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No movies for me this weekend, just live shows!! Amy Schumer, Tove Lo and Jerry Seinfeld!!!

Box office: LEGO Batman scales The Great Wall for top spot

The LEGO Batman Movie keeps its adversaries at bay for the second weekend in a row as it adds an estimated $34.2 million to its $98.8 million North American total over the first three days of the holiday weekend.

The third film to be released under the Warner Bros. Animation umbrella, LEGO Batman repeats at the top of the domestic chart over Fifty Shades Darker, which holds steady at No. 2 with an estimated $21 million. Both films’ totals will increase tomorrow when final President’s Day estimates roll in.

Though it has yet to land at the top spot in the U.S. and Canada, Fifty Shades Darker sits pretty at the peak position on the worldwide chart for the second week in a row. The romantic sequel, adapted from E.L. James’ popular book series, commands a further $43.7 million from 59 markets for a combined global total of $276.9 million on a $55 million budget.

Matt Damon’s The Great Wall, a historical monster movie made by Zhang Yimou, one of the most respected Chinese directors working today, premieres to an estimated $18.1 million over its first three days at 3,326 sites — a decent start considering a potentially disastrous wave of controversy swirling around the film’s casting. The film marks Damon’s lowest-grossing wide opener since We Bought a Zoo kicked off with $9.4 million in 2011.

While its North American ticket sales are muted, worldwide audiences are driving the $150 million Legendary and Universal production to stellar business overseas. To date, The Great Wall has amassed $244.6 million from international territories, amounting to a massive $262.7 million global haul thus far, recalling the grosses of Universal’s 2016 actioner Warcraft, which made a soft $47.4 million in the U.S. but soared to $386.3 million from foreign audiences.

At No. 4, John Wick: Chapter 2 posts a sophomore tally that outshines its predecessor’s $14.4 million debut number by over $2 million, finishing the weekend with an estimated $16.5 million. Its domestic grosses now stand at $58.7 million.

Rounding out the top five is the New Line comedy Fist Fight, starring Charlie Day, Ice Cube, and Tracy Morgan. The laugher bows as the first live-action mainstream comedy to invade theaters since James Franco’s Why Him? launched in December, though audience response to the genre’s latest offering is muted at best; Fist Fight earns a middling B grade on CinemaScore, while moviegoers purchased roughly $12 million worth of tickets over the weekend.

Elsewhere, Hidden Figures descends out of the top five for the first time in six weeks as it falls 11 percent to an estimated $7.1 million. The Theodore Melfi-directed film reigns as 2016’s highest-grossing best picture Oscar nominee, with a ballooning total currently resting at a stunning $142.6 million. The calendar year’s most-nominated Oscar contender, La La Land, follows at No. 9 with $4.5 million, while its overseas sales pass the $200 million mark, bringing its global number to $339.6 million.

Coming in at No. 10 is the week’s final new wide release, A Cure for Wellness, director Gore Verbinski’s first feature since helming 2013’s The Lone Ranger. The horror-thriller clocks in with a disappointing $4.2 million three-day gross on a $40 million budget.

Per comScore, overall box office is down roughly 3.7 percent from the same frame last year. Check out the three-day Feb. 17-19 weekend box office estimates below. Four-day totals will be updated Monday.

1. The LEGO Batman Movie – $34.2 million
2. Fifty Shades Darker – $21 million
3. The Great Wall – $18.1 million
4. John Wick: Chapter 2 – $16.5 million
5. Fist Fight – $12 million
6. Hidden Figures – $7.1 million
7. Split – $7 million
8. A Dog’s Purpose – $5.6 million
9. La La Land – $4.5 million
10. A Cure for Wellness – $4.2 million

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In other words, don’t expect the new stuff to be very good at all.

Shania Twain wants to ‘forget’ music she made with ex-husband

Shania Twain is moving on from the sound created by her ex-husband and former producer Robert John ‘Mutt’ Lange.

The country star, 51, has not released a studio record since 2002, a delay that in part is down to the turmoil in her professional and personal life caused by her break-up from her husband Robert John ‘Mutt’ Lange, who doubled as the producer of all her albums.

