For years now, America has been struggling with the allegations that Bill Cosby — once a beloved television father and comedian — may have used his position in Hollywood to commit a series of violent sexual assaults. For those unfamiliar with the timeline involved in the Cosby case, I would encourage you to check out ABC’s detailed recap of everything that led up to this past month’s trial, including the civil cases brought against the actor-comedian and the Hannibal Burgess joke that is widely regarded as the instigating event in bringing these accusations to the public. And today, as noted by Deadline, a Norristown, PA jury has forced the judge to declare a mistrial in Andrea Costand’s case against Cosby.
If you only look at the surface numbers, this was a pretty predictable week at the box office. Wonder Woman did well, The Mummy did not, and everything else shook out accordingly. That being said, there’s some pretty interesting narratives emerging in the how and why of this weekend’s box office report. Let’s take a look at the rankings as of Sunday afternoon and dive into some of the specifics:
On Thursday evening, plenty of executives went to bed with dreams of big opening weekend numbers in their head. Could the movie about a magical king unseat the movie about a talking tree? Or would a mother-daughter comedy with just the right release date unseat a pair of battling sisters? Now that we’ve reached the end of the holiday weekend, we finally have the numbers, and it turns out the answer was no and no, respectively. Here’s this past weekend’s grosses as of Sunday afternoon:
In a week devoid of any major releases, we still saw some major changes at the box office, with familiar faces like Kong: Skull Island, Power Rangers, and Get Out (RIP) all falling from the Top 10 in favor of new releases or aggressively expanding art films. Of course, not everything was different; if you read these box office reports every weekend, I’ll bet you can name the top three movies (in order) with minimal effort. Here’s the weekend box office projections as of Sunday afternoon:
For franchise movie fans, nothing grates on the nerves quite like the lull between the day production wraps on a new movie and the day the first teaser drops. Production has been finished on Star Wars: The Last Jedi for a few months now, and since we’re not quite sure when Disney will be releasing the first trailer for the film, we’re latching onto any piece of information we can get about the new film or any new Star Wars content, period. In short, we’re in the business of reading too much into Mark Hamill’s Twitter account.
As a teenager in the ’90s, no actor better represented blockbuster movies than Bill Paxton. Although Paxton wasn’t typically a leading man in those movies — he would often play the brother, the second-in-command, or the comic relief — he served as a kind of talisman of quality. If you saw Paxton’s name in the opening credits of a movie, you knew that the film was going to be better for it.
Back in June, actor John Turturro talked to The Hollywood Reporter about his ongoing efforts to make a film featuring his popular bowling lothario Jesus from The Big Lebowski. In the interview, Turturro explained that the character had actually been created years before the movie as part of a public theater company Turturro had participated in. While the actor described the ongoing legal discussions as “very complicated,” he did claim to have the involvement of the Coen Brothers on the film, although not as the directors.
If you’re like me, even after all these years, you can still remember everything that happened in The Bourne Identity pretty clearly. It’s when you get to The Bourne Supremacy that things start to get a little fuzzy. I remember an early scene in the second film where Matt Damon’s Bourne and Franka Potente’s Marie are ambushed by Karl Urban’s Treadstone assassin, and then some sort of car chase in an Eastern European city, but that’s about the last major plot point I can keep straight in my head. Was Brian Cox in the second film? Didn’t the third film have some sort of investigative journalist? Did Bourne actually ever get his memory back in the three films? Does The Bourne Legacy even matter at all?
If someone asked me to trace my personal development as a cinephile, I’m pretty sure that Mystery Science Theater 3000 would be one of the most important stops along the way. I grew up watching the show; it instilled in me an appreciation for pointless pop culture knowledge as well as an affection for so-called bad movies. Mike, Joel and the bots may have spent their time mocking ’70s and ’80s films, but there was always an undercurrent of good cheer and low-budget kinship that I admired.
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