The Heroes Prevailed At Fan Fest Orlando

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September 19, 2016

The creators of Walker Stalker Con and Heroes & Villians put together Fan Fest Orlando, a charity event to benefit the victims and families of the Pulse Night Club mass shooting. Twenty-five celebrities and hundreds of volunteers came together on Saturday to become the real heroes.

According to event staff, the goal was to raise one million dollars. 100% of the profits from autographs and photo ops would be donated to the OneOrlando Fund. The stars of ‘The Walking Dead,’ WWE Superstars, superheroes of the CW, and the villains of Gotham came out in force. ‘Arrow’ star Stephen Amell rallied the troops, but each celebrity had their own personal reason for volunteering his or her time.

“It’s important for me to be here because I think in this day and age giving back is one of the best things we can do as human beings,” said Shantel VanSanten of ‘The Flash.’

Several actors had personal ties to the Orlando area, Jordan Woods-Robinson is a Blue Man and Jeremy Palko worked at Universal Studios.

“I’m hoping this is going to raise a huge amount of awareness. That it’s great for not just generating income for support, but also just the show of support for the community, the LGBTQ community and everyone affected by the shootings,” said Woods-Robinson of ‘The Walking Dead.’

“A lot of people who were affected by this tragedy were in the entertainment community. I personally worked at Universal Studios and that entire family there was just really taken back by this. So to be a small part of giving back to this community has been really great,” said Palko of ‘The Walking Dead.’

Others hoped for changed and some demanded it.

“It’s hard to define it. I think it’s going to be inexpressible, the impact, at least I hope. I hope that people feel a sense of comfort and a sense of hope from the unity that is here, that is represented here. And I pray that people feel loved and supported. That’s what is most important about this. I think that’s all the impact we can hope for, and I think even beyond that, change would be ideal as well. If this could insight even the smallest amount of change, I think that is a success,” said Sonequa Martin-Green of ‘The Walking Dead.’

“People give so much relevance to what we do, so if we’re able to bring attention to a tragic situation, and I’m always trying to turn tragedy into triumph. So I think it is important as a community to rise up and say no. That’s not what we stand for. So hopefully this will bring healing to some of the families and let people know that we stand together for peace,” said Chad Coleman of ‘The Expanse’ and ‘Arrow.’

The emotions ran high on Saturday, but everyone knew the goal and dropped what they were doing to come together for a good cause. If you would like more information on the OneOrlando Fund or to donate, click the link provide.

Orlando: Thank you. pic.twitter.com/2S6VPwxO2U

— Stephen Amell (@StephenAmell) September 17, 2016

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Review: ‘Snowden’ A Blase Approach To A Scintillating Topic

By

Dewey Singleton - Film Critic

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September 19, 2016

Snowden is a mediocre portrait of the most notorious whistleblower in the world. What’s shocking is that director Oliver Stone shied away from themes that are synonymous with his films (government power, war, secrecy) and sought to humanize a man who risked it all to do what he felt was right. While it was refreshing to see Stone taking a different approach with this highly topical film, humanizing Snowden creates an incredibly bland narrative that transforms a highly engaging topic into a tepid one.

Stone uses Laura Poitras’s Oscar-winning documentary Citizenfour (about former NSA contractor Edward Snowden) as a launching pad into a relatively complex narrative. While it would have been easy to make a political statement (which, given Stone’s past projects, would have been no surprise), he crafts an entirely logical sequence of events that doesn’t side with those who would make Snowden a hero or those who would execute him on sight… the epitome of milquetoast story-telling. In spite of this, Joseph Gordon-Levitt delivers his best performance to date. It’s apparent that he’s studied up on Edward Snowden and embodies the controversial former NSA contractor while on screen. His performance is the buoy that keeps this film afloat.