The couple’s 2010 divorce came after Robert admitted an affair with Shania’s best friend Marie-Anne Thiebaud. Shania ended up getting close with Marie-Anne’s betrayed husband Frederic Thiebaud, and the pair wed in 2011.

She is planning to release a new album this spring, and says she told those working on her record, including One Direction producer Jake Gosling and Bruce Springsteen collaborator Ron Aniello, to erase all her previous work from their minds.

“I told anyone getting involved musically to forget about my other records,” the musician tells Rolling Stone. “I didn’t want it to be related to Mutt’s productions at all. I wanted a more organic approach.”

When Robert was her producer Shania sold 85 million records and became country music’s biggest pop crossover star, but she now wants to move away from her pop roots.

“Most of them started off quite melancholy and a lot darker,” she explains of her new songs.

However she’s philosophical about how her split from the man she shared her life and music with has affected her.

“I’m a different singer now,” she shares. “There was a lot of coming to terms with that. It’s been one of the obstacles in my life I’ve just had to learn to live with.”

The country veteran’s new album is yet to receive an official title, but tracks include Swinging With My Eyes Closed, and Who’s Gonna Be Your Girl?, a ballad about the breakdown of her marriage.

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I’ve been over Fallon for a long, long time now. Colbert is great, but the best in late night right now is Seth Meyers.

Colbert beating Fallon in ratings since Trump took office

President Trump’s promise to change America is already producing results — at least when it comes to late night TV.

CBS’ “Late Show with Stephen Colbert” attracted more viewers than its rival, NBC’s “The Tonight Show Starring Jimmy Fallon,” during the week that ended Feb. 10 — the second week in a row the Peacock Network finished No. 2.

And Colbert’s margin of victory is growing.

In the week ended Feb. 3 — Colbert’s first week of new shows since Trump’s inauguration — “Late Night” edged out “Tonight” by a mere 10,000 viewers. Last week, that margin of victory grew to 130,000.

While Fallon still draws in a bigger audience of 18-to-49-year-olds, the demographic advertisers covet, his once comfortable margin of victory is getting slim.

In the last three weeks, including the five days of “Late Show” repeats during the week ended Jan. 27, Fallon’s margin of victory in the demo has gone from 0.36 to 0.19 to 0.17.

Colbert’s resurgence could be tied to his show having a sharper political bent than “Tonight.” Colbert’s opening monologue and at-desk banter is dominated by jokes and banter that take aim at Trump’s missteps.

Fallon’s show is more skit-focused and covers a wider range of topics.

On ABC, “Jimmy Kimmel Live” usually draw about 1 million fewer total viewers than his CBS and NBC rivals and trails significantly in the demo, statistics show.

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Actually, I’d make the argument that attendance is down due to poor films.

Cineplex revenue down due to poor attendance

Canada’s largest movie theatre chain is open to the idea of producing original content like Netflix and Amazon do, the head of Cineplex said Wednesday.

CEO Ellis Jacob said the Toronto-based company isn’t signing up to produce Hollywood blockbusters but he would consider smaller productions.

“It’s a matter of being opportunistic in certain circumstances,” Jacob said Wednesday following the company’s latest earnings release.

“For example, if there is a particular movie that a distributor has that we feel comfortable with, we may join venture with them. But as far as getting into large productions of movies, that’s not a business that we’re going to head down.”

Producing content can be financially risky. Companies generally need a large amount of capital up front in the hopes that a film would take off with audiences in order to generate a healthy return.

“To say, OK, by making our own movies, (we’re) diversifying in that degree, the risk of how they do is still there,” Jacob said.

“I’m not saying it’s a bad business. I’m saying it’s not a business that we’re focused on to look at from a big numbers perspective.”

Cineplex said the idea came up earlier this month during a panel in Ottawa featuring Michael Kennedy, its executive vice-president.

Adam Shine, a media and telecom analyst at National Bank Financial, said he doesn’t see moviemaking becoming a core focus for Cineplex, especially as it has already dipped into other businesses such as gaming.

Earlier in the day, Cineplex reported a 12 per cent decline in attendance in its fourth quarter compared to the same period last year. It attributed that to a stronger movie lineup in the fourth quarter of 2015 that included some of the highest-grossing films of all time, such as Star Wars: The Force Awakens and The Hunger Games: Mockingjay Part 2.

