every scene with vampirie-centric seductions and attacks as cheap, dated rock video wanks, with skip-frames and time-lapses and hammy fang-flashes. The scope the story needs is never there either. When Lestat stages his big rock concert, the cheaply digitized crowd is laughably thin. And when Akasha rises, she doesn’t really do anything, save for wasting a lame vampire bar and zipping around the globe, mooning over Townsend. Aaliyah is good as Akasha, though. She’s beautiful and cat-like in her movements. How sad that we lost this bright talent so young and so senselessly.

When Queen of the Damned was finally released in early 2002, critics killed it, though it did fairly well at the box office. I saw it at the WB screening room a month prior to that release and I felt frustrated by the thought of what it could have been with more talented people behind the scenes. Instead of an epic tale of sex and death, what we got was a shoddy, silly and senseless cable movie. With Korn music. Ugh. I remember inviting a slew of my friends to the press screening, people who knew and loved the novels and I recall their faces upon exiting, ashen and angry. As they rightly should have been.

After a while, even Rice relented, admitting the movie was a failure and rejecting it, citing contempt for the fans, contempt for her words and general studio f**kery for bungling the job. And I’ve tried to revisit it myself. Countless times. I’ve tried to like it.

But then I read the books again and any goodwill that threatens to come a creepin’ quickly goes out for a smoke.

Truly, the only way to tell the story of The Vampire Lestat in a cinematic sense is to let it play long as a series, which is exactly what Rice is currently working on. Here’s hoping this happens.

See you in the Savage Garden…

Westworld: The Truth About Bernard Revealed

Westworld: The Truth About Bernard Revealed

Westworld: The Truth About Bernard Revealed

Warning: Spoilers for last night’s Westworld ahead!

HBO has released a special behind-the-scenes video for last night’s big reveal on Westworld where we learned that Jeffrey Wright’s Bernard is actually based on none other than Dr. Ford’s original partner, Arnold! Check out the video featuring Wright as well as executive producers Lisa Joy and Jonathan Nolan in the player below and read a full recap of the episode by clicking here.

RELATED: The Trailer for the Westworld Season Finale!

Westworld also stars Anthony Hopkins, Ed Harris, James Marsden, Thandie Newton, Evan Rachel Wood, Tessa Thompson, Sidse Babett Knudsen, Jimmi Simpson, Rodrigo Santoro, Shannon Woodward, Ingrid Bolsø Berdal, Ben Barnes, Simon Quarterman, Angela Sarafyan, Luke Hemsworth and Clifton Collins, Jr.

The series is inspired by the motion picture Westworld, written and directed by Michael Crichton. Westworld is produced by Bad Robot Productions, Jerry Weintraub Productions and Kilter Films in association with Warner Bros. Television. The series is executive produced, written and directed by Jonathan Nolan, executive produced and written by Lisa Joy, and executive produced by J.J. Abrams, Jerry Weintraub, Bryan Burk.

The Westworld season finale, titled “The Bicameral Mind,” is directed Jonathan Nolan and will air on Sunday, December 4. Westworld airs Sundays at 9 PM ET on HBO.

Logan: New Photos from Final Wolverine Movie

Logan: New Photos from Final Wolverine Movie

Logan: New photos from final Wolverine movie

20th Century Fox has released a two new photos from the upcoming final Wolverine movie, Logan, featuring star Hugh Jackman as the title hero, who has seen some better days. Check them out in the gallery below.

Sir Patrick Stewart also stars in the film, which marks the ninth time that Hugh Jackman has played the character on the big screen. James Mangold is directing from a script by David James Kelly.

Little is still known about the __film despite its trailer, though we know that the primary villains for the __film will include The Reavers as well as Wolverine’s favorite group, Weapon X. It stands to reason that Sinister’s role in the film will be tied to the creation of X-23, played by Dafne Keen in the film, the young female clone of Wolverine also along for the film’s road trip.

The cast for Logan also includes Stephen Merchant, Eriq La Salle, Elise Neal and Elizabeth Rodriguez. Logan is coming to theaters on March 3, 2017.