Levitt portrays Edward Snowden as a man who is disenchanted with the United States monitoring our every move and begins to question the powers that be. Indeed one could make an argument that Snowden is similar to some other famous characters in previous Stone films. For Example, Jim Garrison in JFK became disenchanted with authority as he attempted to unravel a vast conspiracy surrounding the assassination of John F. Kennedy. However, in JFK we saw a gritty filmmaker who sought out a truth and didn’t shy away from controversy. Snowden brought out a complacency in Stone that I was unaware he possessed. Where was that urgency to point the finger at the government for conducting illegal surveillance of its citizens? Why even tackle this subject matter if you weren’t going to do anything with it?

Instead of taking a more deliberate approach to telling the story of what transpired at the NSA, Stone shines a big spotlight on Edward’s relationship with Lindsay Mills (Shaline Woodley). Mills doesn’t move the story along but does certainly interject a heavy dose of melodrama. Will he tell her the truth? Why won’t he tell her truth? Will she stay with him? Why is she staying with him? The moment we were forced to endure a scene involving Snowden gazing into a glass kitchen door and observing his girlfriend talking to another man, this film became less of a movie directed by Oliver Stone and more like one directed by the late Gary Marshall. Woodley’s performance is a very stilted and typical portrayal of a girlfriend in “turmoil. It’s perplexing what the director saw in her. Why would you give such a typical portrayal more screen time than you gave Joan Allen’s tremendous performance as the first lady in Nixon?

One of the few highlights of Snowden was the music composed by Craig Armstrong and Adam Peters. Armstrong and Peters have written notes that are both haunting and evoke and anxious undertones found throughout the film. So if anyone reading this is moved by great music, then, by all means, please purchase a ticket to see this movie ASAP. However, if you are irritated by bland retellings of a story that has been all over the news, then avoid Snowden at all cost.

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The Short Film Is In The Midst Of A Golden Age Of Quantity And Quality

By

Ruben Diaz

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September 19, 2016

Many moons ago, about 100 years worth of lunar orbits, short films were nearly as common as features. In the early days, a short film almost always ran before a feature as a little appetizer. Modern viewers are used to this sort of thing from Pixar. But as feature films became longer, short films vanished from this pre-show slot. But they didn’t disappear from cinema altogether. As a matter of fact, while superheroes dominate the box office and screens at major theater chains, more and more “indie” movie houses and film festivals are showcasing the works of talented artists telling shorter stories. It’s the golden age of short films! And, yes, less does indeed sometimes equal more.

Across the globe festivals like The 48 Hour Film Project, legendary mainstays like Cannes or Sundance, and Mumbai International Film Festival features a broad range of short films. Thousands of such festivals, in fact, more than at any other time in history. Why the explosion in short motion pictures? Producer of the Miami/Ft.Lauderdale 48 Hour Film Project, Cathleen Dean provides the answer “… we have a better-educated pool of filmmakers with access to great equipment, and that has resulted in an increase of more of skillfully produced films.”

Le Voyage Dans la Lun (A Trip to the Moon) by Georges Méliès in 1902 is perhaps one of the best-known short films in cinema history:

The Oscars have long awarded short films in fiction, animated, and documentary categories. In 2015, Body 12 won the golden statue for documenting the story of Ebola workers in West Africa. Ms. Dean calls out 2009 Oscar-winner, the uplifting Music by Prudence as a personal favorite.

One of the more famous short films in recent pop culture is Kung Fury. A borderline psychedelic action short made by a team from Sweden. Kung Fury is like living in an 80s video game, martial arts flick, and buddy cop movie all at the same time. The ridiculous fun of the 31-minute short film features a song from David Hasselhoff. YouTube and Vimeo play home to thousands of movies and even series of films that focus on shorter running times.

Lights Out by David F. Sandburg is only two minutes and fifty-one seconds long but is no less terrifying than any contemporary horror. The film’s success opened the door for the self-taught Sandburg to receive a five million dollar investment in a feature-sized version. Released in July, the 81-minute version of Lights Out has a 76% on Rotten Tomatoes for those who find that sort of thing useful.

Sandburg’s success using a short film to garner attention for more film work is becoming more and more common. The original Saw was a 10-minute proof of concept, and we all know what happened there. Love or hate the 2013 Evil Dead remake, but director Fede Alvarez made a short film in his home country of Uruguay called Panic Attack! which caught the eye of Hollywood.

