Hopefully she comes back for more.

Gillian Anderson won’t be back after X-Files’ 11th season

Gillian Anderson plans to walk away from The X-Files after the upcoming 11th season.

The actress, who plays Agent Dana Scully on the sci-fi show, attended New York Comic-Con on Sunday, and told fans she won’t be back for anymore supernatural adventures.

“I think this will be it for me,” she responded when one fan asked if there would be a 12th season of the show.

Anderson also revealed she only agreed to return for the 10th season revival because she wanted closure for her character: “I felt like it wasn’t over,” she said. “It didn’t feel like we necessarily (delivered) everything the fans were expecting of us last time.”

And she confessed she hadn’t planned to return for an 11th season, adding, “I thought I was done.”

The X-Files’ 11th season will premiere in January.


Looking forward to reading that one!!

Leonard Cohen’s final book due out in October 2018

TORONTO — Leonard Cohen’s final book, which he finished in the months before his death last November, will hit shelves next year.

McClelland and Stewart says it will release “The Flame” on Oct. 16, 2018.

The publishing house describes the book as “a stunning collection of Cohen’s last poems, selected and ordered by the author in the final months of his life.”

The book also has excerpts from his notebooks as well as the full lyrics to his final three albums and those written by Cohen for the album “Blue Alert” by his collaborator Anjani.

Readers will also get to see prose pieces and illustrations by the Montreal-born “Hallelujah” singer-songwriter, who died Nov. 7 at age 82.

McClelland and Stewart calls the book “an enormously powerful final chapter in Cohen’s storied literary career.”

“During the final months of his life, Leonard had a singular focus — completing this book taken largely from his unpublished poems and selections from his notebooks,” Robert Kory, Cohen’s manager and trustee of the Cohen estate, said Friday in a statement.

“The flame and how our culture threatened its extinction was a central concern. Though in declining health, Leonard died unexpectedly.

“Those of us who had the rare privilege of spending time with him during this period recognized that the flame burned bright within him to the very end. This book, finished only days before his death, reveals to all the intensity of his inner fire. ”

McClelland and Stewart publisher Jared Bland said the book is “full of Leonard Cohen’s signature combination of grace, humour, wisdom, and heartbreaking insight into the fragility and beauty of this world we all share.”

“It will endure as a testament to his humanity and genius, and delight his millions of fans around the world,” said Bland.


I need to see BLADE RUNNER 2049!!

Blade Runner 2049 disappoints with $31.5 million opening

The future isn’t looking all that bright for Blade Runner 2049‘s box office prospects. The long-awaited, highly anticipated sci-fi sequel is on track to gross an estimated $31.5 million in the U.S. and Canada during its opening weekend, surpassing its competition but falling considerably short of industry projections, which had put it in the $45 million-$55 million range.

Heading into the weekend, 2049 appeared to have the makings of a hit, including glowing reviews, strong advance ticket sales, a starry cast led by Harrison Ford and Ryan Gosling, a name director in Denis Villeneuve (Arrival, Sicario), and the blessing of original Blade Runner filmmaker Ridley Scott (on board this time as executive producer).

Those who did turn out for the film this weekend skewed male (71%) and older (63% over 35, 86% over 25), and gave it a solid A-minus CinemaScore. But while $31.5 million represents a career high opening for both Villeneuve and Gosling, it’s a disappointing start for a production that reportedly cost upward of $150 million to make. The figure calls to mind Scott’s Alien: Covenant — another attempt at re-invigorating a beloved sci-fi property — which opened to $36.2 million and ultimately crashed at the box office.

2049 was produced by Alcon Entertainment and released by Warner Bros. domestically, with Sony handling international distribution. The film looks to add an estimated $50.2 million from overseas markets this weekend.

The original Blade Runner, released in 1982, was not embraced by critics or audiences at first. But appreciation for the cerebral, slow-burning, and visually striking film — which starred Ford as a jaded cop hunting down androids in dystopian Los Angeles — has grown over the years, and it has become enormously influential across pop culture. Time will tell whether 2049 can find more immediate success.

