Tuesday, September 18, 2018
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Dunkirk

Did you know that the Oscars statuette is actually called the “Academy Award of Merit?” The nickname Oscar wasn’t officially adopted until 1939.

 

Guillermo Del Toro’s The Shape of Water was the big winner at the 90th Annual Academy Awards which took place at the Dolby Theatre in Hollywood this Sunday night, honouring the outstanding achievements of cinema in 2017.

The Mexican filmmaker’s fantasy romance won four awards, becoming the first ever science-fiction film to win Best Picture, alongside Oscars for Best Directing, Best Original Score, and Production Design.

Acting awards followed the BAFTA trend and went to Gary Oldman (Darkest Hour), Frances McDormand (Three Billboards Outside Ebbing, Missouri), Sam Rockwell (Three Billboards Outside Ebbing, Missouri), and Alison Janney (I, Tonya).

With a leading 13 nominations, The Shape of Water took home the night’s top prizes, winning Best Picture, Best Director, Original Score, and Production Design. Accepting the Oscar for Best Picture, del Toro jokingly examined the envelope in a nod to last year’s Best Picture mix-up, before delivering a speech that championed diversity, storytelling, and the future of film.

“I was a kid enamored with movies, growing up in Mexico,” del Toro told the audience. “I thought this could never happen – it happens. I want to tell you, everyone that is dreaming of a parable, of using genre and fantasy to tell the stories about the things that are real in the world today, you can do it. This is a door. Kick it open and come in.”

After the chaos of last year’s Envelopegate, the 2018 Oscars made for a night of few surprises. Christopher Nolan’s Dunkirk won big with three awards (sound editing, sound mixing, and film editing), while the acting categories largely went to the expected winners. Frances McDormand won Best Actress for her powerhouse performance in Three Billboards Outside Ebbing, Missouri, devoting her speech to all the female filmmakers and actresses in the room. A teary-eyed Gary Oldman won Best Actor for playing Winston Churchill in Darkest Hour, while I, Tonya’s Allison Janney and Three Billboard’s Sam Rockwell triumphed in the supporting categories.

This year’s ceremony also saw several firsts: Jordan Peele made history as the first black screenwriter to win an Oscar for Best Original Screenplay for Get Out, while 90-year-old James Ivory became the oldest Oscar winner ever, winning Best Adapted Screenplay for Call Me By Your Name. Blade Runner 2049 cinematographer Roger Deakins also broke his decades-long losing streak to finally win Best Cinematography after 14 nominations.

See the full list of nominees below.

BEST PICTURE
Call Me By Your Name
Darkest Hour
Dunkirk
Get Out
Lady Bird
Phantom Thread
The Post
WINNER: The Shape of Water
Three Billboards Outside Ebbing, Missouri

BEST ACTOR
Timothée Chalamet, Call Me By Your Name
Daniel Day-Lewis, Phantom Thread
Daniel Kaluuya, Get Out
WINNER: Gary Oldman, Darkest Hour
Denzel Washington, Roman J. Israel, Esq.

BEST ACTRESS
Sally Hawkins, The Shape of Water
WINNER: Frances McDormand, Three Billboards Outside Ebbing, Missouri
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Meryl Streep, The Post

BEST DIRECTOR
Dunkirk, Christopher Nolan
Get Out, Jordan Peele
Lady Bird, Greta Gerwig
Phantom Thread, Paul Thomas Anderson
WINNER: The Shape of Water, Guillermo del Toro

BEST SUPPORTING ACTRESS
Mary J. Blige, Mudbound
WINNER: Allison Janney, I, Tonya
Lesley Manville, Phantom Thread
Laurie Metcalf, Lady Bird
Octavia Spencer, The Shape of Water

BEST SUPPORTING ACTOR
Willem Dafoe, The Florida Project
Woody Harrelson, Three Billboards Outside Ebbing, Missouri
Richard Jenkins, The Shape of Water
Christopher Plummer, All the Money in the World
WINNER: Sam Rockwell, Three Billboards Outside Ebbing, Missouri

ADAPTED SCREENPLAY
WINNER: Call Me By Your Name, James Ivory

The Disaster Artist, Scott Neustadter and Michael H. Weber
Logan, Scott Frank, James Mangold, Michael Green
Molly’s Game, Aaron Sorkin
Mudbound, Virgil Williams and Dee Rees

ORIGINAL SCREENPLAY
The Big Sick, Emily V. Gordon and Kumail Nanjiani
WINNER: Get Out, Jordan Peele
Lady Bird, Greta Gerwig
The Shape of Water, Guillermo del Toro and Vanessa Taylor
Three Billboards Outside Ebbing, Missouri, Martin McDonagh

