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Jackie Chan set to star in Karate Kid remake

celebrityportal.org — Tue, 21 Jul 2009 01:39:55 +0000

Hong Kong action hero Jackie Chan is set to star in the remake of the 1980s cult classic, The Karate Kid.

Chan will portray a martial arts teacher, similar to the role made famous by Pat Morita.

The film will also star Jaden Smith, the son of Hollywood couple Will Smith and Jada Pinkett Smith. The young actor, who appeared with his father in Pursuit of Happyness, will play the character of Dre in the new film titled Kung Fu Kid.

The remake, which began filming in Beijing over the weekend, will be produced by Will Smith and James Lassiter.

Set in modern-day Beijing, Kung Fu Kid will focus on the character of Dre as he struggles to adjust to his new life in China. Dre soon crosses paths with Mr. Han, who teaches him the art of kung fu.

The remake is based on the 1984 original in which teenager Daniel Larusso moves to California from New Jersey with his mother.

Also cast is Oscar-nominated actress Taraji P. Henson as Smith’s mother.

The original Karate Kid was a hit that led to an Academy Award nomination for Pat Morita, as well as three sequels.

On Saturday, Jackie Chan and the Smith family celebrated the start of the film with a traditional Chinese ceremony.

Kung Fu Kid is slated to be released sometime next year.

Jackie Chan set to star in Karate Kid remake

Terminator moves on without busy Schwarzenegger

celebrityportal.org — Sun, 24 May 2009 02:38:19 +0000

Arnold Schwarzenegger was too busy running California to save the world in the new “Terminator” movie.

The action hero turned California governor starred in the first three films in the blockbuster sci-fi trilogy, but top billing in “Terminator Salvation,” which opens in U.S. theaters

on Thursday, goes to “Batman” star Christian Bale.

True to his catchphrase “I’ll be back,” Schwarzenegger did make a brief cameo, even though he never set foot on the movie’s set. Through computer-generated special effects, his fearsome visage was taken from a previous movie and superimposed on a deadly Terminator robot.

Schwarzenegger may not be beloved by voters in California, which is battling a budget crisis, but the critics miss him.

“In Arnold’s absence, an important ingredient of the ‘Terminator’ iconography — namely, the fun factor — is in short supply,” said the Hollywood Reporter of the new film.

Added the Los Angeles Times, “On the plus side, ‘Terminator Salvation’ has lots of action. But it has no soul.”

The film, directed by “Charlie’s Angels” filmmaker Joseph Nichol, known in Hollywood as McG, takes viewers into a world shown only through fearful glimpses in the past three movies — planet Earth in the wake of a nuclear holocaust.

Bale and Australian actor Sam Worthington play allies in humanity’s resistance against the robotic and self-aware machines that have destroyed mankind.

McG said that James Cameron, the filmmaker behind the first two “Terminator” movies, asked him in a conversation why “Terminator Salvation” was worth making.

“I said, because this explores the world after Judgment Day, and all three ‘Terminator’ pictures are indeed present-day pictures of Terminators coming back through time and chasing (humans),” McG told reporters recently.

In the movie set in 2018, John Connor (Bale) is a leader of human resistance fighters hunkered down against humanoid robots. In the midst of plans for a military attack on the machines, a man with a troubled past named Marcus Wright (Worthington) appears out of nowhere.

At first Connor and Wright clash, but they later team up to infiltrate the machines’ headquarters, where the artificially intelligent computer Skynet reigns.

APOCALYPSE NOW

Movies where humanity’s fate is at peril will become familiar territory for movie goers in the coming months.

In the film “Star Trek,” which opened on May 8, a renegade alien named Nero threatens to destroy Earth, but is stopped by the famed crew of the Starship Enterprise.

The film “2012,” which is scheduled to open on November 13, shows the world devastated by a cataclysmic disaster. The movie plays on popular fears of a doomsday scenario for 2012, based on ancient Mayan predictions.