Coming in a distant second behind Blade Runner 2049 is Fox’s survival romance The Mountain Between Us, with an estimated $10.1 million. The new release, which stars Idris Elba and Kate Winslet as two strangers stranded by a plane crash in the snowy Utah wilderness, received mixed reviews and an A-minus CinemaScore.

The weekend’s other major newcomer, Lionsgate’s animated movie My Little Pony: The Movie, is in line for the No. 4 spot with an estimated $8.8 million. Based on the Hasbro franchise and featuring the voices of Liev Schreiber, Michael Pena, Emily Blunt, Kristin Chenoweth, Taye Diggs, and Zoe Saldana, My Little Pony also garnered an A-minus CinemaScore and mixed reviews.

Rounding out the top five are Warner Bros. and New Line’s horror hit It, in third place with an estimated $9.7 million, and Fox’s spy sequel Kingsman: The Golden Circle, with an estimated $8.1 million.

According to ComScore, overall box office is down 4.8 percent year-to-date. Check out the Oct. 6- 8 figures below.

1. Blade Runner 2049 — $31.5 million
2. The Mountain Between Us — $10.1 million
3. It — $9.7 million
4. My Little Pony: The Movie — $8.8 million
5. Kingsman: The Golden Circle — $8.1 million
6. American Made — $8 million
7. The Lego Ninjago Movie — $6.8 million
8. Victoria and Abdul — $4.1 million
9. Flatliners — $3.8 million
10. Battle of the Sexes— $2.4 million


I’m so heartbroken over his passing. I still don’t believe it!! Rest in Peace, Tom Petty.

Tom Petty, Hall of Fame singer who became rock mainstay in 1970s, dies at 66

Tom Petty, a singer and guitarist who burst onto the scene in the 1970s as one of the most original, searching voices in rock and remained a major hitmaker for four decades, writing songs including “Free Fallin’,” “I Won’t Back Down” and “American Girl,” died Oct. 2 at a hospital in Santa Monica, Calif. He was 66.

Mr. Petty died in a hospital after being found unconscious at his home in Malibu, according to Tony Dimitriades, longtime manager of Tom Petty & The Heartbreakers. He had suffered cardiac arrest.

Mr. Petty and his band, the Heartbreakers, released their self-titled debut in 1976 and soon drew comparisons to the bluesy, guitar-heavy rock of the Rolling Stones and the Byrds. Their music was unabashedly sentimental, seeming to speak to striving, everyday Americans no less than the songs of fellow rocker Bruce Springsteen, while featuring clever arrangements that intertwined the fretwork of Mr. Petty and lead guitarist Mike Campbell.

The group toured seemingly nonstop for decades, leading boisterous shows as recently as last week, when Mr. Petty concluded a nationwide tour that he said may well be his last. “I don’t want to spend my life on the road,” he told Rolling Stone.

Still, Mr. Petty seemed to treat rock as a religion, battling with his record label to prevent the cost of one of his albums from rising by $1 and exuding a sense of divine satisfaction while performing onstage. “I don’t think he thought there was a better way to live your life than in a rock band,” said rock historian and Rolling Stone contributor Anthony DeCurtis. “You never get a sense that this guy was going through the motions at all. It was a matter of conviction for him.”

Mr. Petty, the group’s leader and principal songwriter, was a musical craftsman who paired polished guitar riffs with lyrics that seemed lifted from barroom conversations in his home town of Gainesville, Fla. His 1978 single “Listen to Her Heart” begins, “You think you’re gonna take her away with your money and your cocaine,” while “I Won’t Back Down” — the 1989 fist-pumper that Mr. Petty co-wrote with Jeff Lynne — starts this way: “Well, I won’t back down / No, I won’t back down / You can stand me up at the gates of hell / But I won’t back down.”

It was simple, straightforward and catchy, with a hummable hook that helped Mr. Petty’s solo debut, “Full Moon Fever” (1989), sell millions of copies. His “Greatest Hits” record, a compilation that included the harmonica-driven single “Mary Jane’s Last Dance,” fared even better, sitting on the Top 200 albums chart for more than six years and briefly staking a claim to one of the 100 best-selling albums of all time.

Mr. Petty’s career was marked by personal problems that included a heroin addiction, a tumultuous marriage and a 1987 house fire that burned everything but his basement recording studio. But he remained one of the most durable and distinctive presences in rock for decades, sporting a nasal voice and blond hair that fell to his shoulders.