PRODUCTION DESIGN
Beauty and the Beast
Blade Runner 2049

Darkest Hour
Dunkirk
WINNER: The Shape of Water

CINEMATOGRAPHY
WINNER: Blade Runner 2049

Darkest Hour
Dunkirk
Mudbound
The Shape of Water

COSTUME DESIGN
Beauty and the Beast
Darkest Hour
WINNER: Phantom Thread
The Shape of Water
Victoria & Abdul

SOUND EDITING
Baby Driver
Blade Runner 2049

WINNER: Dunkirk
The Shape of Water
Star Wars: The Last Jedi

SOUND MIXING
Baby Driver
Blade Runner 2049
WINNER: Dunkirk
The Shape of Water
Star Wars: The Last Jedi

ANIMATED SHORT FILM
WINNER: Dear Basketball

Garden Party
Lou
Negative Space
Revolting Rhymes

LIVE-ACTION SHORT FILM
DeKalb Elementary
The Eleven O’Clock
My Nephew Emmett
WINNER: The Silent Child
Watu Wote/All of Us

ORIGINAL SCORE
Dunkirk
Phantom Thread
WINNER: The Shape of Water
Star Wars: The Last Jedi
Three Billboards Outside Ebbing, Missouri

VISUAL EFFECTS
WINNER: Blade Runner 2049

Guardians of the Galaxy Vol. 2
Kong: Skull Island
Star Wars: The Last Jedi
War for the Planet of the Apes

FILM EDITING
Baby Driver
WINNER: Dunkirk
I, Tonya
The Shape of Water
Three Billboards Outside Ebbing, Missouri

MAKEUP AND HAIRSTYLING
WINNER: Darkest Hour
Victoria & Abdul

Wonder

BEST FOREIGN LANGUAGE FILM
WINNER: A Fantastic Woman, Chile
The Insult, Lebanon
Loveless, Russia
On Body and Soul, Hungary
The Square, Sweden

BEST DOCUMENTARY SHORT SUBJECT
Edith and Eddie
WINNER: Heaven Is A Traffic Jam on the 405
Heroin(e)
Knife Skills
Traffic Stop

BEST DOCUMENTARY FEATURE
Abacus: Small Enough to Jail
Faces Places
WINNER: Icarus
Last Man in Aleppo
Strong Island

ORIGINAL SONG
“Mighty River,” Mudbound
“Mystery of Love,” Call Me By Your Name
WINNER: “Remember Me,” Coco
“Stand Up For Something,” Marshall
“This Is Me,” The Greatest Showman

BEST ANIMATED FEATURE FILM
The Boss Baby
The Breadwinner
WINNER: Coco
Ferdinand
Loving Vincent

hitmans_bodyguard_logan_lucky

Courtesy of Lionsgate; Claudette Barius/Fingerprint Releasing/Bleecker Street
‘Hitman’s Bodguard’ (left), ‘Logan Lucky’

Neither film, however, could stop domestic summer revenue from continuing to fall as Hollywood and theater owners endured the lowest-grossing weekend of the year to date.

In a blow for returning director Steven Soderbergh, his star-studded heist pic Logan Lucky was mowed down at the domestic box office by The Hitman’s Bodyguard despite rapturous reviews.

Hitman’s Bodyguard also doesn’t lack for star power in its two leading men, Ryan Reynolds and Samuel L. Jackson. Lionsgate’s action comedy debuted to a better-than-expected $21.6 million from 3,377 theaters to easily top the weekend box-office chart, although it couldn’t do anything to stop overall summer revenue from continuing to tumble as Hollywood and theater owners endured the lowest-grossing weekend of the year to date.

Critics snubbed Hitman’s Bodyguard, while audiences gave the R-rated pic a B+ CinemaScore. Directed by Patrick Hughes (The Expendables 3), the action comedy tells the story of a world-renowned bodyguard (Reynolds) who must protect an infamous hitman (Jackson) who is scheduled to testify. The movie drew its fair share of females (48 percent).

Logan Lucky placed third with an estimated $8.1 million from 3,301 theaters, the lowest nationwide start of Soderbergh’s career behind the 2002 space odyssey Solaris ($6.7 million) and the lowest when adjusting for inflation. The filmmaker made the $29 million heist comedy outside the Hollywood studio system by relying on a combination of foreign presales and equity, while raising another $20 million for marketing so as to retain tight control of how the PG-13 pic was sold. Indie distributor Bleecker Street distributed the pic on behalf of Soderbergh’s Fingerprint Releasing.