Short films are easier to produce and, as Ms. Dean says “gives the filmmakers an opportunity to showcase their work …” And with tens of thousands of short film festivals a year, and the Internet itself, the opportunity for exposure is immense.

Even established directors like Park Chan-wook (Oldboy, Snowpiercer) create short works in innovative ways. In 2011, Chan-wook directed a 33-minute film called Night Fishing which was entirely shot using an iPhone 4.

What movies, whatever the length, are yet to come as technology continues to make it easier for filmmakers to bring their visions to life?

I recently interviewed Cathleen Dean who hosted the Miami/Ft.Lauderdale Awards Ceremony for The 48 Hour Film Project in July. Check out the winners here, including Group B Audience Winner Put Your Lips Together And Blow written by yours truly. And that’s a truly shameless plug.

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Five Favorite Films From The Year I Was Born: 1992

By

Anthony Composto - EIC

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September 19, 2016

The 90s was one of the memorable decades in cinema history. It was the birth of the indie film movement, and a time of experimentation. Some years, such as 1994 or 1999, were so packed full of amazing films that it’s almost impossible to pick out your favorite five. Others, like my own birth year 1992, were a bit more…mediocre. However, that only made it easier for me to pick my Five Favorite Films From The Year I Was Born. Here they are, the diamonds in the rough (you’ll get that reference when you see number two):

5. Wayne’s World

I still can’t listen to “Bohemian Rhapsody” without thinking about this movie. Wayne’s World is the most successful feature film to ever come out of Saturday Night Live, and for good reason. It’s pure and simple entertainment, it features standout performances from 90s icons, and it captures the essence of rock-and-roll culture.

In the end, comedies are meant to make you laugh, and Wayne’s World is able to do that repeatedly without devolving into mindless drivel. Party on.

4. Batman Returns

Batman Returns was the one and only American superhero film of 1992. To put that in perspective, six have been released so far this year and it’s only September.

After the groundbreaking success of 1989’s Batman, the studio gave Tim Burton more creative control on the sequel. As a result, Returns is more stylized, more gothic, and more Burtonesque in every sense of the word. It’s also somewhat campy and it doesn’t hold a candle to the superhero movies of today, but as far as early films of the genre go, this is one of the best.

3. My Cousin Vinny

I enjoy this movie even more these days, ever since I became a born-and-raised New Yorker transplanted to rural Florida.

The best comedies are ones where the humor comes from true to life situations, and it doesn’t get more true to life than My Cousin Vinny. On top of being a laugh-out-loud comedy, it’s also a compelling courtroom drama that gets better with each watch. There isn’t a poor performance to speak of, featuring stars Joe Pesci, Marisa Tomei, and Ralph Macchio at the height of their powers. Plus it’s just so damn quotable (I make sure to slip the phrase “two yutes” into casual conversation whenever possible).

2. Aladdin

90s kids had the good fortune of growing up during the Disney Renaissance. Some people may say that’s what gives us our annoying optimism, but I say that those people are just jealous.

Yes, Aladdin has one of the strongest soundtracks of any Disney film. Sure, Jafar is one of the greatest and most sinister Disney villains. But what really makes this movie stand out as one of the best is Robin Williams’ turn as Genie. Aladdin’s big blue buddy absolutely steals the show, and is the reason kids and adults alike remember the animated feature as fondly as they do.

1. Reservoir Dogs

Two words: Quentin. Tarantino.

One of history’s greatest filmmakers made his debut in 1992 with a small crime thriller about a heist gone wrong. Even though it got overshadowed two years later by Pulp Fiction, Reservoir Dogs is a masterpiece featuring everything audiences have come to love and expect from Quentin, from vulgar yet captivating dialogue to over the top violence. I could watch this movie on repeat without getting bored, and the opening diner conversation is still one of my favorite scenes from any Tarantino flick.

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There you have it, my five favorite films from 1992. Do you agree or disagree with my choices? Do you Deadites hate me for not including Army of Darkness? Sound off in the comments below!