His 1980s music videos, including an “Alice in Wonderland”-inspired video for “Don’t Come Around Here No More” (1985), in which Mr. Petty played a sunglasses-wearing Mad Hatter, introduced him to some members of the MTV generation. And his recordings with the Traveling Wilburys, a supergroup that formed in 1988 with Bob Dylan, George Harrison of the Beatles and Roy Orbison (who died later that year), connected him with an earlier era of rock music.

Still, Mr. Petty remained an inscrutable presence to many fans. As one friend told Petty biographer Warren Zanes, “He’s got tinted windows on his soul.”

Thomas Earl Petty was born in Gainesville on Oct. 20, 1950, the son of an alcoholic insurance salesman who beat him relentlessly from the time he was 5. His body, he later said, was covered in welts. His revenge was a slingshot to the fin of his father’s 1955 Cadillac.

He escaped the pain of his family life through watching television and then through music. An encounter with rock star Elvis Presley, who was in town to shoot a scene from the 1962 Hollywood musical “Follow That Dream,” was a defining moment of his childhood. Through family connections — an uncle who had been hired to assist the film crew — he managed to get onto the film set and meet the star.

He soon became obsessed with the guitar, the instrument of his musical idol, and his school grades began to drop. He said he preferred the company of his guitar to dates and other teenage rites of passage, and as the Beatles invaded the pop charts his hair grew in length.

Mr. Petty played in local rock bands, with musical dates often in topless bars, and left school at 17 to devote himself to the group Mudcrutch, which included two later foundational members of the Heartbreakers, keyboardist Benmont Tench and lead guitarist Mike Campbell. He was, former bandmate Jim Lenahan told Zanes, ferociously ambitious, “really good at getting people to quit school and join his band.”

Mudcrutch had a strong following in Florida, but Mr. Petty said he was determined to cast a wider mark, which meant writing his own music and hoping it would catch the attention of a record company in Los Angeles.

They signed with Shelter Records, but the band broke up over artistic and personal clashes. “We did the L.A. freakout,” Mr. Petty later quipped. Not until 1975, at a demo session that included Tench, Campbell, drummer Stan Lynch and bassist Ron Blair, did Mr. Petty suddenly find the chemistry just right.

Calling themselves Tom Petty and the Heartbreakers, they released two major hits the next year, “American Girl” and “Breakdown,” which vaulted them to national attention and a regular spot performing at the Whiskey a Go Go and other major Los Angeles clubs.

Their style was a throwback in many ways, a rejection of arena rock bands like Led Zeppelin and the blues roots music of the Allman Brothers in favor of the feral sound of early Presley and Buddy Holly. When promoters and radio stations classified the group as a punk act, Mr. Petty fumed. He and his band were pure rockers.

Legal entanglements ensued when his record company changed hands after the release of the band’s second album, “You’re Gonna Get It!” in 1978. Mr. Petty said he refused to be “bought and sold like a peace of meat,” and found his career stalled over charges of breach of contract when he wanted out. He declared bankruptcy in 1979, signed with a new label, Backstreet Records, and reached a settlement with his former record company.

The new arrangement would mark a renaissance in Mr. Petty’s music. The record “Damn the Torpedoes” (1979) — a playful jab at his legal troubles — endures as one of the timeless rock albums of the era, oozing tenderness and toughness and a propulsive rock drive on songs such as “Refugee” and “Louisiana Rain.” The album, defined by Mr. Petty’s emotive vocals and Campbell’s vital guitarwork, sold millions of copies and summited the pop charts.

Mr. Petty’s next several albums with the Heartbreakers — including “Hard Promises” (1981), with a duet with Stevie Nicks of Fleetwood Mac on the song “Insider,” and “Long After Dark” (1982) — continued to sell exceedingly well. Critics rhapsodized on his originality and suppleness.

“The music on ‘Long after Dark’ offers the passion, the attention to detail, the delicate balance of originality and love of tradition that have always informed the best rock-and-roll,” Robert Palmer wrote in the New York Times. “ ‘Long after Dark’ also happens to be one of the most gorgeous-sounding rock-and-roll albums in recent memory. Mr. Petty and his collaborators have fashioned an aural landscape of remarkable beauty and depth. Phalanxes of electric 12-stringed guitars advance across meadows of layered keyboards, while 6-strings chime out harmonious, pealing chords and drums crash like thunder.”