Starring Channing Tatum, Adam Driver, Daniel Craig, Riley Keough, Seth MacFarlane, Katie Holmes and Hilary Swank, Logan Lucky follows two brothers (Tatum and Driver) as they attempt to pull off a heist during a NASCAR race in North Carolina.

The film — Soderbergh’s first in four years after his previously announced retirement — boasts a stellar 93 percent fresh rating on Rotten Tomatoes, but audiences were notably less enthusiastic, giving it a B grade.

No other new movies opened nationwide. Total revenue for the weekend is roughly $94 million-$95 million, behind Super Bowl weekend ($99 million).

Among holdovers, Warner Bros./New Line’s Annabelle: Creation came in a strong No. 2 with $15.5 million in its second weekend for a domestic total of $64 million. It declined 56 percent, an unusually good hold for a horror title. Overseas, Annabelle 2 earned conjured up $42 million from 56 markets for a foreign cume of $96.7 million and $160.7 million globally.

Warner Bros. and Christopher Nolan’s Dunkirk is still going strong, placing No. 4 with $6.7 million for a domestic total of $165.5 million and a global haul of $392.7 million. And in a third win for the studio, Patty Jenkins’ Wonder Woman cleared the $800 million mark at the global box office, including $404 million domestically. (Disney and Marvel’s summer superhero tentpole Guardians of the Galaxy Vol. II is still ahead worldwide with $862.1 million.)

Open Road’s The Nut Job 2: Nutty by Nature fell to No. 5 in its second outing, earning $5.1 million for a 10-day domestic total of $17.7 million.

At the specialty box office, the news was grim for filmmaker Geremy Jasper’s Sundance Film Festival sensation Patti Cakes$, which opened to $66,000 from 14 theaters for a screen average of $4,714. Fox Searchlight acquired the suburban rapper comedy for $9.5 million following a heated bidding war at Sundance in January.

The Weinstein Co.’s Wind River moved into the top 10 as it expanded into a total of 694 locations, grossing $3 million for a location average of $4,359 and an early domestic total of $4.1 million.

Ingrid Goes West and Good Time both continued to impress in their sophomore outings. From Neon, the comedy-drama Ingrid earned $265,567 from 26 cinemas for a screen average of $10,214 and a cume of $438,685. And A24’s crime drama Good Time upped its theater count to 20, earning $173,000 for a screen average of $8,652 and a 10-day total of $349,007.

 

AC-FP-035rv2 Film Name: ANNABELLE: CREATION Copyright: © 2017 WARNER BROS. ENTERTAINMENT INC. AND RATPAC-DUNE ENTERTAINMENT LLC Photo Credit: Courtesy of Warner Bros. Pictures Caption: (L-R) The Annabelle doll and LULU WILSON as Linda in New Line Cinema's supernatural thriller "ANNABELLE: CREATION," a Warner Bros. Pictures release.
Film Name: ANNABELLE: CREATION
Copyright: © 2017 WARNER BROS. ENTERTAINMENT INC. AND RATPAC-DUNE ENTERTAINMENT LLC
Photo Credit: Courtesy of Warner Bros. Pictures
Caption: (L-R) The Annabelle doll and LULU WILSON as Linda in New Line Cinema’s supernatural thriller “ANNABELLE: CREATION,” a Warner Bros. Pictures release.

As the summer box office continues to look a fright, the horror movie Annabelle: Creation is on track to debut with an estimated $35 million gross in the U.S. and Canada this weekend, topping fellow newcomers The Nut Job 2 and The Glass Castle as well as holdovers including Dunkirk and The Dark Tower.

The fourth installment of Warner Bros. and New Line’s Conjuring franchise, Annabelle: Creation is poised for the lowest opening of the series, behind Annabelle’s $37.1 million, The Conjuring’s $41.9 million, and The Conjuring 2’s $40.4 million. Nevertheless, $35 million represents a strong start for a chiller that cost a modest $15 million to make.

 Reviews have been mixed to positive for the film, which currently has a 68 percent “fresh” rating on Rotten Tomatoes, and audiences gave it a CinemaScore of B. The story centers on a grieving dollmaker and his wife with a haunted past who welcome a nun and several girls from a shuttered orphanage into their home. David F. Sandberg directed, and the cast includes Anthony LaPaglia, Miranda Otto, and Stephanie Sigman.