Fear The Walking Dead Season 2 Exclusive Commentary Clip

Fear The Walking Dead Season 2 Exclusive Commentary Clip

Fear the Walking Dead Season 2 hits Blu-ray and DVD on December 13

AMC’s  Fear the Walking Dead is really coming into its own. What started as a curiosity, a parallel timeline reboot of its sister series The Walking Dead, has — with its second season — started to develop a rhythm and flavor all its own with a diverse set of complex characters and sunnier, more oppressive locations. Fear the Walking Dead Season 2 arrives on Blu-ray and Digital HD and DVD on December 13 from Anchor Bay Entertainment and the studio has given us an interesting and exclusive clip from the commentary track, featuring the awesome Kim Dickens and Dave Erickson.

Fear the Walking Dead Season 2 was executive produced by showrunner Erickson, Robert Kirkman, Gale Anne Hurd, Greg Nicotero and David Alpert and stars Dickens as Madison, Cliff Curtis as Travis, Frank Dillane as Nick, Alycia Debnam-Carey as Alicia, Rubén Blades as Daniel, Mercedes Mason as Ofelia, Lorenzo James Henrie as Chris and Colman Domingo as Strand. The second round premiered on Sunday, April 10th 2016, with the second half of the season debuting on Sunday, August 21st.

FearDeadS2

Living in the same universe as TWD, Fear Season 1 explored a blended family who watched a burning, dead city as they traversed a devastated Los Angeles. In Season 2, the group aboard the Abigail is unaware of the true breadth and depth of the apocalypse that surrounds them; they assume there is still a chance that some city, state, or nation might be unaffected — some place that the Infection has not reached. But as Operation Cobalt goes into full effect, the military bombs the Southland to cleanse it of the Infected, driving the Dead toward the sea. As Madison, Travis, Daniel, and their grieving families head for ports unknown, they will discover that the water may be no safer than land.

Fear the Walking Dead Season 2 introduced new cast members, including Dougray Scott (Mission Impossible II), Arturo Del Puerto (Ride Along), Daniel Zovatto (It Follows), Veronica Diaz (Blaze You Out), Danay Garcia (Supernatural), Carlos Segura (The Sale of Paradise) and Alfredo Herrera (Dios, Inc.).

Featuring 15 episodes from the epic second season, as well as bonus features including audio commentaries, deleted scenes, Inside and Making of Pieces and so much more, the Blu-ray and DVD will be available for the suggested retail price of $79.99 and $69.98, respectively.

Now dig in to this fun clip and watch out for FTWD Season 3 on AMC in 2017.

Enter the Animus in the First Assassin’s Creed Clip

Enter the Animus in the First Assassin

Enter the Animus in the first Assassin’s Creed clip

20th Century Fox has released the first Assassin’s Creed clip from the upcoming video game adaptation featuring Michael Fassbender’s Callum getting into the Animus for the first time. Check it out in the player below!

Through a revolutionary technology that unlocks his genetic memories, Callum Lynch (Michael Fassbender) experiences the adventures of his ancestor, Aguilar, in 15th Century Spain. Callum discovers he is descended from a mysterious secret society, the Assassins, and amasses incredible knowledge and skills to take on the oppressive and powerful Templar organization in the present day.

Assassin’s Creed stars Academy Award nominee Michael Fassbender (X-Men: Days of Future Past, 12 Years a Slave) and Academy Award winner Marion Cotillard (The Dark Knight Rises, La Vie en Rose). The __film is directed by Justin Kurzel (Snowtown, Macbeth); produced by New Regency, Ubisoft Motion Pictures, DMC Films and Kennedy/Marshall; co-financed by RatPac Entertainment and Alpha Pictures; and distributed by 20th Century Fox.

Assassin’s Creed co-stars Jeremy Irons, Brendan Gleeson and Michael K. Williams. The __film opens in theaters worldwide on December 21, 2016.

‘Rogue One’ Extended Trailer: Introducing Felicity Jones’ Team of Rebels

Rogue One Star Wars Diego Luna

Screenshot/Walt Disney Studios Motion Pictures

This December, the “Star Wars” universe will expand with the first stand-alone film “Rogue One: A Star Wars Story.” This new spinoff will introduce fans to a slew of new heroes and villains, and thanks to a new trailer released on Black Friday, audiences get a closer look at these new rebels.

The latest sneak peek shows the group of unlikely heroes who band together on a mission to steal the plans to the Death Star. Android K-2SO, voiced by Alan Tudyk, shows his support for Jyn (Felicity Jones) after Captain Andor (Diego Luna) said “he had to.” We also see more of Donnie Yen’s Chirrut Îmwe, Wen Jiang as Baze Malbus and Riz Ahmed as Bodhi Rook.The trailer also shows how difficult it is to take down the All Terrain Armored Cargo Transport (AT-ACT).