Worthington also stars in the movie “Avatar” opening on December 18, which is directed by Cameron, and which the actor said shares similar themes to “Terminator Salvation.”

“Hope, that’s definitely a theme in ‘Avatar’ and this,” Worthington said. “Humanity, people finding hope in desperate

times, which is good in this day and age.”

Cameron’s 1984 movie “The Terminator,” the first film in the franchise, was a low-budget affair that last year was selected for preservation by the U.S. Library of Congress, based in part on Schwarzenegger’s star-making performance.

“Terminator 2: Judgment Day” came out in 1991 and made $519.8 million at worldwide box offices and “Terminator 3: Rise of the Machines” followed in 2003 with $433.4 million.

Terminator moves on without busy Schwarzenegger

Pixar raises the animation bar with buoyant Up

celebrityportal.org — Fri, 15 May 2009 00:14:23 +0000

Given the inherent three-dimensional quality evident in Pixar’s cutting-edge output, the fact that the studio’s 10th animated film is the first to be presented in digital 3-D wouldn’t seem to be particularly groundbreaking in and of itself.

But what gives “Up” such a joyously buoyant lift is the refreshingly nongimmicky way in which the process has been incorporated into the big picture — and what a wonderful big picture it is.

Winsome, touching and arguably the funniest Pixar effort ever, the gorgeously rendered, high-flying adventure is a tidy 90-minute distillation of all the signature touches that came before it.

It’s also the ideal choice to serve as the first animated feature to open the Cannes Film Festival, considering the way it also pays fond homage to cinema’s past, touching upon the works of Chaplin and Hitchcock, not to mention aspects of “It’s a Wonderful Life,” “The Wizard of Oz” and, more recently, “About Schmidt.”

Box-office-wise, the sky’s the limit for “Up,” which Walt Disney Studios releases stateside May 29.

Even with its PG rating (the first non-G-rated Pixar picture since “The Incredibles”), there really is no demographic that won’t respond to its many charms.

The Chaplin-esque influence is certainly felt in the stirring prelude, tracing the formative years of the film’s 78-year-old protagonist, recent widower Carl Fredricksen (terrifically voiced by Ed Asner).

Borrowing “WALL-E’s” poetic economy of dialogue and backed by composer Michael Giacchino’s plaintive score, the nostalgic waltz between Carl and the love of his life, Ellie, effectively lays all the groundwork for the fun stuff to follow.

Deciding it’s better late than never, the retired balloon salesman depletes his inventory and takes to the skies (house included), determined to finally follow the path taken by his childhood hero, discredited world adventurer Charles F. Muntz (Christopher Plummer).

But he soon discovers there’s a stowaway hiding in his South America-bound home in the form of Russell, a persistent 8-year-old scout (scene-stealing young newcomer Jordan Nagai), and the pair prove to be one irresistible odd couple.

Despite the innate sentimentality, director Pete Docter (“Monsters, Inc.”) and co-director and writer Bob Peterson keep the laughs coming at an agreeably ticklish pace.

Between that Carl/Russell dynamic and Muntz’s pack of hunting dogs equipped with multilingual thought translation collars, “Up” ups the Pixar comedy ante considerably.

Meanwhile, those attending theaters equipped with the Disney Digital 3-D technology will have the added bonus of experiencing a three-dimensional process that is less concerned with the usual “comin’ at ya” razzle-dazzle than it is with creating exquisitely detailed textures and appropriately expansive depths of field.

Pixar raises the animation bar with buoyant Up

Angels seen missing Da Vinci box office mark

celebrityportal.org — Thu, 14 May 2009 23:54:29 +0000

“Angels & Demons,” the film sequel to conspiracy thriller “The Da Vinci Code,” will likely fall short of box office totals for its more religiously controversial predecessor when it opens on Friday.

Director Ron Howard’s “Angels & Demons,” starring Tom Hanks as symbology expert Robert Langdon, should make over $40 million this weekend while 2006′s Da Vinci Code made $77 million at U.S. and Canada box offices, industry watchers say.