Holding steady in second place is Christopher Nolan’s World War II epic Dunkirk, which is set to take in an estimated $11.4 million over its fourth weekend in theaters. A rare bright spot during a sluggish summer, the Warner Bros. movie will thus cross the $150 million mark at the domestic box office, while tallying $210 million from foreign markets.

Rounding out the weekend’s top three is the Open Road animated sequel The Nut Job 2: Nutty By Nature, with an estimated $8.9 million. Despite being good enough for third place, that figure is less than half of what the first Nut Job movie opened to — $19.4 million — on 500 fewer screens in 2014.

Reviews have not been kind to the computer-animated comedy, which follows a group of animals trying to stop an egomaniacal mayor from bulldozing their home to make way for a shoddy amusement park. Audiences gave it a B-plus CinemaScore.

(Left to right) Surly (voiced by Will Arnett) and Andy (voiced by Katherine Heigel) in NUT JOB 2: NUTTY BY NATURE. Photo credit: Courtesy of Open Road Films / Distributor: Open Road Films
(Left to right) Surly (voiced by Will Arnett) and Andy (voiced by Katherine Heigel) in NUT JOB 2: NUTTY BY NATURE.
Photo credit: Courtesy of Open Road Films / Distributor: Open Road Films
Open Road Films

The weekend’s other newcomer, the Brie Larson drama The Glass Castle, will crack the top 10 with an estimated $4.9 million. Opening in 1,461 theaters, the Lionsgate film has a much smaller footprint than than many of its competitors; Annabelle: Creation, for example, is playing in 3,502 locations, and Nut Job 2 is playing in 4,003.

Based on gossip columnist Jeannette Walls’ 2005 memoir about her unconventional, poverty-stricken upbringing and directed by Destin Daniel Cretton (Short Term 12), The Glass Castle divided critics but garnered an A-minus CinemaScore, suggesting positive word of mouth.

Meanwhile last weekend’s winner, the Stephen King adaptation The Dark Tower, will tumble to the No. 4 slot with an estimated $7.9 million. Notching a 59 percent decline, the Sony film continues the recent trend of steep second-week drops.

On the specialty front, the Aubrey Plaza dramedy Ingrid Goes West is set to take in an estimated $141,216 at three locations, which works out to a robust $47,072 per-theater average (one of the best limited releases this year). The crime drama Good Time, starring Robert Pattinson, is on track for an estimated $137,625 at four locations, a per-theater average of $34,406.

After a promising opening last week, writer-director Taylor Sheridan’s Wind River is holding up with an estimated $642,067 from 45 locations ($14,268 per-theater average), bringing its domestic total to $870,285.

The forecast is less sunny for Al Gore’s climate documentary An Inconvenient Sequel, which will take in an estimated $800,000 from 556 locations in its third weekend, bringing its domestic total to $2.3 million. By comparison, the original Inconvenient Truth totaled about $4 million by the end of its third weekend, at 122 locations.

Per ComScore, overall box office is down 4.1 percent from the same frame from last year. Check out the Aug. 11-13 figures below.

1. Annabelle: Creation — $35 million
2. Dunkirk — $11.4 million
3. The Nut Job 2: Nutty By Nature — $8.9 million
4. The Dark Tower — $7.9 million
5. The Emoji Movie — $6.6 million
6. Girls Trip — $6.5 million
7. Spider-Man: Homecoming — $6.1 million
8. Kidnap — $ 5.2 million
9. The Glass Castle — $4.9 million
10. Atomic Blonde — $4.6 million

annabelle

Courtesy of Warner Bros. Entertainment

‘The Nut Job 2: Nutty by Nature’ and the book adaptation ‘The Glass Castle’ also open nationwide this weekend.

New Line’s Annabelle: Creation is scaring up a strong business in its box-office debut for a projected domestic launch in the $36 million-$39 million range, according to early Friday returns.

The origin film, directed by David F. Sandberg, is the fourth installment in the studio’s Conjuring horror franchise. It’s pacing to gross as much as $17 million from 3,502 theaters on Friday, including a strong $4 million in Thursday previews.

Annabelle, which opened in October 2014, earned $2.1 million in late-night showings on its way to a $37.1 million domestic debut. It earned $256.9 million worldwide. Conjuring 2 took in $3.4 million in previews in June 2016 on its way to a $40.4 million debut in North America. The highest earner in the Conjuring universe, it has grabbed $320.3 million worldwide.

The new installment follows a doll maker and his wife who, after losing their little girl, welcome a nun and several girls from a shuttered orphanage into their home. But they soon become the target of the doll maker’s possessed creation, Annabelle.