As the decade progressed, Mr. Petty lent his name recognition to benefit concerts such as Live Aid, and he also contributed hitmaking songs for other performers, including “Never Be You” for Rosanne Cash. Worried that the Heartbreakers were becoming too well-oiled for their own good, he ventured into conceptual rock — with touches of psychedelia and soul — for their 1985 album “Southern Accents,” which had the one-off hit “Don’t Come Around Here No More.”

In 1986, he and the Heartbreakers toured as the backing band for Dylan, one of Mr. Petty’s chief musical influences. Their next album, “Let Me Up (I’ve Had Enough)” in 1987, demonstrated a shaggy freewheeling spirit more than their previous polished studio work and a virtuoso-like versatility, but he also saw his commercial prospects dwindling.

His work with the Traveling Wilburys, and the chart-topping success of “Free Fallin’ ” and “I Won’t Back Down,” from “Full Moon Fever,” propelled him into the next decade. As Mr. Petty put it, the album “made me such a nice guy for about a year.” He was now a household name, an arena-filling act who suddenly became a target for music critics anticipating that he — now on the precipice of fame — would relinquish his mantle as an innovator and leave behind his roots in favor of lucre.

His later albums, among them “Into the Great Wide Open” and “Wildflowers,” continued to reap financial rewards for its creator, but he remained very much attuned to musical integrity. His music lacked superstar pretensions in favor of exquisite melodies and high-level craftsmanship. He tried to avoid the pitfalls of 1980s rock-band excess, and he embraced the hallmarks of the post-Nirvana generation of music makers.

“They don’t give a damn how much money they’re going to make,” he told the London Independent in 1994. “I think in America for a long time you had groups that wanted to be stars more than they wanted to make music. We always went on the theory that if we made really good music we might attain stardom, but it was never the primary goal.”

Mr. Petty made idiosyncratic guest appearances in the 1997 Kevin Costner film “The Postman” and on TV shows including “It’s Garry Shandling’s Show” and the animated series, “King of the Hill.”

His marriage to Jane Benyo, with whom he had two daughters, ended in divorce; he said her escalating drug use and mental illness, including threats of suicide, exacerbated his own prodigious heroin consumption and a furtive public posture. In 2001, he married Dana York in a ceremony presided over by rock star and ordained minister Little Richard. A complete list of survivors could not be immediately confirmed.

The Rock and Roll Hall of Fame inducted Mr. Petty and the Heartbreakers in 2002. “I’d like to see us break some new ground and leave some sort of mark on the music,” Mr. Petty once said, according to his citation. “That would be the nicest thing — to give something back, as noble as it sounds. If you could make some little dent in rock, where that little area is yours — that’s what I’m striving for now.”


I saw the Pearl Jam documentary LET’S PLAY TWO and The Tragically Hip doc LONG TIME RUNNING this weekend. I still need to see AMERICAN MADE and BATTLE OF THE SEXES.

It edging out American Made and Kingsman 2 at the box office

It is rising up from the sewers and looking to reclaim the box office crown. In its fourth weekend in theaters, Warner Bros. and New Line’s horror hit is on track to gross an estimated $17.3 million in the U.S. and Canada, narrowly topping the new Tom Cruise caper American Made and last week’s winner, Kingsman: The Golden Circle. Meanwhile Sony’s Flatliners reboot is showing few signs of life.

Based on Stephen King’s 1986 novel and directed by Andy Muschietti, It powered a record-breaking September at the domestic box office, where it has grossed $291.2 million. The film has added $262 million in foreign markets, pushing its worldwide total well past the half-billion-dollar mark, to $553.2 million.

Given It‘s critical and commercial success, it’s no surprise that a sequel was recently slated to hit theaters in 2019.

On It‘s tail, however, are Universal’s American Made with an estimated $17.016 million and Fox’s Kingsman: The Golden Circle with an estimated $17 million. (Final weekend grosses will be reported Monday.)