Paul Dergarabedian of Hollywood.com Box Office said Angels lacks the buzz of its predecessor.

“It just doesn’t have that cultural zeitgeist to it, because ‘The Da Vinci Code’ was a phenomenon, a worldwide phenomenon based on the Dan Brown book,” he said.

Angels is also based on a novel from Brown, whose Da Vinci Code upset the Vatican for its storyline that Jesus impregnated Mary Magdalene, and church officials tried to keep their bloodline secret.

While the Vatican criticized the earlier film before it opened three years ago, it has taken a more measured tone against its sequel.

“The Vatican has finally learned that when you condemn a movie you encourage people to see it,” said Thomas Reese, a Jesuit priest and senior fellow at the Woodstock Theological Center at Georgetown University.

Da Vinci made $758 million at worldwide box offices, and was especially popular internationally, with $541 million coming from audiences outside the U.S. and Canada.

In the wake of that international success, Sony Corp’s Sony Pictures plans to launch its sequel in nearly 100 countries on Friday, instead of staggering the release dates.

Sony Pictures said it expects the film to have an opening weekend in the $45 million range in the U.S. and Canada. But with box office totals rising industrywide, opening numbers have often outstripped expectations.

Going into last weekend’s U.S. and Canada opening of “Star Trek,” the studio behind the movie, Viacom Inc unit Paramount Pictures, said it expected an opening slightly higher than $50 million, and the movie made $75.2 million.

Box office watchers said Angels & Demons, which will open in 3,527 theaters in the U.S. and Canada, is still expected to be No. 1 at the box office this weekend, despite competition.

“Star Trek does seem to have a lot of momentum, but the question is how much of that first weekend was fan driven and how far could it fall,” said Brandon Gray, president of tracking firm Box Office Mojo.

Angels seen missing Da Vinci box office mark | Entertainment | Reuters

Star Trek beams to top of chart

celebrityportal.org — Mon, 11 May 2009 10:28:33 +0000

The new Star Trek film has rocketed to the top of the North American box office chart, early figures show.

Director JJ Abrams’ prequel to the sci-fi franchise took an estimated $76.5m (£50.3m) in its opening weekend, easily beating its nearest rival.

The figure far surpasses the opening totals of the previous 10 Trek films.

Star Trek’s impressive opening pushed previous chart-topper X-Men Origins: Wolverine down to second place, with takings of $27m (£17.7m).

But the comic book hero movie still ranks as the biggest film opening so far this year, taking $85m (£56m) in its first weekend.

Star Trek, which stars newcomer Chris Pine in the lead role, reveals the back stories of Captain Kirk, Mr Spock and the rest of the crew of the USS Enterprise.

Paramount Pictures had estimated that the movie would make about $50m (£33m) for the weekend, but hoped strong reviews would help carry it to a bigger opening.

Vice chairman Rob Moore said he expected the movie, which had a $140m (£92.3m) budget, should gross over $200m (£132m) total this summer, even with competition like Terminator: Salvation and Harry Potter and the Half-Blood Prince being released in cinemas soon.

The rest of the films in the top five all shuffled down one place to make way for the sci-fi blockbuster.

Romantic comedy Ghosts of Girlfriends Past was at three, with Beyonce thriller Obsessed at four and Zac Efron comedy 17 Again at five.

The only other new nationwide release, comic crime tale Next Day Air, opened at number six with $4m (£2.6m).

Star Trek beams to top of chart

Up 2009

blogtopia — Sun, 03 May 2009 08:42:46 +0000

Up is an upcoming computer-animated 3-D film being produced by Pixar Animation Studios. It will be distributed by Walt Disney Pictures, and is scheduled for release on May 29, 2009 in North America and October 16, 2009 in the United Kingdom. The film is directed by Monsters, Inc. director Pete Docter and features the voices of Edward Asner, Christopher Plummer, Jordan Nagai and John Ratzenberger. It is the first Pixar film to be presented in Disney Digital 3-D.