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‘Game of Thrones’ becomes scripted show with highest win tally in Emmy history

By

Kris Solberg

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September 19, 2016

During last night’s award ceremony, a 12 year old record was broken. Following their 12 wins, Game of Thrones increased their total number of Emmys to 38, passing Frasier to become the scripted show with the highest win tally. Through 11 seasons, the popular sitcom earned 37 competitive wins, including Outstanding Comedy Series five years in a row.

While the landmark fantasy epic claimed the throne for most wins for a scripted show, the sketch juggernaut Saturday Night Live remains the highest winning show of all time with a whopping 45 wins. Considering the HBO drama has pulled in 12 wins two years in a row it is possible they’ll overtake that tally as well before going off the air after its eight season.

With only six seasons to its name, Game of Thrones has reached the top of the award circuit faster than any other show in history. SNL has spent over four decades to accumulate their tally of 45, Frasier spent 11 years to get to 37, The Mary Tyler Moore Show spent seven years to earn 29 awards, Cheers earned 28 wins in 11 years, and The West Wing got to 27 wins in their seven years on the air.

It will be interesting to see if Game of Thrones can beat SNL to become the first show to win 50 Emmys, or if the legendary staple of late night comedy will inch over the finish line first.

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Is ‘Jurassic World 2’ destined to fail?

By

Kris Solberg

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September 19, 2016

2015’s Jurassic World was a much bigger hit than anyone ever anticipated. It grossed 1.6 billion dollars worldwide, and broke nearly every box office record imaginable (most of which were broken again by Star Wars: The Force Awakens six months later). Its success was made all the more sweeter for Universal Studios due to the film’s relatively low 150 million dollar production budget. Comparatively, the aforementioned Force Awakens had a reported production budget of 245 million dollars.

Shortly after the film’s massive 209 million dollar opening weekend in the U.S., it was confirmed that a sequel would enter production, with a slated release for June 22nd 2018. It has since been revealed that the sequel will be part of a trilogy, and will likely begin filming in February 2017. In a recent print interview with El Pais Semanal, director J.A. Bayona confirmed the sequel will have an estimated production budget of 260 million dollars.

The increased budget signifies a massive confidence boost from the studio, however there is no denying the risks associated with such a large investment. Colin Trevorrow’s reboot of the Jurassic franchise likely benefited from a nostalgic curiosity, which won’t necessarily follow the sequel. The lack of serious competition during its opening weekend also helped it reach such a high benchmark during its debut bow. Finally, if you compare the performance of the original Jurassic Park with its 1997 sequel, you’ll find that even with Steven Spielberg returning as director with an increased budget, that film only made 2/3 of the original total.

Therefore, it is possible that Universal is playing a dangerous game with its bolstered budget. With a larger budget, the bar of success is much higher. It is rare that a sequel outperforms its predecessor, and with the franchise’s history with sequels, the task is made even harder. While it is likely the film will find an audience, it is doubtful it will get anywhere near the tally of the 2015 smash-hit. The question then becomes, how high is Universal expecting the film to reach before deeming it a success?

With a reported production budget of 260 million, the studio will likely spend upwards of 200 million dollars to market the film worldwide. This means the film will need to make a minimum of 900 million dollars at the worldwide box office to break even. This isn’t an impossible task, but it might just be that the studio is expecting too much from its blockbuster sequel.

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Shantel VanSanten Hints At Return To ‘The Flash’ For Season Three

By

Matthew Sardo

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September 18, 2016

Patty Spivot played by Shantel VanSanten, put Central City in her review mirror in season two of ‘The Flash’ as she moved to Midway City to continue her education as a crime scene investigator.

VanSanten was in Orlando Saturday at a fundraiser to benefit the victims and families of the Pulse Night Club mass shooting. A 100% of her profits from autographs and photo ops were donated to One Orlando.

When the actress was asked if she’s coming back in season three of ‘The Flash,’ VanSanten hinted to a possible return.

“There is a very strong possibility if everything works out,” said VanSanten with a big smile on her face.