The former film, directed by Doug Liman (Edge of Tomorrow) and starring Cruise as TWA pilot turned drug runner and arms smuggler Barry Seal, has garnered positive reviews and received a decent B-plus CinemaScore from audiences. However, it also marks the lowest opening for a Cruise film since 2012’s Jack Reacher ($15.2 million).

Cruise remains a draw overseas, where American Made has been rolling out over the past several weeks to the tune of $64.7 million.

A hair’s breadth behind American Made, director Matthew Vaughn’s Kingsman sequel is on pace to decline 56% in its second weekend, bringing its domestic total to $66.7 million. For the sake of comparison, the original Kingsman declined 49% in its sophomore frame, putting its total at $68 million.

The weekend’s other new major release, Flatliners, will gross an estimated $6.7 million, taking fifth place and falling short of industry projections, which had it closer to $10 million. A remake of Joel Schumacher’s 1990 thriller about a group of medical students who conduct dangerous near-death experiments, the film took a drubbing from critics (it currently has a 0% score on Rotten Tomatoes) and received a tepid B-minus CinemaScore from moviegoers.

The new film is directed by Niels Arden Oplev, who previously helmed the Swedish version of The Girl with the Dragon Tattoo, and stars Ellen Page, Diego Luna, and Nina Dobrev.

Filling out the top five is Warner Bros’. The Lego Ninjago Movie, in fourth place with $12 million. After 10 days in North American theaters, the animated film has taken in $35.6 million, lagging well behind the pace of predecessors The Lego Movie and The Lego Batman Movie.

Further down the list, Fox Searchlight’s Oscar hopeful Battle of the Sexes expanded from 21 theaters to 1,213 in its second weekend and is on pace to gross an estimated $3.4 million, while the Taye Diggs-led psychological thriller Til Death Do Us Part (distributed by Novus Content) is poised to crack the top 10 with a $1.5 million bow. Both figures are below industry projections.

According to ComScore, overall box office is down 4.7 percent year-to-date. Check out the Sept. 29-Oct. 1 figures below.

1. It — $17.3 million
2. American Made — $17.016 million
3. Kingsman: The Golden Circle — $17 million
4. The Lego Ninjago Movie — $12 million
5. Flatliners — $6.7 million
6. Battle of the Sexes — $3.4 million
7. American Assassin — $3.3 million
8. Home Again — $1.8 million
9. Til Death Do Us Part — $1.5 million
10. mother! — $1.46 million


May he rest in peace.

Monty Hall, ‘Let’s Make a Deal’ Host, Dies at 96

Monty Hall, the emcee, producer, singer and sportscaster best known as the host and co-creator of the influential long-running game show “Let’s Make a Deal,” has died at age 96.

Born Monte Halparin in Winnipeg, Manitoba, Canada to an Orthodox Jewish family, Hall began his career in broadcasting on the radio in 1946, but soon moved into the then-nascent television industry. He hosted several pivotal game shows in the 1940s and 50s, among them “Strike It Rich” on CBS, the short-lived CBS game show “Video Village,” and briefly in 1958, NBC’s notorious “Twenty One” (though he was not involved in the contest-rigging scandal for which that show is best known).

“We are deeply saddened to learn of the passing of Monty Hall, a television legend who hosted a show and created a format that has entertained audiences for more than 50 years,” said Angelica McDaniel, Executive Vice President, Daytime Programs and Syndicated Program Development, CBS Entertainment and CBS Television Distribution in a statement. “Monty’s infectious enthusiasm, humor and warmth were a winning combination that was evident to everyone he encountered, whether returning to make appearances on the current version of LET’S MAKE A DEAL, or gracing us with his presence at a photo shoot celebrating CBS Daytime earlier this year. On screen, Monty made the ‘Big Deals,’ but in the game of life, he himself was one. Our hearts go out to his children, his entire family and friends.”

Hall moved to California in the early 60s, and developed “Let’s Make a Deal” with his partner, Stefan Hatos. The show, in which audience members make “deals” for cash or prizes, presented contestants with often-difficult choices between cash or an unknown prize behind a closed door. The surprises could be anything from vacation packages and appliance to booby prizes.