Plot

Carl Fredricksen (Edward Asner) is 78 years old. When Carl was a child, he met and eventually married a girl named Ellie who grew up in a small midwestern town. Ellie always dreamed of exploring the mountains, but she died before she got a chance. Now, when developers threaten to move him into an assisted living home, Carl decides to fulfill his promise to Ellie. To accomplish this, he befriends a chubby eight-year-old Wilderness Explorer named Russell. The two opposites match up for thrilling adventures as they encounter wild terrain, unexpected villains, and all the terrifying creatures that wait in the jungle.

Other Information

Genre : Animation, Action, Adventure, Comedy, Family
Release date(s) : May 29, 2009 (North America), October 16, 2009 (United Kingdom)
Country : United States
Language : English
Aspect Ratio : 1.85 : 1
Company : Pixar Animation Studios

Cast and Credits

Directed by : Pete Docter, Bob Peterson
Produced by : Jonas Rivera
Written by : Bob Peterson, Ronnie del Carmen
Starring : Edward Asner, Christopher Plummer, John Ratzenberger, Jordan Nagai
Music by : Michael Giacchino
Distributed by : Walt Disney Pictures

Trivia

The first Pixar film to be made for the Disney Digital 3-D format.

Miss Israel’s ‘Fast & Furious’ Debut

celebrityportal.org — Tue, 17 Mar 2009 21:47:01 +0000

A former Miss Israel is ready to make her big-budget Hollywood debut.

Gal Gadot, the 2004 winner of Israel’s top beauty pageant, will appear on film screens around the world next month in the fourth installment of “Fast & Furious,” one of the decade’s highest-grossing action series. In the new film, which opens in the United States on April 3, the Rosh Ha’ayin native plays Gisele Harabo, the latest romantic interest of Vin Diesel’s explosion-loving, speed-junkie protagonist. The role should launch the beauty queen to a new level of international visibility: Although the “Fast” franchise has cooled somewhat, the series’s first three installments have averaged more than $200 million each at the worldwide box office.

Regardless of the new film’s success, Gadot is not unknown to Americans. After winning the Miss Israel title, she went on to represent the Jewish state in the Miss Universe beauty pageant. In the summer of 2007, she was widely interviewed after Maxim magazine featured her in a headline-generating photo spread devoted to bikini-clad Israeli soldiers. A major attention-getter in the United States — the New York Post put a photo of Gadot on its cover, above the headline “Piece in the Middle East” — the images proved more controversial in Israel, where then-deputy Knesset speaker Colette Avital criticized the spread as “pornographic.”

Since completing her military service, the 23-year-old Gadot has starred in an Israeli TV drama and served as the female face of Castro, the country’s largest clothing company. She’s also set to guest star in an upcoming episode of HBO’s “Entourage.”

Witch Mountain challenging Watchmen

celebrityportal.org — Fri, 13 Mar 2009 22:06:21 +0000

Will “Watchmen” turn out to be a one-week wonder?

That could be a possibility following the film’s disappointing $55.2 million bow last weekend. This time around, Warner Bros.’ superhero picture won’t be helped by the emergence of three wide openers: Disney’s family adventure “Race to Witch Mountain,” Universal’s R-rated horror film “The Last House on the Left” and Fox Atomic’s R-rated youth comedy “Miss March.”

“Witch Mountain” seems strongest among the new pictures. Some industry observers believe it will outpace “Watchmen,” even though the R-rated comic-book adaptation should ring up $20 million or more this frame.

A weekend-to-weekend drop of 60%, par for the course for a big action title, would yield a $22 million session for “Watchmen.” The PG-rated “Witch Mountain” is tracking well enough to suggest a similar bow, with prerelease interest in surveys broader than the kid-pic support one might expect.

“Witch Mountain” stars Dwayne (“The Rock”) Johnson (“The Game Plan”) in a reworking of Disney’s 1975 action adventure “Escape to Witch Mountain.”