The drop in attendance to 17.9 million visits from 20.4 million was partly offset by higher per-patron spending on tickets and concessions.

Cineplex’s net income was down 69.6 per cent, falling to $23.3 million or 37 cents per diluted share in the quarter ended Dec. 31 from $76.8 million or $1.20 per diluted share a year before.

Its 2015 fourth quarter profit included an unusual gain related to the acquisition of CSI and a favourable change in the value of a financial instrument linked to a 2013 acquisition.

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I don’t love the show, but I like it. Hope he makes it great!!

Dan Aykroyd will guest star on Workin’ Moms

The mothers of Workin’ Moms are getting a visit from a Blues Brother.

CBC says actor Dan Aykroyd will guest star on the Feb. 21 episode.

Aykroyd is a Canadian comedy legend, known as one of the early cast members of Saturday Night Live and for roles in movies like The Blues Brothers and Ghostbusters. He also appeared in the 1989 drama Driving Miss Daisy and was nominated for a supporting actor Oscar.

In Workin’ Moms, a new comedy created by Catherine Reitman, Aykroyd guests as the father of Reitman’s character Kate.

The series airs Tuesdays at 9:30 p.m.

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I’m more excited about Alexandra Daddario than Dwayne Johnson but in the end here’s hoping it’s all fun.

Pamela Anderson doesn’t think Dwayne Johnson was the right choice for ‘Baywatch’

Pamela Anderson isn’t convinced Dwayne Johnson is the right choice for the upcoming Baywatch movie.

The Canadian actress and model rose to fame as C.J. Parker on the 1990s action-drama TV series about Los Angeles County Lifeguards, starring opposite David Hasselhoff in his role as lifeguard Mitch Buchannon.

A movie reboot of the show starring the former WWE wrestling star in the part originated by David is set to hit theatres in May, but Pamela has already admitted she isn’t keen on Dwayne’s take on the character.

“It was funny to look at The Rock and think he was supposed to be (David) Hasselhoff,” she said during an interview with ITV’s Loose Women which aired on Monday. “It just didn’t quite gel, no.”

The 49-year-old also dished that she has a cameo towards the end of the movie. And while she enjoyed making her guest appearance, she isn’t sure the film needed to be made in the first place.

“I’m doing a cameo at the end. They asked me to. But I like the TV show. I never wanted to do the movie, I don’t like when they do these remakes of TV shows because it was bad TV for a reason. It was good bad TV, now it’s going to be a spoofy movie,” she shared.

Meanwhile, the blonde bombshell also opened up about her recent visits to Julian Assange at the Ecuadorian Embassy in London. The controversial WikiLeaks founder sought asylum at the embassy in 2012 in order to avoid arrest and extradition to Sweden on rape and sexual assault allegations, claims which he denies.

“I think he’s a very important person. I think that history will look back on him and realize how important he is,” she said. “WikiLeaks is very heroic and very important – and it’s true news and that’s hard to find these days. If you want to get something from the horse’s mouth you go to WikiLeaks and really find out. I think that’s important in this political climate.”

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The tribute to Prince was amazing. The rest of the evening will be forgotten by the middle of the week, except by those who are fans of the artists who did it. Nothing that happened will cross over and become culturally relevant. So, here’s to next year!!

Adele sweeps Grammy awards in shock victory over Beyoncé

Adele won the top three Grammy awards on Sunday, taking home the statuettes for album, record and song of the year in a shock victory over Beyoncé.

Adele won all five Grammys for which she was nominated, including for her comeback album “25” and her single “Hello.”

Beyoncé, who had gone into Sunday’s awards show with a leading nine nominations for her “Lemonade” album, won just two.

“My queen and my idol is Queen B. I adore you,” Adele said to Beyoncé as she accepted her award.

“The ‘Lemonade’ album was so monumental,” she added.

Beyoncé and Adele also had the most talked-about moments on a night marked by political statements, an emotional tribute to British pop star George Michael, and a rocking memorial to pioneering funk musician Prince.

In her first public appearance since her announcement 12 days ago that she is expecting twins, Beyoncé donned a sheer, glittering gold dress and halo to sing ballads “Love Drought” and “Sandcastles” from her album “Lemonade.”