With season three starting off in the Flashpoint universe the possibilities are limitless, but since VanSanten said ‘if everything works out’ she probably hasn’t started filming her episodes yet. Also, Patty’s Earth-2 counterpart is mentioned in season two “Escape from Earth-2.” She works as a full-fledged C.S.I. agent. With the multiverse, it becomes harder to predict which Patty Spivot the audience will see in season three.

Are you a fan of Patty Spivot, and do you want to see her return in season three of ‘The Flash?’ The Scarlet Speedster returns to the CW on October 4.

In the video below VanSanten talks about why it was important to come to Fan Fest Orlando for the fundraiser.

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‘Scott Pilgrim vs. the World’: 6 Stars that Have Since Hit It Big

By

Robert Yaniz Jr.

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September 18, 2016

Scott Pilgrim vs. the World might carry with it the distinction of being the only major Edgar Wright-directed film to date that isn’t part of the Simon Pegg/Nick Frost-starring Blood and Ice Cream trilogy (also known as the Three Flavors Cornetto trilogy). However, the film — based on Bryan Lee O’Malley comic series — has also become a hub for some of the finest young talent working today. Though actors like Michael Cera and Jason Schwartzman were known quantities upon the film’s release, some of its supporting players have gone on to lead some impressive careers. Let’s take a look at what some Scott Pilgrim alumni are doing now.

Brie Larson

When Larson played Scott’s own “evil ex” Envy Adams in the film, she was still largely unknown to American audiences. However, roles in film’s like 21 Jump Street and Short Term 12 helped catapult her to more and more notoriety, culminating with her Best Actress win earlier this year for Room. Now Larson is set to headline Marvel Studios’ upcoming Captain Marvel film as well as next year’s Kong: Skull Island. Not too shabby for an actress who most moviegoers hadn’t even heard of until recently.

Anna Kendrick

Okay, so Kendrick had already experienced her breakthrough role before she appeared as Scott’s younger sister, having earned an Oscar nomination for her role opposite George Clooney in Up in the Air. Still, we maintain that the actress had yet to become a major star at the time of Scott Pilgrim vs. the World‘s release. That wouldn’t happen until Pitch Perfect two years later. Currently, the actress is reveling in all the offers being sent her way, appearing in films as varied as Stephen Sondheim musical Into the Woods and outrageous comedies like Mike and Dave Need Wedding Dates.

Brandon Routh

Normally, playing a superhero as iconic as the Man of Steel is a fast-track to the A-list. However, this Superman Returns star was robbed of a significant career boost after that film failed to wow audiences in 2006. He’s been consistently busy since — including an appearance as a super-powered vegan in Scott Pilgrim vs. the World — but has only recently regained notoriety. Since 2013, Routh has played scene-stealing hero Ray Palmer a.k.a. The Atom on The CW’s Arrow and that role ultimately landed him a lead spot among the network’s Legends of Tomorrow.

Aubrey Plaza

She only has a couple of key moments among the massive ensemble of Scott Pilgrim vs. the World, but Plaza unmistakably delivers the sarcastic edge that fans of her work on Parks and Recreation have come to expect. In addition to that NBC series, she’s popped up on the big screen in films like Safety Not Guaranteed, Life After Beth and the aforementioned Mike and Dave Need Wedding Dates. Even if Plaza hasn’t quite landed her star-making film role yet, she’s amassed a pretty devoted following in the past few years.

Mary Elizabeth Winstead

One might think that appearing in a Quentin Tarantino film would be a tremendous boon for one’s career, but perhaps when the film in question is Death Proof, that logic no longer applies. In any case, Winstead is perhaps one of the most prolific actors on this list, with talent that ranges from harrowing drama (Smashed) to more traditional blockbuster fare (10 Cloverfield Lane). No matter where she appears, the actress — who brought Scott’s aloof love Ramona Flowers to life — is always at the top of her game.