“The width of the audience may be more than people were expecting,” Disney distribution president Chuck Viane said.

“Last House” seems likely to open in the high-teen millions. Produced by Rogue Pictures, the film stars Tony Goldwyn and Monica Potter in a refashioning of Wes Craven’s 1972 horror thriller.

Tracking data on “Miss March” have been soft, with modest interest among young adults representing its best shot at market traction. “March,” then, could be mired in the middle-single-digit millions through Sunday.

Friday’s limited releases include Overture’s bicoastal exclusives for “Sunshine Cleaning,” starring Amy Adams and Emily Blunt.

Watchmen looks to conquer mainstream audiences

celebrityportal.org — Wed, 04 Mar 2009 22:54:41 +0000

The creators of “Watchmen” call it a new, psychologically complex version of the superhero movie, but they are banking on it to conquer the box office the way conventional comic book movies have done.

To do that, “Watchmen”, which opens around the world this week, must attract those who have never heard of characters like Rorschach, Dr. Manhattan and Silk Spectre, and who want a thrilling joyride, box-office watchers said.

For years, filming a movie based on the sprawling 1980s “Watchmen” comic books by Alan Moore and Dave Gibbons was considered impossible due to its multiple characters, violence, digressions and abundance of dialogue.

“It’s difficult material. You can’t put it on the head of a pin,” producer Larry Gordon told reporters.

But fellow producer Lloyd Levin said audiences are getting more sophisticated.

“The movie audience of today has caught up with the comic book audience of the 1980s, and superheroes are the absolute mainstream and I think there is the opportunity to push things a little bit further,” Levin said.

“Watchmen”, which cost about $120 million to make and runs for 2 hours 43 minutes, is set in 1985 amid the specter of nuclear war between the United States and the Soviet Union.

The only superhero with real powers is a freak of science called Dr. Manhattan who is nearly omnipotent but escapes to Mars because he cannot understand humans and women in particular. Billy Crudup plays the often nude Dr. Manhattan, who was given a computer generated blue glow.

In the meantime, a masked vigilante named Rorschach (James Earle Haley) is tracking the killer of fellow superhero the Comedian (Jeffrey Dean Morgan). Retired superheroes Silk Spectre (Malin Akerman) and Night Owl (Patrick Wilson) join him and unravel a plot with dangerous implications for mankind.

NOVEL IDEAS

The comic book series at the heart of the film from Time Warner Inc’s Warner Bros. studio presents its greatest challenge, but also its greatest strength.

The comic books have a passionate base of “fanboys,” many of whom are eager to see the story on film. And the series has a literary pedigree, having been named by Time Magazine as one of the top 100 English-language novels since 1923.

Director Zack Snyder, whose 2007 movie adaptation of comic book series “300″ made more than $456 million worldwide, has sought to reassure avid readers of “Watchmen” that he was faithful to the source material.

Snyder said a book-bound copy of the comic series was always on the film set, like a Bible, and the actors say they thumbed through it more than the script.

“Has there ever been a movie, a mainstream Hollywood movie that is made for fanboys as much as this movie? Probably not,” Snyder said.

But box office analysts say the film faces challenges to reach a mainstream audience. Unlike 2008 top grossing Batman movie “The Dark Knight,” the film was given a U.S. rating that requires those under 17 to be accompanied by an adult.

The film is also based on characters less familiar than Batman and Spider-Man, said Paul Dergarabedian, president of box office tracking firm Media by Numbers.

Movie experts believe the movie, which cost about $120 million, could still make more than $50 million its opening weekend. Rival studios have stepped aside for “Watchmen.”

“This is pretty much the only new movie to go out this weekend, and it’s certainly the most spectacular of the year so far in terms of the look and feel of the picture,” said Brandon Gray, president of research company Box Office Mojo.