READ MORE: ‘Rogue One’ Trailer Shows New Battle Footage and a Longer Look at Alan Tudyk’s Droid Character

Directed by Gareth Edwards, the standalone story is by John Knoll and Gary Whitta, and the screenplay is by Chris Weitz and Tony Gilroy. Kathleen Kennedy, Allison Shearmur and Simon Emanuel are producing, with John Knoll and Jason McGatlin serving as executive producers.

Tickets for “Rogue One” will go on sale Monday at 12:01 a.m.

“Rogue One: A Star Wars Story” opens in US theaters on December 16.

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‘Notes on Blindness’ Exclusive Behind-The-Scenes Clip: Theologian John Hull’s Journey Into a ‘World Beyond Sight’

"Notes On Blindness"

“Notes On Blindness”

BOND360

In 1983, after decades of steady deterioration, writer and theologian John Hull became totally blind. To help make sense of the upheaval in his life, he began keeping an audio diary of his experiences as he adjusted to his new reality. Hull believed that if he didn’t try to understand blindness, it would destroy him, and as a result, produced an intimate story of loss and rebirth.

READ MORE: Reality Checks: This Year’s Sundance Showed How the Documentary Film World is Changing

Pete Middleton and James Spinney’s new documentary “Notes on Blindness” adapts Hull’s experiences into the documentary film. Following their Emmy Award-winning short film by the same name, the feature-length film uses Hull’s original audio recordings coupled with professional actors lip-synching the voices of the family to best document Hull’s journey into a “world beyond sight.” Watch an exclusive behind-the-scenes clip from the film below featuring Middleton and Spinney discussing what it was like to direct the film together.

The film premiered at this year’s Sundance Film Festival. Alongside the feature, Middleton and Spinney also unveiled “Notes On Blindness: Into Darkness,” an immersive virtual reality project based on John’s sensory and psychological experience of blindness. The interactive experience complements the feature film with each scene addressing a memory, a moment and a specific location from John’s audio diary. It uses binaural audio and real time 3D animations to create a fully immersive experience. The project won the Storyscapes Award at Tribeca Film Festival and the Alternate Realities VR Award at Sheffield Doc/Fest. It is now available for free on Samsung Gear; Mobile or Cardboard: iOS and Android.

READ MORE: 9 Hidden Gems from the 2016 Sundance Lineup

“Notes on Blindness” is currently playing at the Film Forum in New York City. It opens in Los Angeles today, November 25, courtesy of BOND360.

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Dancing with David Lynch: Watch the Best Moves from the Master’s Work

No Merchandising. Editorial Use Only. No Book Cover Usage. Mandatory Credit: Photo by Moviestore/REX/Shutterstock (1652938a) Twin Peaks , Michael J Anderson, Kyle Maclachlan Film and Television

Michael J Anderson and Kyle Maclachlan in “Twin Peaks.”

Moviestore/REX/Shutterstock

Though David Lynch hasn’t directed a film in over a decade, his body of work still remains in the popular imagination, including and especially his groundbreaking TV series “Twin Peaks,” which will return next year. In a new video essay for Fandor, Philip Brubaker examines the recurring motif of characters dancing in his work, including in crucial scenes from “Wild at Heart,” “Blue Velvet” and “Mulholland Dr.” Watch the short video essay below.

READ MORE: David Lynch on ‘Twin Peaks’ Return: ‘Cable Television Is the New Art-House’

The summary written for Fandor articulates further that Lynch’s exploration of dance contributes to the unique feeling his films inspire in the audience. “Whether the accompanying soundtrack is speed metal or Roy Orbison,” it reads, “dance scenes in Lynch films bring vibrancy to an already kaleidoscopic palette of sound and vision, unlocking dramatic possibilities. These scenes, like the films themselves, are strikingly diverse. We have sweet teenage slow dances, bizarre black-and-white footlight parody, and, let’s not forget, a super-cool mystery man with dwarfism dancing backwards. The feel of a film is of the utmost importance to Lynch, and he often puts it across with a sensual celebration of movement.”

Lynch has been nominated for four Oscars, four Golden Globes and two BAFTA Awards. He won the Best Director award at the 2001 Cannes Film Festival for “Mulholland Dr.” and his film “Wild at Heart” won the Palme D’Or in 1990.