Chris Evans

Try as we might to erase 2005 release Fantastic Four and its equally mediocre sequel from our minds, Evans’ role as Johnny Storm still put him in the Hollywood conversation. Yet, it wasn’t until he wielded the shield of Captain America — post-Scott Pilgrim vs. the World, mind you — that Evans became the A-list star he is now. We’re not saying that his role as evil ex/skateboarder-turned-actor Lucas Lee had anything to do with that transformation. We’re simply pointing out that Wright’s film could see the writing on the wall: Evans is a bonafide star.

Are you a fan of Scott Pilgrim vs the World? Share your favorite moment from the film in the comments section below.

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5 Terrible Superhero Films with Awesome Soundtracks

By

Robert Yaniz Jr.

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September 18, 2016

Thanks to composers like John Williams and Danny Elfman, Superman and Batman boast two of the most iconic superhero movie themes of all time, respectively. However, while those DC characters were lucky enough to be featured in well-received classic releases, other comic book heroes were given less-than-stellar representation on the big screen. Even when the resulting film isn’t up to snuff, sometimes awesome soundtracks can emerge from terrible superhero films. Here are a few examples.

Spawn (1997)

Todd MacFarlane’s titular character has deservedly sustained a cult following since his debut in 1992. However, little of that popularity can be traced back to this substandard film adaptation, despite the casting of Michael Jai White in the role. Regardless of Spawn‘s failure to capture what made the character so damn cool, the soundtrack — which features a fusion of hip hop and hard rock — has a ton to offer fans, including standout tracks like Filter and The Crystal Method’s “(Can’t You) Trip Like I Do” (see above) and Marilyn Manson and Sneaker Pimps’ “Long Hard Road Out of Hell.”

X-Men: The Last Stand (2006)

When director Bryan Singer exited the X-Men franchise after X2: X-Men United, he never got to bring his trilogy to a satisfying conclusion. Enter Brett Ratner (Rush Hour), who botched both the epic Dark Phoenix saga as well as a loose adaptation of the “mutant cure” storyline from Joss Whedon’s run on Astonishing X-Men. Thankfully, the film’s silver lining is its appropriately grand score from composer John Powell (How to Train Your Dragon). It’s just too bad that Powell’s majestic melodies didn’t have better imagery to fully realize its power.

Superman Returns (2006)

Here is the other side of the lose-lose scenario that came to pass when Singer exited the third X-Men film. X2 composer John Ottman accompanied the filmmaker in his quest to pay tribute to Richard Donner’s era of Superman films, and in addition to appropriating John Williams’ main theme, Ottman devised a set of new refrains that give the mostly ho-hum Superman adventure some of its only truly memorable moments, such as when Supes and Lois take to the sky for the first time in years. What the film’s narrative lacked Ottman’s musical score had in spades.

Spider-Man 3 (2007)

After director Sam Raimi and composer Danny Elfman had a short-lived falling-out (the two ultimately re-teamed for Oz the Great and Powerful in 2013), the filmmaker turned to Christopher Young (Hellraiser) to compose the score for his third and (ultimately) final Spider-Man installment. The film itself was a mess that fell embarrassingly flat thanks to a miscast villain in Topher Grace’s Venom, a lame amnesia subplot and more than one laughable dance sequence featuring emo Peter Parker. However, even with that mess, Young’s work soars, especially the new theme he created for the villainous Sandman (see above). Sadly, an album of the film’s soundtrack has never been made available in North America.

Suicide Squad (2016)

We might take some flak for outright labeling this DC Extended Universe release as a “terrible superhero film,” seeing as it’s legacy is still in flux. The divisive fan reaction and dreadful critical one support our position on this disjointed David Ayer film, which bears countless signs of studio interference. Even if the story has tons of problems, Suicide Squad: The Album is the symphony of chaos that the film should have been. Take the Rick Ross/Skrillex banger “Purple Lamborghini” (see above) or equally catchy singles like “Sucker for Pain” and “Heathens.” The soundtrack even features a solid cover of Queen’s “Bohemian Rhapsody” by Panic at the Disco. If only Suicide Squad itself was as much fun to watch as this album is to listen to.