Watchmen looks to conquer mainstream audiences

Frost/Nixon (2008)

blogtopia — Tue, 24 Feb 2009 06:51:03 +0000

Frost/Nixon is a 2008 historical drama film based upon the play of the same name by Peter Morgan, writer of The Queen, which dramatises the 1977 televised Frost/Nixon interviews. The film version is directed by Ron Howard and produced by Brian Grazer of Imagine Entertainment and Tim Bevan and Eric Fellner of Working Title Films for Universal Pictures. The film reunites its original two stars from the West End and Broadway productions of the play, Frank Langella as former President of the United States Richard Nixon and Michael Sheen as British television broadcaster David Frost. Filming began on August 27, 2007.

Plot

A series of news reports documents the role of Richard Nixon (Langella) in the bugging of members of the Democratic National Committee in the Watergate complex up until news that the House of Representatives is likely to vote to impeach Nixon. The film then cuts to a behind the scenes view of Nixon making his resignation speech. Nixon is shown leaving the White House in a helicopter and flying away.

Meanwhile David Frost (Sheen) is finishing an episode of his talk show Frost Over Australia, until he comes off set to see Nixon entering the helicopter on a television. He asks a producer to ascertain the worldwide viewing figures for the event.

A few weeks later in the London Weekend Television (LWT) central office, Frost discusses with his producer and friend, John Birt (Matthew Macfadyen), the possibility of an interview. When Frost mentions Nixon as the subject, Birt doubts the likelihood that Nixon would be willing to talk to Frost. Frost then tells Birt that 400 million people watched President Nixon’s resignation on live TV.

Nixon is shown recovering from illness in La Casa Pacifica, in San Clemente, California, discussing his memoirs with literary agent Irving “Swifty” Lazar (Toby Jones), who tells the former president of a request by Frost to conduct an interview. Lazar mentions that CBS was offering $350,000 to Frost’s $500,000. In a series of cutaway interviews, Lazar explains how he managed to talk Frost up to $600,000.

Frost and Birt fly to California to meet with Nixon. On the plane, Frost meets an attractive woman, Caroline Cushing (Rebecca Hall) and invites her to accompany him to meet the ex-president. At La Casa Pacifica, after receiving a tour from Nixon, Frost makes the first partial payment of $200,000. However, Nixon’s post-presidential chief of staff Jack Brennan (Kevin Bacon) doubts that Frost will be able to pay the entire amount.

Frost, however, manages to finance the entire fee, by selling his shares in LWT and by calling in help from wealthy friends. He hires two investigators, Bob Zelnick (Oliver Platt) and James Reston Jr. (Sam Rockwell) to dig for information along with Birt, mainly on the Watergate scandal. Zelnick is a veteran reporter who is outwardly genial; Reston takes a confrontational stance towards Frost, angrily asking him what he hopes to accomplish with the interviews and declaring that he wanted “to give Richard Nixon the trial he never had.” During the research process, Reston mentions a lead in the Federal Courthouse in D.C. that he thinks he can lock down with a week of work, but Frost says they can’t afford to be without him for that long.

Frost is shown trying to sell the series of four interviews (to be broadcast as four 90-minute specials) to the U.S. broadcast networks, but they all turn him down. Despite the financial issues, Frost is able to finance the hiring of recording equipment and a venue and the interviews begin.

Over the first eleven recording sessions (each at two hours in length covering Nixon’s foreign policy, domestic policy, biography, handling of Vietnam), Frost is shown struggling to ask planned “on the spot” questions of Nixon, with Nixon able to take up much of the time during the sessions by making long speeches without enabling Frost to challenge him. The former president fences ably on the Vietnam section and is able to dominate in the area where he had substantial achievements, foreign policy related to Russia and China.

Frost’s editorial team appears to be breaking apart as the two American members (Zelnick and Reston) express anger that Nixon appears to be exonerating himself, and Reston belittles Frost’s abilities as an interviewer. Frost suggests that the four of them separate over a small break for Easter, after having been together almost daily for a month.