READ MORE: The Best Movie of the 21st Century: Why Critics Keep Voting for David Lynch’s ‘Mulholland Drive’

The “Twin Peaks” revival series will premiere sometime in 2017 only on Showtime.

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Spike Lee Tells Bernie Sanders: Clintons Ran Out the Clock, Assuming They’d Won

Spike Lee

Andrew H. Walker/WWD/REX/Shutterstock

Spike Lee has been an avid Bernie Sanders supporter, releasing ads and videos for the Vermont senator’s campaign. While Sanders lost the Democratic nomination to Hillary Clinton, and Clinton surprisingly lost to Donald Trump, Lee is still sticking by Sanders’ side and wants direction from him on what people should do next.

In an interview with Sanders for The Guardian, the filmmaker stated that Clinton lost because she believed she won the election before it ended.

“You know I love sports. I’ve seen it too many times, when a team thinks they’ve got it all won, just wrapped up, and you see players go down the sideline and start celebrating, and then they reach the goal line and fumble,” Lee said. “The Clintons – and I’m not asking you for a comment; this is my opinion – thought they had it won. And what do the great coaches always say? Keep playing until there is no time on the clock! And it seems to me the Clintons were celebrating before the day was up.”

“It was not Hillary Clinton’s birthright to be president of the United States of America!” he continued. “And Trump, he played it like he was going to keep going at this until the whistle blows, until time has run out.”

Sanders replied by stating, “Right. You’re right. Now, no one can deny that Trump was holding three or four rallies a day, he was running all over this country, working 20 hours a day. And that’s the truth. But I think that speaks to, Spike, something that goes beyond Hillary Clinton. It really goes to the very nature of the Democratic party.”

READ MORE: ‘Saturday Night Live’: Kate McKinnon Sings ‘Hallelujah’ as Hillary Clinton in Divisive Tribute to Leonard Cohen

So now that Trump is the president-elect, what’s Sanders’ best solution for the future?

“I think we need a house-cleaning,” Sanders stated. “I think the DNC needs an entirely new direction. I think it needs leadership, and I think it needs to be very clear about the fact that it stands with working families and is prepared to take on the billionaire class and Wall Street, and corporate America, and the drug companies and the insurance companies. People are hurting. And we need a program that stands with working families and brings people together.”

Read their full interview here.

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‘Westworld’ Review: ‘Trace Decay’ Reminds Us That We’re All Just Stories, In the End

Westworld 108

Thandie Newton as Maeve.

John P. Johnson/HBO

LAST WEEK’S REVIEW: ‘Westworld’ Review: ‘Trompe L’Oeil’ Trades Secrets For Hard Truths and a Big Reveal

Diagnostic Report

We dive right into the repercussions of last week’s episode, as Bernard deals with the anguish of Theresa’s death, while Ford marvels at the depths of emotion Bernard is feeling — before he turns them off, and instructs Bernard to cover up Theresa’s death and erase any record of their relationship beyond colleagues.

When Charlotte learns that Theresa is dead, she seems to accept (wih suspicion) Ford’s story about her having slipped and fallen; however, she then enlists Sizemore to help her smuggle “35 years worth of data” out of the park using retired host Peter Abernathy. Initially, it seemed like the board was prepared to take its time getting rid of Dr. Ford — now, it looks like the timetable has sped up.

Dolores and William continue exploring this new territory they’ve found, with Dolores tripping back to very early days in the park (days we previously got glimpses of in Ford’s flashbacks). Those days ended in violence, including Dolores putting a gun to her own head? Whatever madness ensued in this newly discovered old town, we’re hopefully due to learn more about. Meanwhile, Logan and some new friends have caught up with the pair, Logan informing William with glee that “Man, are you two fucked.”

Maeve, meanwhile, continues her journey to self-actualization and escape, thanks to upgrades from Lutz. Inside the park, she’s tracked down for abnormal behavior (which, fair enough after she murders the replacement Clementine), and we also learn that this isn’t her first instance of abnormal behavior: She wasn’t able to shut down properly after the Man in Black murdered her and her child.

White Hat or Black Hat

So not only does Ford remain villainous in his treatment of others, but the Man in Black reveals to Teddy that despite earlier indicators that in the “real world,” he’s a man of respect and value, his personal life is hella screwed up, with his wife dead after what might have been suicide and his daughter furious at him.

