brody-destinationwedding2
Aviron Pictures has landed North American rights to the Keanu Reeves-Winona Ryder romantic comedy Destination Wedding for around $3 million November 27, 2017. David Dinerstein, who founded Paramount Classics and was the architect of Fox Searchlight, is Aviron Pictures. It is scheduled to be released in the United States on August 31, 2018, by Aviron’s Regatta. “Destination Wedding” – out in New York and Los Angeles Aug. 31 and in full release Sept. 7. Regatta is a marketing and distribution company that releases specialized films for select audiences in North America. Destination Wedding VOD is same day as theaters.
“The actors do all the work to bring a head-scratching script and neutered images to life, and they do it with energy and enthusiasm, yet I found myself watching the film with embarrassment for them, for the actions that they were directed to perform in service of a grotesquely misconceived movie.”
https://www.newyorker.com/culture/the-front-row/destination-wedding-reviewed-winona-ryder-and-keanu-reeves-suffer-through-one-of-the-worst-sex-scenes-in-recent-memory

[ 47 Ronin no tentpole ]

Keanu Reeves (49)at the Coffee Bean in Hollywood

Keanu Reeves (49) at the Coffee Bean in Hollywood

After months of bad buzz and two postponed release dates, “47 Ronin” finally bowed on Christmas in the U.S. and grossed only $20.6 million in its first five days at the domestic box office. Overseas, it’s fared even worse — with $2.8 million in its home turf of Japan since its Dec. 6 debut. The film’s gargantuan budget of $175 million (it cost even more before tax breaks) means it could lose the studio $120 to $150 million, especially once marketing is factored in.

The budget wasn’t so monstrous until Universal, influenced by Hollywood’s latest obsession, decided to shoot the film in 3D. That’s when “47 Ronin” became the Titanic of samurai movies. The creative team scouted Japan, New Zealand and Australia before deciding that none of those regions looked ancient enough. The film was eventually shot in England and Hungary, with a design team constructing 150,000 square feet of samurai villages for all those close-up 3D shots.

By all accounts, the post-production process was fraught with tension. When Universal executives saw an early cut in 2011, they had concerns about the story and started ordering changes. Another week of shooting was slated so that Reeves could be made more integral to the finale. A 2012 article from the Wrap reported Langley kicked Rinsch out of the editing room, but two highly placed sources deny that happened.

Another source with knowledge of the situation said that in post-production, Universal decided to take the film in a different direction. Rinsch then sought the help of the DGA to ensure his contractual rights were being honored.
The reviews, embargoed until 36 hours before the American release, were not kind. Universal didn’t spend lavishly on an advertising campaign. By then, the box office prospects for “47 Ronin” were grim.

“47 Ronin” is just one of several risky tentpoles (see “The Lone Ranger” and “R.I.P.D.”) that flopped in 2013. While some executives may now be warier of taking $175 million gambles on unproven talent and material, there’s also the fear that a studio may miss out on the next big thing.

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Michelle Williams March 2013

Michelle Williams March 2013

Domestic: $226,152,000

[April 24]
Domestic: $224,099,056 46.8%
+ Foreign: $254,800,000 53.2%
= Worldwide: $478,899,056

[April 7]
Fifth weekend 7th place
Total Lifetime Grosses
Domestic: $212,606,952 46.8%
+ Foreign: $241,300,000 53.2%
= Worldwide: $453,906,952

[April 1]
Oz The Great and Powerful, fourth weekend, rounded out the Top Five with $11.7 million, which is off 46 percent from last weekend. It’s now grossed $198.4 million, and in the next day or two it will become the first 2013 movie to pass $200 million.
Disney’s Oz the Great and Powerful jumped the $400 million in its fourth weekend of play at the global box office. The tentpole, placing No. 5 in North America, has now earned $198.3 million domestically and $214 million internationally for a total $412.3 million, by far the best showing of 2013 to date. The term tent-pole refers to a motion picture expected to hold up (as is the function of a tent pole) and balance out the financial performance of a movie studio.

[March 25]
Down two spots to third place, Disney’s $215 million Sam Raimi-directed adventure Oz The Great and Powerful fell 47 percent to $22 million in its third weekend, lifting its total to $177.6 million overall. Worldwide, the film has earned $356.4 million, Europe has proved once again that it loves big-budget U.S. family movies with lots of CGI. Oz the Great and the Powerful took the number one spot in virtually every European territory last frame including France, Germany, Spain and the UK. ($178.8 million) .

[March 17]
Franco’s Oz the Great and Powerful remained the top movie for the second straight week. Even though it lost 47 percent of last week’s business, it still earned an estimated $42.2 million, far and away enough for first place and a ten-day total of $145.0 million.

Michelle Williams is the good witch, Glinda

Michelle Williams will be the good witch, Glinda

Oz the Great and Powerful worked its magic on a slumping box office, grossing an estimated $80.3 million in its Friday-Sunday debut, its studio reported.
The opening-weekend number is easily the biggest of the year, and the third-largest ever for a March release, behind only The Hunger Games and Johnny Depp’s Alice in Wonderland.
The massively expensive Wizard of Oz prequel, starring James Franco, was graded a B-plus by audiences polled by CinemaScore.
Overseas, Oz picked up just shy of $70 million, and brought its three-day, worldwide total to $150.2 million.
The start puts the 3-D-powered fantasy well on the road toward exceeding its reputed $215 million budget; it gets it about half-way toward the eye-popping $325 million number that reportedly represented its combined production and marketing costs.

[April 5. 2012]
Earlier, Sam Raimi is putting the finishing touches on Oz:The Great And Powerful at Disney. Rachel Weisz was committed to reshoots on “Oz.” Raimi’s take on the world of the Wizard of Oz remains a big mystery, since we haven’t heard or seen much from the set, but the new movie will go back to the source material, instead of building on the famous film.

“It’s absolutely separate from the classic film. Frank L. Baum wrote ten or so volumes of the whole mythology of the Emerald City, Oz, et cetera, so this is the story of how the wizard got there. So it’s pre-Dorothy,” . “It’s really nothing to do with ‘The Wizard of Oz’ in a sense. It’s much, much earlier.” The Great And Powerful” Though Dorothy and the Cowardly Lion still look young, the characters in Baum’s story are almost 110 years old — which would seem to put them in the realm of public domain. Warner Bros., who owns the rights to the 1939 film, “The Wizard of Oz,” filed a trademark registration for “The Great and Powerful Oz.” That may complicate things for Disney, which is producing “Oz, the Great and Powerful,” and filed their own trademark registration a week before.
“Oz” came to Pontiac because it was approved for a $40-million Michigan film tax credit in 2010. Sam Raimi and Josh Donen will fold their Stars Road Entertainment banner when their Sony Pictures deal expires at the end of August. They’ve been together for seven years, since Donen left CAA and went from being Raimi’s agent to being his partner. There’s no acrimony, the partnership simply ran its course.

 

Barbie Glinda

Barbie Glinda