Moments later, Adele literally stopped the show after flubbing the start of a tribute to the late British pop star Michael.

“I’m sorry. I know it’s live TV,” she said, cursing, stopping her slow ballad version of Michael’s “Fastlove” and asking to start again. “I can’t mess this up for him (Michael),” she said.

Adele, 28, was competing head-on with Beyoncé, 35, the only other artist to be nominated this year for all three top awards – album, song and record of the year.

Chance the Rapper was named best new artist while Twenty One Pilots won the Grammy for best pop duo/group performance for “Stressed Out.”

The other big Grammy winner was late British singer David Bowie, who won all five of the nominations for his final album “Blackstar,” including best rock song.

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Congratulations to all of the winners!!

Grammys 2017: The Complete Winners List

Here’s a full rundown of all the Grammy winners:

Album of the Year: 25, Adele
Record of the Year: “Hello,” Adele
Song of the Year: “Hello,” Adele
Best Rap Album: The Coloring Book, Chance the Rapper
Best Urban Contemporary Album: Lemonade, Beyonce
Best Country Solo Performance: “My Church,” Maren Morris
Best Rock Song: “Blackstar,” David Bowie
Best Pop Duo/Group Performance: “Stressed Out,” Twenty One Pilots
Best New Artist: Chance the Rapper
Best Pop Solo Performance: “Hello,” Adele
Best Traditional Pop Vocal Album: “Summertime: Willie Nelson Sings Gershwin,” Willie Nelson
Best Pop Vocal Album: 25, Adele
Best Dance Recording: “Don’t Let Me Down,” The Chainsmokers Featuring Daya
Best Dance/Electronic Album: Skin, Flume
Best Contemporary Instrumental Album: Culcha Vulcha, Snarky Puppy
Best Rock Performance: “Blackstar,” David Bowie
Best Metal Performance: “Dystopia,” Megadeth
Best Rock Album: Tell Me I’m Pretty, Cage the Elephant
Best Alternative Music Album: Blackstar, David Bowie
Best R&B Performance: “Cranes in the Sky,” Solange
Best Traditional R&B Performance: “Angel,” Lalah Hathaway
Best R&B Song: “Lake By the Ocean,” Hod David & Musze, songwriters (Maxwell)
Best R&B Album: Lalah Hathaway Live, Lalah Hathaway
Best Rap Performance: “No Problem,” Chance the Rapper Featuring Lil Wayne & 2 Chainz
Best Rap/Sung Performance: “Hotline Bling,” Drake
Best Rap Song: “Hotline Bling,” Aubrey Graham & Paul Jefferies, songwriters (Drake)
Best Latin Pop Album: Jesse & Joy, Un Besito Mas
Best Country Album: Sturgill Simpson, A Sailor’s Guide to Earth
Best Country Song: Tim McGraw, “Humble and Kind”
Best Country Duo/Group Performance: Pentatonix, “Jolene (feat. Dolly Parton)”
Best Roots Gospel Album: Joey+Rory, Hymns
Best Large Jazz Ensemble Album: Ted Nash Big Band, Presidential Suite: Eight Variations on Freedom
Best Jazz Instrumental Album: John Scofield, Country for Old Men
Best Jazz Vocal Album: Gregory Porter, Take Me to the Alley
Best Improvised Jazz Solo: John Scofield, “I’m So Lonesome I Could Cry”
Best Chamber Music/Small Ensemble Performance: Third Coast Percussion, “Steve Reich”
Best Dance Recording: The Chainsmokers, “Don’t Let Me Down (feat. Daya)”
Best New Age Album: White Sun, White Sun II
Best Gospel Performance/Song: Tamela Mann, “God Provides”
Best Contemporary Christian Music Performance/Song: Hillary Scott & The Scott Family, “Thy Will”
Best Gospel Album: Kirk Franklin, Losing My Religion
Best Contemporary Christian Music Album: Hillary Scott & The Scott Family, Love Remains
Best World Music Album: Yo-Yo Ma and The Silk Road Ensemble, Sing Me Home
Best Children’s Album: Secret Agent 23 Skidoo, Infinity Plus One
Best Spoken Word Album: Carol Burnett, In Such Good Company: Eleven Years Of Laughter, Mayhem and Fun in the Sandbox
Best Musical Theater Album: The Color Purple
Best Compilation Soundtrack for Visual Media: Miles Ahead
Best Score Soundtrack for Visual Media: John Williams, Star Wars: The Force Awakens
Best Song Written for Visual Media: Justin Timberlake, “Can’t Stop the Feeling!”
Best Instrumental Composition: Ted Nash, “Spoken at Midnight”
Best Arrangement, Instrumental or A Cappella: Jacob Collier, “You and I”
Best Arrangement, Instruments and Vocals: Jacob Collier, “Flintstones”
Best Recording Package: David Bowie, Blackstar
Best Boxed or Special Limited Edition Package: Edith Piaf, Edith Piaf 1915-2015
Best Album Notes: Eubie Blake and Noble Sissle, Sissle and Blake Sing Shuffle Along
Best Historical Album: Bob Dylan, The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collector’s Edition)
Best Engineered Album, Non-Classical: David Bowie, Blackstar
Best Remixed Recording: Bob Moses, “Tearing Me Up (RAC Remix)”
Best Surround Sound Album: Ludovic Morlot & Seattle Symphony, Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’instant & Timbres, Espace, Mouvement
Best Engineered Album, Classical: Mark Donahue and Fred Vogler, Corigliano: The Ghosts of Versailles
Producer of the Year, Classical: David Frost
Best Orchestral Performance: Boston Symphony Orchestra, “Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9”
Best Music Video: Beyoncé, “Formation”
Best Music Film: The Beatles, The Beatles: Eight Days a Week the Touring Years
MusiCares Person of the Year: Tom Petty