“Let’s Make a Deal” ran on NBC from 1963 to 1968, then switched to ABC until 1976. It aired in syndication through 1986 and was briefly revived on NBC in 1990 and again in 2003. It has has aired on CBS since 2009.

Hall hosted the series through its entire original run, and returned briefly in 1991, appearing in front of the camera for over 4,700 episodes.
Hall was also an generous philanthropist. Children’s wings at UCLA Medical Center, Philadelphia’s Hahnemann University Hospital, Toronto’s Mount Sinai Hospital, and Johns Hopkins are named after him, and in 1988 he was inducted into the Order of Canada for his efforts.

Hall is survived by his daughters, son, sons in law, and grandchildren. Hall’s wife of 70 years, Emmy-winning producer Marilyn Hall, died in June.


Anything he wants to release is very welcome.

Gord Downie to release new solo album Introduce Yerself

Tragically Hip frontman Gord Downie has announced a new solo project set to debut this fall: a double album entitled Introduce Yerself.

The 23-song release is produced by Broken Social Scene’s Kevin Drew, who also co-wrote several tracks. The album will be released Oct. 27 by Canadian label Arts & Crafts.

In a short video unveiling the new solo project, Downie reveals that “each song is about a person.” The video was directed by Jennifer Baichwal and Nicholas de Pencier, the filmmaking duo behind the recent documentary Long Time Running about the Tragically Hip’s Man Machine Poem tour in the summer of 2016.

The tracks were recorded during a pair of four-day studio sessions in January 2016 and February 2017, with many songs on the final album reflecting Downie’s first take on the track.

The forthcoming album is described as “74 minutes of Downie’s most personal storytelling.”

This is Downie’s second consecutive solo project since revealing his diagnosis of terminal brain cancer.

Last October, he released Secret Path, a multimedia oeuvre based on the story of Chanie Wenjack, who died in 1966 while escaping a residential school. Downie’s solo album was accompanied by a graphic novel and animated film featuring the work of illustrator Jeff Lemire.


Do it, Denis! Do it!!

Who Daniel Craig May Want To Direct The Next James Bond Movie

With Daniel Craig reportedly set to return to the Bond franchise for one more ride in Bond 25, the race is on to find a new director to take the reins on the project. For many filmmakers, this would represent a dream job, and Bond fans have consistently chimed in with their ideas about who should get the gig — ranging from Christopher Nolan to Quentin Tarantino. Now it seems that Craig may have a dream choice of his own, as new rumors have hinted that the Bond actor wants Blade Runner 2049’s Denis Villeneuve.

With anticipation running high for Denis Villeneuve to dive headfirst into the Blade Runner universe, Daniel Craig reportedly seems to think that the Canadian filmmaker could similarly rejuvenate the James Bond franchise with the upcoming production of Bond 25. Craig is reportedly championing Villeneuve to step behind the camera on the twenty-fifth entry in the long-running spy franchise, and based on the number of hoops studio has been willing to jump through to lock him down, it’s not outside the realm of possibility to assume that the actor’s support could go a long way towards getting Villeneuve the job. This report comes after another recent news story broke suggesting that Denis Villeneuve was one of three frontrunners on the Bond 25 shortlist — with the other two options being Hell or High Water’s David Mackenzie and ’71’s Yann Demange.

As a filmmaker, Denis Villeneuve already has quite a bit going for him to deliver some strong results in the world of James Bond. With his work on films like Sicario and Prisoners, he has shown his capability of producing grounded, gritty, and downright mean thrillers. As the Daniel Craig Bond years have very much felt defined by a down and dirty sensibility, this could potentially make him a perfect choice to take over from Sam Mendes — who directed Skyfall and Spectre.

Beyond his potential comfort in a Bond film, Denis Villeneuve’s recent work seems to show just how ambitious his films have become as he has moved into bigger and bolder territory. Blade Runner 2049 has already garnered a ton of buzz, and his Oscar-nominated work on Arrival showed what he’s capable of when he lets loose and plays with cerebral, non-linear stories fronted by strong female characters. Put all of that together, and you have the recipe for a Bond film unlike anything that we have ever seen before. Per this recent Daily Mail report, it certainly makes sense that Daniel Craig may want Villeneuve for this job.