This has never been a character who’s done much to elicit our sympathy, but not only do we once again watch the flashback of him attacking Maeve (in a previous build) and her daughter, but we find out that this attack occurred simply so that he could test the idea of whether Westworld truly reveals “your true self,” and if he was capable of doing something truly evil. Guess what, bro — you got your answer.

Westworld 108

James Marsden as Teddy and Ed Harris as the Man in Black.

John P. Johnson/HBO

In the Year… Wait, What Year Is It?

No additional information is gleaned from this episode, about what time period we’re looking at exactly. But the Man in Black indicates that as long as he was married — 30 years — he was coming to the park. He might say that his wife and daughter didn’t know what he did while he was there… But it’s not surprising that he wasn’t able to conceal everything over the course of 30 years of visits.

Player Piano

A couple of notable music cues here, beginning with the classic Animals track “House of the Rising Sun,” which gets distorted in a fascinating way. “It’s been the ruin of many a poor girl,” the lyrics go if you’ve forgotten — just in time for Maeve’s massive change of heart.

Later, though, we get back to one of our favorite “Westworld” tropes — using songs with the word “black” in the title. Amy Winehouse lives on in the future, we learn, as we also learn that “Back in Black” sounds great even without lyrics.

Oh, and Hector’s latest robbery gets scored to a passage from “Swan Lake.” “Westworld” remains esoteric, to say the least.

Paired Off

Dolores and William remain close to each other, but it’s really the anguish Bernard feels over losing Theresa that proves the most emotionally gripping. If we really wanted to break our hearts, we’d freeze-frame through the notes that Bernard destroyed; there’s something all too sad about incinerating a love letter.

Westworld 108

Jeffrey Wright as Bernard.

John P. Johnson/HBO

These Violent Delights

This episode did not lack for bloodletting on so many levels, but perhaps a moment that stuck with us the most was Maeve slicing Sylvester’s throat — mostly because we didn’t know she could. Later seeing her do the same to the Man in Black in flashback triggered a whole new level of questioning; at this stage, the __show owes us some deeper explanations about the safety protocols in place to protect the guests.

But beyond the surface-level violence, here’s what these bloody moments highlighted for us: Dolores has seemed to be the host on the verge of new evolution since the beginning, but Maeve may be giving her a run for her money.

Best Quote

Time to write my own fucking story. 
— Maeve

Not only is this line beautifully delivered, but it ties into later sequences, which __show Maeve “building her army” by directing the course of events. It could have played a little over-the-top, having her literally narrating the actions of others, but the execution made it a fascinating twist.

The Questions You’re Not Supposed to Ask

  • Okay, this breaks our heart to ask, but we gotta — did Bernard also kill Elsie? Man, that would suck.
  • If it wasn’t Elsie Bernard flashed back to attacking, who was it?
  • And seriously, where the hell is Elsie?
  • Plenty of other questions this week, but let’s keep things simple for once.

Final Reveries

After last week’s big revelations, “Trace Decay” feels like a bit of a letdown — there’s some big plot movement, but other storylines are stalled to the point where we’re still left waiting for real answers. That said, there’s plenty of information to dig down into; information that with some additional context should become clearer. And Thandie Newton continues to blow us away with her work.

The weirdest bit of this episode is its decision to end with a dilemma that doesn’t feel terribly consequential to the overall storyline. While it’s clear that the reveal of Wyatt will play a major role in the season’s endgame, we’ve never engaged with it on the same level as, you know, anything happening to the hosts and their continued evolution.

We can’t expect major twists every week, but while “Trace Decay” didn’t feel like it was stalling, it perhaps could have pushed things further. It’s a minor complaint, though — a bump in the ride we’re still enjoying.

Grade: B+

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Westworld 108

James Marsden as Teddy and Ed Harris as the Man in Black.

Westworld 108

Jeffrey Wright as Bernard.

‘Brimstone’ Trailer: Guy Pearce is a Creepy Reverend in Martin Koolhoven’s Gritty Western — Watch

Now that he’s been released from space jail, Guy Pearce is ready to return to the American frontier. He’s set to do so in Martin Koolhoven’s “Brimstone,” a Western set in 19th-century America with, well, fire-and-brimstone overtones. Watch its Dutch trailer below.

