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James Bond

Whoever is going to fill the role, just make another movie already!!

Daniel Craig on James Bond franchise: ‘I’d miss it terribly’

In the midst of the Spectre press tour, 007 star James Bond said that he would “rather break this glass and slash my wrists” than play superspy James Bond in another movie. Craig has been clarifying those comments and walking back their implications for a year now, and this weekend at the New Yorker Festival, he sounded a little more interested in a return to the series.

“When asked 20 feet from the end of the marathon, ‘Will you do another marathon?’ the answer is simple,” he joked. “It’s like, ‘No, I won’t.’” He went on to note how much he enjoyed working on the series: “There is no other job like it…if I were to stop doing it, I would miss it terribly.” (Craig’s statements were captured on video by Phil Nobile Jr. of Birth.Movies.Death.)

According to Craig, there have been no discussions about a follow-up to Spectre, which earned over $880.7 million at the global box office but was unquestionably a qualitative step down from its predecessor Skyfall. (Counterargument: If you’re a fan of Crazy Bond, Spectre might count as a high point.) “There’s no conversation going on,” said Craig, “Because everybody’s just a bit tired.” Craig is 48 and has done four Bond films; previous Bond Pierce Brosnan was roughly the same age, with the same number of Bond films under his belt, when he was let go from the series. Then again, Brosnan’s films never made the kind of money Craig’s last couple of movies have – so there may be some added incentive to bring Craig back for a final film.

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Movies

No movies again last week, but the Blue Jays don’t play again until Friday, so I’m going to see a lot of movies this week!!

Box office report: The Girl on the Train chugs along at No. 1 with $24.7 million

Despite middling reviews, DreamWorks’ The Girl on the Train — distributed by Universal under its new partnership with Amblin Partners — is off to a solid start at the weekend box office, pulling out of the station with an estimated $24.7 million.

The Emily Blunt thriller, based on Paula Hawkins’ best-selling novel of the same name, scores a per-screen average of $7,844 at 3,144 locations — a decent box office kickoff for the $45 million thriller, though its B- grade on CinemaScore suggests that while audiences turned out for the film, they weren’t exactly impressed with the mystery’s page-to-screen adaptation.

The Girl on the Train marks the sixth best start for any of Blunt’s wide releases. Her highest-grossing debut to date stands as The Wolfman, which launched with $31.5 million in 2010.

As expected, Tim Burton’s Miss Peregrine’s Home for Peculiar Children shed roughly 48 percent of its audience, raking in $15 million over its sophomore frame. The $110 million film, director Tim Burton’s first live-action fantasy since 2012’s Dark Shadows, expanded its theater count by 183 on Friday, bringing its location count to 3,705. It’s now the widest release of any film currently on the market.

The film’s domestic total stands at a smidge above $51 million after 10 days in theaters, slightly ahead of Shadows’ initial 10-day gross of $50.7 million.

In its second week, Mark Wahlberg’s Deepwater Horizon falls 42 percent to an estimated $11.8 million, finishing the weekend in the No. 3 position. The $110 million action-drama, based on the real-life events leading up to the 2010 BP oil spill, also stars Kate Hudson, Gina Rodriguez, Kurt Russell, and John Malkovich.

Rounding out the top five are the Denzel Washington-starring Western remake, The Magnificent Seven, which brought in an estimated $9.2 million ($75.9 million total) at No. 4, and Warner Bros. Animations’ Storks, which continues its gentle descent by another 37 percent, finishing the weekend at No. 5 with an estimated $8.5 million ($50.1 million overall).

Fox Searchlight’s $17.5 million investment in The Birth of a Nation didn’t pay off across the film’s debut weekend, as the drama — plagued by controversy surrounding a 17-year-old rape case revolving around the film’s director, Nate Parker, and co-screenwriter, Jean Celestin — makes a soft $7.1 million at No. 6. The film averages $3,373 on 2,105 screens, though it notches the highest audience grade of the week’s new releases on CinemaScore, earning a rare A.

The family-oriented comedy Middle School: The Worst Years of My Life, finishes the week in seventh place, making an estimated $6.9 million from 2,822 screens.

Overall box office is up 3.9 percent from the same period last year. Check out the Oct 7-9 weekend box office estimates below.

1. The Girl on Train – $24.7 million
2. Miss Peregrine’s Home for Peculiar Children – $15 million
3. Deepwater Horizon – $11.8 million
4. The Magnificent Seven – $9.2
5. Storks – $8.5
6. The Birth of a Nation – $7.1 million
7. Middle School: The Worst Years of My Life – $6.9 million
8. Sully – $5.3 million
9. Masterminds – $4.1 million
10. Queen of Katwe – $1.6 million

Categories
People

More sad news from 2016. May Mr. Temperton rest in peace.