Four days before the final session on Watergate, Frost is awakened in his hotel room by a phone call from a drunken Richard Nixon asking Frost what he was doing in his room on a Friday night. Frost answers that he was expecting a call from Caroline inquiring about dinner arrangements. Nixon, in his cups, proceeds to bemoan his lot, suggesting that, like Frost, people of a higher social class brought him down, as they refused to accept him in a high position. Nixon tells Frost that they both know the final interview will make or break the other’s career. If Frost fails to implicate Nixon definitively in the Watergate scandal, then Frost will have allowed Nixon to revive his political career at the expense of Frost, who will have an unsellable series of interviews and be bankrupt.

The conversation knocks Frost into action declaring, “I’ve got to work.” Until now, having spent most of his time selling the show to networks and gaining advertisers, Frost resolves to ensure that the final interview will be successful. He calls Reston and tells him to follow up on the federal courthouse hunch and works relentlessly for three days.

Shortly before the final interview, Frost mentions the phone call; however, Nixon asks him, “What phone call?” and looks very unsettled. As the final recording begins, Frost is a much sterner adversary, providing evidence of Nixon’s full involvement and bringing up damning information about Charles Colson that Reston uncovered, causing Nixon to admit that he did things that would otherwise be illegal, were he not the president. Frost asks if the president took part in a cover-up, at which point Brennan bursts in and stops the recording as Nixon is visibly unable to answer. The president and Brennan confer in a side room, Brennan telling Nixon that there will be “No way back East” if he admits to any cover up. Nixon says he is tired of lying, but thanks his chief of staff as he returns to complete the recording, admitting that he participated in a cover-up and “let the American people down,” and that his political life was now over.

Shortly before Frost returns to the UK, he and Caroline visit Nixon in his villa and Frost thanks him for the interviews. Nixon questions Frost if they really had a discussion on the phone, and asks what they discussed. Frost replies “cheeseburgers,” and bids goodbye to Nixon and leaves. The closing titles describe Frost’s future successes and Nixon’s continued controversy and absence from political activity until his death in 1994.

Release

The film had its world premiere on October 15, 2008 as the opening film of the 52nd annual London Film Festival. It was released in three theaters in the United States on December 5, 2008 before expanding several times over the following weeks. It was released in the United Kingdom and expanded into wide status in the United States on January 23, 2009.

Box Office

The film had a limited release at 3 theaters on December 5, 2008 and grossed $180,708 on its opening weekend, ranking number 22. Opening wide at 1,099 theaters on January 23, 2009, the film grossed $3,022,250 at the domestic box office this weekend, ranking number 16. As of January 26, 2009 the total gross at the domestic box office is $12,231,106, including the international box office the total gross is $14,596,107. The film grossed estimated $420,000 on January 31, 2009. As of February 2, 2009, the film grossed estimated $14,311,000 at the box office and $16,676,001 worldwide. As of February 9, 2009, the film grossed estimated $$15,632,000 at the domestic box office and $19,684,550 at the box office worldwide.

Cast & Credits

Directed by: Ron Howard
Produced by: Ron Howard, Brian Grazer, Tim Bevan, Eric Fellner
Written by: Peter Morgan
Starring: Frank Langella, Michael Sheen, Kevin Bacon, Oliver Platt, Sam Rockwell, Matthew Macfadyen, Toby Jones, Andy Milder, Rebecca Hall
Music by: Hans Zimmer
Cinematography: Salvadore Totino
Editing by: Daniel P. Hanley, Mike Hill

Other Information

Studio: Imagine Entertainment, Working Title Films, Relativity Media, StudioCanal
Distributed by: Universal Pictures
Release dates: October 15, 2008 (London Film Festival); December 5, 2008 (US, limited); January 23, 2009 (UK/US wide)
Running time: 122 min.
Country: United States, United Kingdom
Language: English
Budget: $25,000,000
Gross revenue: $$23,661,728 (world-wide)

Celebrity Portal » Movies

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