READ MORE: Kit Harington & Dakota Fanning Replace Robert Pattinson & Mia Wasikowska In ‘Brimstone’

“Beware of false prophets who come to you in sheep’s clothing,” Pearce intones in voiceover as the spot opens, “for inwardly they are ravening wolves.” His reverend goes on to describe himself as Jesus’ sheepdog, a righteous shepherd who finds those who’ve strayed from God’s path and helps them get back on it —violently, if need be. At the top of his list is Dakota Fanning, whose mute character he’s planning to punish for a sin she may not have actually committed.

READ MORE: ‘The Bell Jar’: Kirsten Dunst Casts Jesse Plemons Opposite Dakota Fanning In Directorial Debut

Carice Van Houten and Kit Harington of “Game of Thrones” also star in “Brimstone,” which first premiered in Venice before going on to screen in Toronto. The film doesn’t yet have a stateside release date.

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Arthouse Audit: ‘Manchester by the Sea’ Opens Stronger than ‘Nocturnal Animals’

Casey Affleck in "Manchester by the Sea"

Casey Affleck in “Manchester by the Sea”

The fall specialized season (with attached awards campaigns) is going into high gear. This weekend brings the release of Amazon Studios Sundance pickup “Manchester by the Sea” (Roadside Attractions), one of the year’s most anticipated films, to a strong initial response in its first two cities. Also, Focus Features released buzzy festival hit “Nocturnal Animals” somewhat wider to enough interest to suggest ongoing adult audiences ahead.

"Nocturnal Animals"

Amy Adams in Tom Ford’s “Nocturnal Animals”

None of these grosses challenge 2016’s top limited releases, though, consistent with what has been a decline in overall specialty numbers this year. But they join “Moonlight” and “Loving” among successful launches that perform well enough to keep their awards chances alive along with their commercial prospects.

That’s in stark contrast with Ang Lee’s technological experiment “Billy Lynn’s Long Halftime Walk.” After what seemed to be a decent start in two theaters last weekend, its wider national break ranks with the biggest disasters ever seen for a studio film of such importance.

Opening to qualify for animation awards for a single week, “The Red Turtle” (Sony Pictures Classics) per normal industry practice did not have grosses reported. Unusually however, its reviews in New York were held back, though it did score a rave in the Los Angeles Times.

"The Red Turtle"

“The Red Turtle”

Opening

“Manchester by the Sea” (Roadside Attractions) Metacritic: 95; Festivals include: Sundance, Telluride, Toronto, New York 2016

$241,230 in 4 theaters; PTA (per theater average): $60,308

Kenneth Lonergan’s long-anticipated third feature was screened to great acclaim at Sundance in January. These days, delaying release until the awards-adjacent end of the year for Park City successes has become less frequent. But as this tragic drama about Casey Affleck taking custody of his teen brother is a top contender for critics awards and Oscars, presenting it late was not such a big risk.

The opening numbers at four prime New York/Los Angeles theaters __show that the gamble by Amazon Studios and its distribution partner Roadside Attractions has, at least initially, paid off. The PTA places it at third-best for 2016 (after “Moonlight” and “Cafe Society”) among two-city multiple theater platform released films this year. In a period where previously numbers for films of this pedigree are mostly out of reach (“Grand Budapest Hotel,” “Birdman,” “The Master” and “The Imitation Game” are among those in recent years to open with PTAs over $100,000; “The Big Short” last December managed $88,000, with “Steve Jobs” yielding a staggering $130,000), this is a strong if not anywhere close to a record-setting showing. (Roadside Attractions reports numerous sellouts in a weekend where some of the theaters had intense competition for seats).

Coming in at about 60 per cent of the less-cast driven and perhaps more limited “Moonlight” could be the result of its release not only in a competitive time frame for adult audiences, but during a post-election funk that could make serious dramas somewhat less of a draw. But that’s only a surmise for why this terrific number (with a terrific 24 per cent Saturday increase) isn’t quite as high as some earlier highly acclaimed films.

What comes next: Eight more cities open this week ahead of an initial expansion to 800+ in mid-December.

“Nocturnal Animals” (Focus)  Metacritic: 69; Festivals include: Venice, Toronto 2016

$494,000 in 37 theaters; PTA: $13,351

Tom Ford’s second film (after “A Single Man” in 2009) opened in multiple theaters rather than the conventional two-city platform. With Amy Adams and Jake Gyllenhaal as marquee draws, the risky move looks to have paid off well enough to get this stylish thriller launched well enough to set it up for initial and later holiday expansion.