Rod Temperton, ‘Thriller’ Songwriter, Dead at 66

Rod Temperton, the songwriter behind Michael Jackson’s hit singles “Thriller,” “Rock With You” and “Off the Wall,” died last week in London following a brief battle with cancer. He was 66.

“Rod Temperton, British Composer and Musician, died last week at the age of 66 in London following a brief aggressive battle with cancer,” Warner/Chappell CEO Jon Platt wrote in a statement (via BBC News).
“His funeral was private,” Platt added. “He was often referred to as ‘The Invisible Man.’ He was the sole writer of multiple successful songs such as ‘Thriller,’ ‘Off The Wall,’ ‘Rock With You,’ [George Benson’s] ‘Give Me The Night,’ [Michael McDonald’s] ‘Sweet Freedom,’ [Heatwave’s] ‘Always & Forever’ and ‘Boogie Nights’ to name just a few. His family is devastated and request total privacy at this, the saddest of sad times.”

Before linking up with the King of Pop, Temperton first served as keyboardist and primary songwriter for the disco-funk outfit Heatwave, including that group’s smash singles “Boogie Nights” and “Always and Forever.” After two albums as a performer with Heatwave – 1976’s Too Hot to Handle and 1978’s Central Heating – Temperton segued into a full-time songwriter role.

In 1979, Quincy Jones sought out Temperton as the producer began work on what would become Michael Jackson’s first solo album in four years, Off the Wall. For the LP, Temperton contributed three tracks: “Off the Wall,” “Rock With You” and the closer “Burn This Disco Out.”

Three years later, Jones and Temperton would reconnect for Jackson’s Thriller, with the songwriter concocting both the album title and its world-changing title track.

“Originally, when I did my demo, I called it ‘Starlight,’ Quincy said to me, ‘Well, you came up with the title of the last album, see what you can do for this album.’ I said, ‘Great,'” Temperton said of “Thriller” in a BBC Radio 2 interview. “I went back to the hotel, I wrote two or three hundred titles for this song. Then I came up with the title ‘Midnight,’ [Jones] said that’s a little bit more mystery, more where you should be heading … The next morning I woke up and I just said this word.

“Something in my head just said ‘This is the title.’ You could visualize it on top of the Billboard charts. You could see the merchandizing of this one word; it jumped off the page at you. So I knew I had to write it as ‘Thriller,’ and I wrote all the words very quickly, then went to the studio and we did it.”

Temperton is also credited with infusing “Thriller” with its horror movie overtones.

“When I wrote ‘Thriller,’ I always envisioned this sort of talking section at the end, and didn’t really know what we were gonna do there,” Temperton said. “But one thing I’d thought about was to have somebody, a famous voice in the horror genre, to do this vocal. Quincy’s wife knew Vincent Price, so Quincy said to me, ‘How about if we got Vincent Price?’ And I said that’d be amazing if we can get him.”

In addition to “Thriller,” which revolutionized the music video genre, Temperton also penned “Baby Be Mine” and “The Lady in My Life” for what ultimately became the best-selling album of all time.

Temperton remained a prolific songwriter, penning songs for Karen Carpenter, Aretha Franklin, Herbie Hancock, Donna Summer, the Manhattan Transfer, Jones and McDonald. (McDonald turned Temperton’s “Sweet Freedom” into a Top 10 hit on the Hot 100 and a Golden Globe nominee.) McDonald and James Ingram also sang the Temperton-co-penned “Yah Mo B There.”

In 1989, Temperton, Jones and Lionel Richie’s The Color Purple song “Miss Celie’s Blues (Sister)” was nominated for Best Original Song at the Academy Awards, where it lost to Richie’s White Nights theme “Say You, Say Me.”

“So saddened to hear about the passing of Rod Temperton,” McDonald tells Rolling Stone. “He was a truly kind and generous man with lethal musical aim in the recording studio. His talent made him a giant in my eyes and his compositions will always be amongst the classic R&B songbook.”

Categories
Movies

No movies for me last week, I was watching baseball. Go Jays Go!!

Box office report: Miss Peregrine perches at No. 1 with $28.5 million

Two big-budget Hollywood spectacles clashed for the top spot at the weekend box office; both budgeted at around $110 million, Peter Berg’s Deepwater Horizon ultimately proved to be no match for Miss Peregrine’s Home for Peculiar Children, as the Tim Burton flick finishes its debut frame at No. 1, earning an estimated $28.5 million between Friday and Sunday.