Only time will tell if Denis Villeneuve will step behind the camera for Bond 25, but it is a possibility that has us very excited. Until then, you can catch the director’s latest work on Blade Runner 2049, which debuts in theaters on October 6.


It can’t be denied, Kingsman: The Golden Circle is an unnecessary sequel…unless you loved the original. If thats true, see it. Otherwise skip it!

Box office report: Kingsman 2 dethrones It as Lego Ninjago misfires

Fox’s over-the-top spy sequel Kingsman: The Golden Circle is on track to gross an estimated $39 million in the U.S. and Canada during its first weekend in theaters, unseating two-time box office champ It and outpacing fellow new release The Lego Ninjago Movie.

After getting roughed up by critics, The Golden Circle will likely debut below the $41.8 million four-day total pulled in by its predecessor over Presidents Day weekend in 2015, but above the original’s Friday-Sunday total of $36.2 million. With $39 million, the sequel would notch the fifth-highest September opening ever, not adjusted for inflation. It’s also on pace to add an estimated $61.2 million from 55 international markets this weekend.

Directed by Matthew Vaughn and loosely based on the comic book The Secret Service, the second Kingsman film finds young British spy Eggsy (Taron Egerton) and his mentor Harry (Colin Firth) teaming up with their American counterparts to save the world. The high-profile cast also includes Channing Tatum, Julianne Moore, Halle Berry, and Jeff Bridges.

Moviegoers gave The Golden Circle a decent B-plus CinemaScore.

Dropping down to the No. 2 spot, It is on pace for an estimated $30 million, which would bring its domestic total to $266.4 million after 17 days in theaters. The Warner Bros. and New Line film, adapted from Stephen King’s 1986 horror novel of the same name, has smashed several box office records, including highest September opening and highest-grossing horror movie (both unadjusted for inflation). A sequel is already in the works.

Things are less rosy in Legoland, as Ninjago is debuting in third place with an estimated $21.2 million — considerably below industry projections, which pegged it closer to $30 million. The Warner Bros. animated film, about a young ninja warrior and friends battling his warlord father, is lagging far behind the openings of predecessors The Lego Movie ($69.1 million) and The Lego Batman Movie ($53 million).

Reviews for Ninjago were underwhelming, and audiences gave it a B-plus CinemaScore.

Charlie Bean, Paul Fisher, and Bob Logan directed the movie, and the voice cast includes Dave Franco, Justin Theroux, Olivia Munn, Michael Pena, and Jackie Chan.

Rounding out the top five are the Dylan O’Brien action thriller American Assassin, with an estimated $6.3 million, and the Reese Witherspoon romantic comedy Home Again, with an estimated $3.3 million.

On the specialty front, this weekend saw the release of the sports biopic Battle of the Sexes, the Boston Marathon bombing drama Stronger, and the period pic Victoria and Abdul.

Starring Emma Stone as Billie Jean King and Steve Carell as Bobby Riggs, Fox Searchlight’s Battle of the Sexes is on pace to take in an estimated $525,000 from 21 locations, for a solid per-theater average of $25,000.

Focus Features’ Victoria and Abdul, starring Judi Dench as Queen Victoria and Ali Fazal as her attendant Abdul Karim, will gross an estimated $152,000 from four locations, for a strong per-theater average of $37,933.

And Lionsgate and Roadside Attractions’ Stronger, starring Jake Gyllenhaal as bombing survivor Jeff Bauman, is poised to crack the top 10 with an estimated $1.7 million from 574 locations. That works out to a per-theater average of $3,045.

According to ComScore, overall box office is down 4.6 percent year-to-date. Check out the Sept. 22-24 figures below.

1. Kingsman: The Golden Circle — $39 million
2. It — $30 million
3. The Lego Ninjago Movie — $21.2 million
4. American Assassin — $6.3 million
5. Home Again — $3.3 million
6. mother! — $3.3 million
7. Friend Request — $2.4 million
8. The Hitman’s Bodyguard — $1.9 million
9. Stronger — $1.7 million
10. Wind River — $1.3 million


I saw mostly Toronto Film Festival Flicks this week, with only The Tragically Hip film to recommend.