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I saw THE LEGO BATMAN MOVIE this weekend with my Niece and Nephew and we all loved it!

Box office report: LEGO Batman whips Fifty Shades Darker while John Wick surges

Though the race was closer than expected, Fifty Shades Darker ultimately submitted to The LEGO Batman Movie at the finish line, as the animated family feature launches with a $55.6 million weekend haul.

The third film to be released under the Warner Bros. Animation umbrella, LEGO Batman, a spinoff of the 2014 blockbuster The LEGO Movie, clocks in around $14 million softer than its forerunner, but its worldwide totals are still impressive: After three days in over 60 global territories, the film sold around $93 million worth of tickets, bounding past its $80 million production budget.

As family-oriented fare often does, LEGO Batman seemingly pleased the crowds it attracted, receiving an A- grade from polled moviegoers on CinemaScore. With such a strong audience-to-product connection, the original LEGO Movie‘s box office domination directly impacted the iconic toy brand’s sales, as profits rose by nearly 15 percent with additional double-digit sales growth in the U.S., U.K., Russia, France, and China in 2014.

Effective counter-programming to LEGO Batman‘s cross-demographic appeal, Fifty Shades Darker held its own against the blockbuster, taking in an estimated $46.8 million between Friday and Sunday for a solid No. 2 finish. The romance-tinged drama, a sequel to the 2015 E.L. James adaptation Fifty Shades of Grey, effectively courted its target audience, as Universal’s tracking indicates 70 percent of the opening weekend crowd was comprised of women. Around 56 percent of the total audience was under the age of 30.

The $55 million film commanded a further $100.1 million from 57 international territories for a global take of $146.9 million — enough to push the film to the top of the worldwide chart. The original Fifty Shades flick made just over $570 million around the world in 2015.

John Wick: Chapter 2 wrote the week’s biggest success story at No. 3, amassing a whopping $30 million over its first three days in wide release — more than doubling the $14.4 million bow posted by its 2014 predecessor. Tracking suggested an opening in the high teens, though the action sequel successfully tapped into the first film’s hungry cult audience, who gave star Keanu Reeves his highest opening weekend since The Day the Earth Stood Still tallied a $30.5 million start in 2008. Chapter 2 averaged $9,642 at 3,113 theaters and an A- grade on CinemaScore.

Rounding out the top five are M. Night Shyamalan’s Split ($9.3 million), which tumbles three spots after spending three consecutive weeks atop the North American chart, and perennial crowd-pleaser Hidden Figures, which adds around $8 million to its ballooning $131.5 million total.