Miss Peregrine’s No. 1 debut comes in a hair shy of Burton’s previous live-action blockbuster, Dark Shadows, which premiered to $29.7 million back in 2012. While the latter was widely seen as a box office disappointment, finishing its domestic run with just under $80 million, it scored $165 million from overseas markets, and Miss Peregrine is poised to do the same. Still, it’s arguably in position for a healthier run in North America, with stronger critical reviews (64 percent on Rotten Tomatoes) and audience reaction (it stands at a B+ on CinemaScore) than Burton’s last studio fantasy.

Deepwater Horizon, starring Mark Wahlberg, Kurt Russell, Gina Rodriguez, and Kate Hudson, crosses the finish line at No. 2 with an estimated $20.6 million (including $3.7 million from 492 IMAX locations). Though its weekend numbers amount to a little more than half of what Wahlberg and Berg’s previous collaboration, 2013’s Lone Survivor, made across its freshman three-day frame, the action-drama, based on the real-life events leading up to the 2010 BP Oil Spill, earned the best audience reviews (A- on CinemaScore) of this week’s new releases.

Taking a bigger tumble than early projections suggested, last week’s box office champ, The Magnificent Seven, falls two spots to No. 3, making an estimated $15.7 million after a 55 percent decline. Deepwater Horizon likely tapped into Seven’s potential audience, but the Antoine Fuqua-directed western is enjoying healthy worldwide totals, pacing ahead of its $90 million production budget with global numbers amounting to over $108 million and counting.

Warner Bros. Animation’s Storks dips from No. 2 to No. 4 across its second weekend in wide release, shedding a slight 35 percent as it decreases from from $21.3 million to an estimated $13.8 million. The $70 million picture — the second to be released under WB’s animation division — features an all-star voice cast including Jennifer Aniston, Andy Samberg, Ty Burrell, Kelsey Grammer, Jordan Peele, and Keegan-Michael Key.

Rounding out the top 5 is Clint Eastwood’s Sully, which crosses the $100 million mark after its fourth weekend in theaters. Unadjusted for inflation, the $60 million Chesley “Sully” Sullenberger biopic becomes the Hollywood icon’s fifth directorial effort to gross over $100 million, and star Tom Hanks’ 19th. By mid-week, the film should surpass 2013’s Captain Phillips ($107 million) as Hanks’ highest-earning live-action film since Angels & Demons earned $133 million in 2009.

Relativity’s critically-lampooned comedy Masterminds, starring Zach Galifianakis and Kristen Wiig, falls in line with modest projections, taking an estimated $6.6 million at No. 6.

As it expands from specialty release into 1,242 theaters, Disney’s Queen of Katwe stumbles at No. 7, earning a weak $2.6 million with a per-theater average of just $2,100. Still, the Lupita Nyong’o and David Oyelowo-fronted film was the runner-up for the 2016 Toronto International Film Festival’s prestigious People’s Choice Award, and notched an incredible A+ grade on CinemaScore following its limited bow on Sept. 23.

Check out the Sept. 30-Oct. 2 box office estimates below:

1. Miss Peregrine’s Home for Peculiar Children – $28.5 million
2. Deepwater Horizon – $20.6 million
3. The Magnificent Seven – $15.7 million
4. Storks – $13.8 million
5. Sully – $8.4 million
6. Masterminds – $6.6 million
7. Queen of Katwe – $2.6 million
8. Don’t Breathe – $2.4 million
9. Bridget Jones’s Baby – $2.3 million
10. Snowden – $2 million

Categories
Movies

Can’t wait to see this!!

Rush’s ‘Time Stand Still’ Tour Doc Heading to Theaters One Night Only

Rush: Time Stand Still, a documentary that takes a behind-the-scenes look at the prog legends’ 40th anniversary – and possibly final – tour, will head to movie theaters for one night only on November 3rd. Over 460 theaters will take part in the Fathom event, which is accompanied by an exclusive 20-minute short film Rush: A Salute to Kings.

In that short, artists like Red Hot Chili Peppers drummer Chad Smith, Kiss’ Gene Simmons, Heart’s Wilson sisters, Foo Fighters’ Taylor Hawkins and more gush about Rush and what made that band so special. “I am a huge Rush fan. One of the biggest,” Smith says in an exclusive clip from the film.

Rush: Time Stand Still itself promises an intimate, never-before-seen look at Rush both onstage and backstage and examines the band’s close relationship with their diehard fan base. One of those fans, actor Paul Rudd, who featured the group in his film I Love You, Man, serves as narrator for the two-hour film.