It breaks box office records in second weekend as mother! flops

It has still got it. Warner Bros. and New Line’s big-screen adaptation of the Stephen King horror novel is on track to gross an estimated $60 million in the U.S. and Canada this weekend, topping the box office for a second time. On the flip side, Darren Aronofsky and Jennifer Lawrence’s psychological thriller mother! is stumbling with an estimated a $7.5 million debut.

After a record-breaking bow last week, It declined just 51 percent, bringing its domestic total to an estimated $218.7 million after just 10 days in theaters. The movie is now the highest-grossing September release ever, eclipsing the $174.8 pulled in by Crocodile Dundee in 1984. It is also set to add another $60.3 million overseas, which would put its worldwide tally at $371.3 million.

Andy Muschietti (Mama) directed It, which stars Jaeden Lieberher, Sophia Lillis, Finn Wolfhard, Jack Dylan Grazer, Chosen Jacobs, Wyatt Oleff, and Jeremy Ray Taylor as a group of unpopular kids in small-town Maine who battle an evil presence that feeds on its young victims’ greatest fears. Bill Skarsgard portrays the malevolent being in its favored form, a demonic clown named Pennywise.

King’s novel was published in 1986 and previously adapted as a 1990 miniseries. A sequel to Muschietti’s movie has not been officially given the green light but is already in development.

Fortunes are looking less favorable for mother!, which is on pace to come in well below industry projections of about $11 million. That puts the Paramount film in third place for the weekend and resets the bar as the lowest nationwide release of Lawrence’s career (displacing The House at the End of the Street and its $12.3 million five years ago).

Despite having a name director in Aronofsky and a star-studded cast — including Javier Bardem, Ed Harris, and Michelle Pfeiffer — mother! was largely rejected by audiences. They hit it with an F CinemaScore, putting it in rare company and likely hobbling word-of-mouth prospects. Critics’ reviews were not as dire but still somewhat mixed.

The film, which Aronofsky also wrote, stars Lawrence as a young woman whose tranquil life with her husband, a creatively blocked poet (Bardem), is upended by the arrival of an enigmatic couple.

Speaking about the extreme reactions to his movie, Aronofsky said, “Anytime you do something that aggressive there are going to be people who enjoy it, who want to be on that roller coaster ride, and then there are others who say, ‘Oh no, that was not for me.’ It’s a strange one. You see Jennifer Lawrence, Javier Bardem, Ed Harris, and Michelle Pfeiffer and people are conditioned for a certain type of movie. And … we didn’t do that type of movie. [Laughs] It’s all good.”

Sliding between It and mother! at the No. 2 spot is another R-rated film, American Assassin. The new release, which marks Dylan O’Brien’s first time back on the big screen since his serious injury on the set of Maze Runner: The Death Cure last year, will gross about $14.8 million this weekend. It’s a satisfactory start for the action-thriller, about equal to that of the original John Wick (which just got a second sequel).

Directed by Michael Cuesta (Kill The Messenger) and released by Lionsgate, American Assassin stars O’Brien as a CIA black-ops recruit under the tutelage of a Cold War veteran (Michael Keaton). Critics were unimpressed by the film, but audiences gave it a respectable B-plus CinemaScore.

Rounding out the top five are the Reese Witherspoon romantic comedy Home Again, with an estimated $5.3 million, and the Ryan Reynolds-Samuel L. Jackson action-comedy The Hitman’s Bodyguard, which an estimated $3.6 million.

And on the specialty front, Mike White’s dramedy Brad’s Status, starring Ben Stiller as a middle-aged family man questioning his life choices while touring colleges with his son, is leading the pack with an estimated $100,179 from four locations. That breaks down to a solid per-theater average of $25,045 for the Amazon and Annapurna release.

According to ComScore, overall box office is down 4.9 percent year-to-date. Check out the Sept. 15-17 figures below.

1. It — $60 million
2. American Assassin — $14.8 million
3. mother! — $7.5 million
4. Home Again — $5.3 million
5. The Hitman’s Bodyguard — $3.6 million
6. Annabelle: Creation — $2.6 million
7. Wind River — $2.5 million
8. Leap! — $2.1 million
9. Spider-Man: Homecoming — $1.9 million
10. Logan Lucky — $1.3 million