Outside the top 10, a compilation of the Academy’s Oscar-nominated short films averages $3,587 at 184 sites for an estimated $660,000 finish. Belle director Amma Asante’s A United Kingdom, starring Rosamund Pike and David Oyelowo, notches a decent number from four theaters, pulling in approximately $70,000 in limited release.

The week’s highest per-location average (an estimated $40,510 from a single theater), however, hails from Ceyda Torun’s documentary Kedi, which follows Istanbul’s curious population of cats.

Per comScore, overall box office is up around 1.7 percent from the same frame last year. Check out the Feb. 10-12 weekend estimates below.

1. The LEGO Batman Movie – $55.6 million
2. Fifty Shades Darker – $46.8 million
3. John Wick: Chapter 2 – $30 million
4. Split – $9.3 million
5. Hidden Figures – $8 million
6. A Dog’s Purpose – $7.4 million
7. Rings – $5.8 million
8. La La Land – $5 million
9. Lion – $4.1 million
10. The Space Between Us – $1.8 million

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The business of Prince continues.

Prince’s Digital Catalog Returning to Streaming Music

Prince’s digital catalog is heading back to streaming services like Spotify and Apple Music after over 18 months as an exclusive to Tidal, multiple sources have confirmed.

A majority of the musician’s catalog will be available on Sunday to coincide with the Grammys’ tribute to the singer, though it is unclear exactly when the catalog will be available.

Prince pulled his music from the major streaming services in June 2015. A month later, he aligned with Jay Z’s Tidal, offering the service his “Baltimore” and then-upcoming LP Hit n Run, as well as the exclusive streaming rights of his back catalog and other goodies from his legendary vaults. A surprise second new LP, Hit n Run Phase Two, arrived in December 2015.

“After one meeting, it was obvious that Jay Z and the team he has assembled at Tidal recognize and applaud the effort that real musicians put in2 their craft 2 achieve the very best they can at this pivotal time in the music industry,” Prince said of his Tidal deal.

However, four months after Hit N Run Phase Two landed, Prince died unexpectedly at his Paisley Park compound, leaving his estate without specified heirs or an appointed executor. Placed under the administration of a Minnesota bank as well as Prince’s siblings, the estate would later establish a publishing deal with Universal Music for Prince’s catalog, a pact that threatened Prince’s Tidal agreement.

The fissure in the relationship between the Prince estate and Jay Z’s Tidal and parent company Roc Nation was further exposed in November, when the two sides went to court to determine whether Tidal held the exclusive rights to Prince’s digital catalog following the late icon’s death; in a separate action, the Prince estate sued Tidal for streaming 15 Prince albums without permission.

The estate also argued that Tidal never had an exclusivity deal with Prince in writing, and that the streaming service didn’t make good on a $750,000 advance owed to the singer. In Tidal’s suit, the service accused the Prince estate of secretly negotiating with other streaming services.

While the lawsuits continue to play out in court, a judge subsequently ruled on January 30th that Tidal and Roc Nation did in fact pay $3 million to Prince as part of his initial deal with the streaming service, including the $750,000 that the estate called into question.

Following Universal’s acquisition of Prince’s publishing rights, the estate reopened dialogue with services like Spotify and Apple Music, with a target of reintroducing the catalog in time for the Grammys. Amazon Music and IHeartRadio also confirmed that music from Prince’s catalog will be available on their services, with the latter offering the catalog on new subscription services iHeartRadio Plus and iHeartRadio All Access.

Before any deals between the streaming services and the estate were officially announced, Spotify not-so-subtly began trumpeting the arrival of Prince’s catalog in late January with a series of purple billboards in New York’s Union Square subway station.

Last October, Warner Bros. and NPG Records announced the releases of a remastered version of Purple Rain and the greatest hits collection Prince 4Ever. The latter, released last November, included “Moonbeam Levels,” a previously unreleased song recorded in 1982 during the 1999 sessions.

On Thursday, the singer’s estate announced an agreement with Universal Music Group to release his music recorded after 1995 alongside music from his vault, including outtakes, demos and live recordings.