A recent initial similar release pattern was tried by Fox Searchlight in early December (a weaker grossing period) for”Wild” in 204. In fewer (21) theaters it grossed considerably better ($607,000) as it headed for a $38 million total and Best Actress nomination for Reese Witherspoon.

What comes next: This quickly jumps to 200 theaters this week and wider on Dec. 4

Hal Prince and Stephen Sondheim

Hal Prince and Stephen Sondheim

YouTube/Abramorama

“Best Worst Thing That Ever Could Have Happened” (Abramorama)  Metacritic: 77; Festivals include New York 2016

$22,573 in 2 theaters; PTA (per theater average): $11,262

Excellent initial figures for this documentary which hits the __show business/creative world sweet spot by retelling the story of “Merrily We Roll Along.” That 1981 Broadway musical was a rare Stephen Sondheim flop then, but then found new life. Footage from the show along with reuniting many of the principles combine to provide the core of the film, which opened at two prime Manhattan theaters to start its national run.

What comes next: Los Angeles comes aboard this week at the Royal, with other niche dates to follow across the country.

“A Street Cat Named Bob” (Cleopatra) Metacritic: 52

$35,070 in 2o theaters; PTA: $1,403

Based on a best-selling memoir about a man and his cat and directed by Roger Spottiswoode, whose credits include a Bond film (“Tomorrow Never Dies”), this opened in major cities cross-country to little impact.

What comes next: This could have interest in home-viewing situations, but theatrical looks like a dead end.

Daughters of the Dust

“Daughters of the Dust”

Cohen Media Group

“Daughters of the Dust” (Cohen)  (reissue)

$10,842 in 1 theater; PTA: $10,842

The restoration of Julie Dash’s seminal 1991 film set in an early 20th century African-American community set apart from its place by its island location opened at New York’s Film Forum to a decent initial response as part of a nationwide release ahead.

What comes next: Los Angeles, Chicago, Detroit and Toronto open this Friday, with a significant slate of theaters set in December and beyond.

Also available on Video on Demand:

“The Take” (Focus) – $39,000 in 100 theaters

International releases:

“Ekkadiki Pothavu Chinnavada” (Indin/India) – $(est.) 420,000 in 92 theaters

“I Am Not Madame Bovary” (WellGo/China) – $(est.) 200,000 in 40 theaters

"Billy Lynn

“Billy Lynn’s Long Halftime Walk”

Week Two

“Billy Lynn’s Long Halftime Walk” (Sony)

$930,000 in 1,176 theaters (+1,174); PTA: $791; Cumulative: $1,100,000

Two-time Best Director Oscar-winner Ang Lee (“Brokeback Mountain,” “Life of Pi”), was at least spared the ignominious fate of Michel Hazanavicius after he won a Best Director Oscar.  The French director’s follow-up to “The Artist,” “The Search,” has never been released in the United States. But that’s small comfort for Lee who, after the massive worldwide success of “Life of Pi,” seemed at the height of his A-list career.

These are staggeringly bad numbers. At any theater where “Billy Lynn” might possibly have gained traction, the film pulled in fewer than 100 customers for the whole weekend. This is not much better than Weinstein’s cursed “Jane Got a Gun” last January, when it was given a make-the-best-of-a-bad-situation release.

It comes, apart from Lee’s name, after what on paper looked like a decent two-theater opening last weekend. But the problems were already apparent. With its special 3D/120 fps showings and higher ticket prices, prime placement and huge ad spending, its $57,000 PTA to discerning eyes appeared problematic.

The quick wider break came without the edge of this cutting-edge presentation and accompanied by the most mediocre reviews of Lee’s career, at a time when most of the top wider releases have yielded strong reviews and adult interest. And Mel Gibson’s “Hacksaw Ridge” is playing to audiences interested in military-themed films.

But still, the scale of this disaster is hard to imagine for a top director. It does suggest, after Robert Zemeckis’ “The Walk” and the complicated playoff of Quentin Tarantino’s “The Hateful Eight,” that letting directors push technical experiments that aren’t available to many theaters is counter-productive. A serious drama about post-traumatic stress may not be the right draw at the moment, particularly without any marquee leads to sell.

Whatever the contributing factors, this looks going into an incredibly crowded Thanksgiving weekend to have a quick fade-out and even worse result despite the holiday.