Are there any other terrible superhero films with awesome soundtracks that we missed? Let us know in the comments section below.

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Box Office Breakdown: ‘Sully’ Continues To Fly High, Newcomers Tank

By

Will Ashton

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September 18, 2016

Evidentially, Sully‘s success wasn’t a fluke last weekend. The Clint Eastwood-helmed Captain Chelsey “Sully” Sullenberger biopic soared into the number one spot once again with a respectable $22 million added to its $70.5 million domestic gross. It dropped a mere 37 percent, and it already earned back its $60 million budget. Suffice to say, Warner Bros. should be pleased with their latest picture.

Not quite as successful was this weekend’s other biopic, Oliver Stone’s Snowden, based on NSA whistleblower Edward Snowden, which opened to a mere $8 million in fourth place. That’s below the film’s already-low $10 million expectations, and it has now become Stone’s lowest opening for a film released in over 2,000 theaters. Granted, the movie isn’t great, but it’s also not terrible. Snowden does provide some compelling, often timely and important food for thought, and it features another great performance by Joseph Gordon-Levitt. In short, it’s better than Sully.

Also underperforming over the weekend was Blair Witch, the sequel-reboot to 1999’s indie smash The Blair Witch Project, which came in second place with $9.7 million. Granted, that’s not completely terrible given the $5 million budget. It should make back its modest funds. But it does come below expectations around the $15-19 million range. Though reviews were initially strong, the reception cooled down significantly before the film’s release. The Rotten Tomatoes score dipped to 37 percent in a matter of hours, and even CinemaScore wasn’t too kind. Granted, I usually don’t take much stock in that latter service, but it’s rather telling to see the new horror flick earn a rare D+, below the genre’s C average.

Trying to recreate the magic of the original Blair Witch Project as best as they could, Blair Witch came with seemingly good intentions. It hid under the title The Woods for months and kept a low profile until Comic-Con, when it revealed its true association to the popular late ’90s horror phenomenon. That said, while competently-handled, making a good Blair Witch Project sequel is damn near impossible —especially in today’s Internet climate. They gave it their best shot, but it wasn’t enough.

Speaking of underperforming sequels, Bridget Jones’s Baby also came in rather unremarkably here in the United States. It opened to $8.2 million in third place, which were also below the studio’s expectations around the $15-20 million range, hoping to match My Big Fat Greek Wedding 2 ‘s $17.8 million debut earlier this spring. It’s ultimately a disappointment, but it’s not a complete loss. The film is still doing well overseas, where it earned an impressive $29.9 million. Considering its agreeable $35 million budget, it should still be in the black in no time worldwide. Though I’m sure Universal would’ve loved if it did as well as its predecessors, Bridget Jones’s Diary and Bridget Jones: The Edge of Reason, both here and abroad.

To round out the weekend, Suicide Squad is now in seventh place with $4.7 million added to its continuously-impressive $313.8 million domestic gross. Additionally, When the Bough Breaks dropped 61.1% from last week, now coming in sixth place with $5.5 million. Ouch. Also, Hillsong – Let Hope Rise opened in 816 theaters over the weekend and it came in 13th place with a commendable $1.3 million. Nice job guys.

Check out the full box office report, via THR and Box Office Mojo, below.

Sully Weekend: $22 million Domestic Gross: $70.5 million
Blair Witch Weekend: $9.7 million Domestic Gross: $9.7 million
Bridget Jones’s Baby Weekend: $8.2 million Domestic Gross: $8.2 million
Snowden Weekend: $8 million Domestic Gross: $8 million
Don’t Breathe Weekend: $5.6 million Domestic Gross: $75.3 million
When the Bough Breaks Weekend: $5.5 million Domestic Gross: $22.7 million
Suicide Squad Weekend: $4.7 million Domestic Gross: $313.8 million
The Wild Life Weekend: $2.7 million Domestic Gross: $6.7 million
Kubo and the Two Strings Weekend: $2.5 million Domestic Gross: $44.2 million
Pete’s Dragon Weekend: $2 million Domestic Gross: $72.8 million

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