Elle Isabelle Huppert

“Elle”

Sony Pictures Classics

“Elle” (Sony Pictures Classics)

$128,701 in 24 theaters (+22); PTA: $5,363; Cumulative: $214,787

The initial expansion for Paul Verhoeven’s French thriller with Isabelle Huppert continues its initial strong response. These second weekend numbers are ahead of what the strong performing “A Man Called Ove” achieved at the same early point.

“The Love Witch” (Oscilloscope)

$28,500 in 20 theaters (+14); PTA: $1,425; Cumulative: $55,162

Anna Villers’ homage to female-centered horror films from the 1960s expanded this weekend to modest results. This is likely enough to gain it cult attention in other venues ahead, but it shows the difficulties of getting traction theatrically even with a smart campaign and compelling content for films aimed at younger specialized audiences.

"Moonlight"

“Moonlight”

Ongoing/expanding (grosses over $50,000 in under 1,000 theaters)

“Moonlight” (A24) Week 5

$1,583,000 in 650 theaters (+474); Cumulative: $6,739,000

As the fall’s biggest indie success more than tripled its theater count, the “Moonlight” per-theater average fell. At $2,436, it’s down almost two-thirds from last weekend. A24 has been nurturing this in its initial wave, but it appears for the moment to have reached its widest point at least until inevitable awards start piling up. It’s a success with further potential, but at this point does not yet boast the crossover appeal as such past top contenders like “Spotlight” ($3.5 million in 598 theaters) and”Birdman” ($2.5 million in 857 theaters) at similar points in their runs.

“Loving” (Focus) Week 3

$854,000 in 137 theaters (+91); Cumulative: $1,737,000

Jeff Nichols’ acclaimed retelling of the 1960s interracial marriage that became a crucial legal battle expands to respectable if not spectacular results in its third weekend. The best comparison is to Focus’ “The Theory of Everything” in an almost identical release pattern. That crossover success in its third weekend just before Thanksgiving grossed just over $1.5 million in 140 theaters. That’s a little less than twice as good. “Moonlight” in its recent third weekend in fewer (83) theaters grossed nearly 50 per cent better ($1,235,000). This is doing well enough to maintain awards attention at a critical time, but at this point needs some boost from awards to sustain a lengthy run.

“A Man Called Ove” (Music Box)  Week 8

$222,568 in 157 theaters (-37); Cumulative: $2,790,000

The leader among specialized subtitled releases this year is off its highest grosses and theater count, but is still holding well. With its upcoming Oscar chances it still has a chance to hit what for these days is very unusual among foreign language films — a $4 million total.

“The Eagle Huntress” (Sony Pictures Classics)  Week 3

$195,649 in 39 theaters (+8); Cumulative: $556,000

A small expansion in theaters combined with terrific holdovers resulted in another encouraging week for SPC’s Kazakh-set documentary of a young girl’s quest to break gender barriers. Word of mouth looks positioned to keep this steady and propel it to more theaters into next year.

“The Handmaiden” (Magnolia)  Week 5

$(est.) 135,000 in 93 theaters (-33); Cumulative: $(est.) 1,470,000

This acclaimed Korean period drama, a rare subtitled entry from burgeoning Amazon Studios, has passed its widest point but still looks headed for a decent $2 million-plus total.

“Denial” (Bleecker Street) Week 8

$67,894 in 84 theaters (-37); Cumulative: $2,976,000

Rachel Weisz in the middle of a London libel case winds down its run with a $4 million-plus gross looking to be its final total.

Also noted:

“Certain Women” (IFC) – $34,020 in 63 theaters; Cumulative: $1,011,000

“Christine” (The Orchard) – $20,020 in 45 theaters; Cumulative: $250,045

“American Pastoral” (Lionsgate) – $8,000 in 20 theaters; Cumulative: $533,970

“The Beatles: Eight Days a Week – The Concert Years” (Abramorama) – $7,776 in 11 theaters; Cumulative: $2,857,000

“Disturbing the Peace” (Abramorama) – $4,298 in 2 theaters; Cumulative: $20,653

"Nocturnal Animals"

Amy Adams in Tom Ford’s “Nocturnal Animals”

"The Red Turtle"

“The Red Turtle”

Hal Prince and Stephen Sondheim

Hal Prince and Stephen Sondheim

Daughters of the Dust

“Daughters of the Dust”

"Billy Lynn

“Billy Lynn’s Long Halftime Walk”

Elle Isabelle Huppert

“Elle”

"Moonlight"

“Moonlight”