Annabelle: Creation is also impressing overseas, where it has grossed $9.5 million in its first two days, including a Thursday haul of $1.2 million in South Korea.

Elsewhere in North America, Open Road’s animated sequel The Nut Job 2: Nutty by Nature is projected to open to a subdued $8 million-$10 million from 4,003 theaters. Friday’s gross will include $330,000 in Thursday previews.

The first Nut Job film debuted to $19.4 million in January 2014.

Nutty by Nature, about a group of animals trying to stop their serene park from being turned into an amusement venture, features a voice cast that includes Will Arnett, Maya Rudolph, Jackie Chan and Katherine Heigl. Cal Brunker directed it.

Lionsgate’s adaptation The Glass Castle is opening in far fewer theaters, or 1,461 locations, for a projected $4.5 million-$6.5 million launch.

Based on former gossip columnist and author Jeannette Walls’ best-selling 2005 memoir, the story follows a young girl and her siblings who grow up with parents who choose to live an unorthodox (and often homeless) life. Brie Larson plays Walls in the film while Woody Harrelson plays Walls’ alcoholic father Rex. Naomi Watts plays Walls’ mother. The film sees Larson reunite with her Short Term 12 director Destin Daniel Cretton.

In limited release, Reliance will premiere Toilet: Ek Prem Katha into 175 theaters; A24 will release Good Time into four theaters; Neon will debut Ingrid Goes West into three theaters; IFC is also debuting The Trip to Spain in three locations; Roadside will debut Amazon’s The Only Living Boy in New York in 15 theaters; and Freestyle is releasing Bedeviled.

This weekend’s forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

  • Annabelle: Creation (3,502 theaters) – $31.5 M
  • Dunkirk (3,762 theaters) – $11.0 M
  • The Nut Job 2: Nutty by Nature (4,003 theaters) – $9.5 M
  • Girls Trip (2,303 theaters) – $7.6 M
  • The Dark Tower (3,451 theaters) – $7.6 M
  • The Emoji Movie (3,219 theaters) – $6.2 M
  • Spider-Man: Homecoming (2,607 theaters) – $6.0 M
  • Kidnap (2,418 theaters) – $5.6 M
  • Detroit (3,007 theaters) – $4.8 M
  • The Glass Castle (1,461 theaters) – $4.1 M

dunkirk

Elsewhere, Universal’s ‘Girls Trip’ is breaking the R-rated comedy curse with a projected $25 million-plus opening.

‘Dunkirk’ Delivers $5.5M from Thursday Previews, ‘Valerian’ and ‘Girls Trip’ Each with $1.7M

Christopher Nolan’s Dunkirk is easily winning the Friday box-office battle for a projected $45 million-$50 million debut, marking the best opening for a World War II movie in recent times.

Dunkirk is expected to earn $17 million or more on Friday, including $5.5 million in Thursday night previews. The critically acclaimed film, from Warner Bros., is playing in 3,720 locations and is getting a wide berth in Imax theaters and on 70mm screens.

Other comparisons used in our weekend preview below include:

  • Mission: Impossible – Rogue Nation – $4m Preview / $55.5m Opening
  • Mad Max: Fury Road – $3.7m Preview / $45.4m Opening
  • Interstellar – $3.5m Preview / $47.5m Opening
  • The Magnificent Seven – $1.75m Preview / $34.7m Opening
  • Fury – $1.2m Preview / $23.7m Opening
  • Unbroken – $850k Preview / $30.6m Opening

Nolan’s last film, Interstellar, debuted to nearly $50 million over the long Thanksgiving holiday in 2014, including $47.5 million for the three-day weekend. The Dark Knight Rises (2012) was his biggest opening ($160.9 million), followed by 2008’s The Dark Knight ($158.4 million), 2005’s Batman Begins ($73 million, including a three-day weekend of $48.7 million) and 2010’s Inception ($62.8 million).

Dunkirk, recounting one of World War II’s most famous battles, stars Fionn Whitehead, Mark Rylance, Kenneth Branagh, Cillian Murphy, Tom Hardy, Jack Lowden, One Direction’s Harry Styles and Aneurin Barnard. At 107 minutes, it is the shortest film of Nolan’s career, outside of his first movie. The production budget was reportedly $150 million or more.

Overseas, Dunkirk has earned $8.6 million in its first two days after beginning to roll out in select markets on Wednesday.

Elsewhere, Universal’s Girls Trip is laughing loudly in North America. The femme-centric pic looks to earn $11 million or more from 2,591 theaters on Friday, including $1.7 million in previews, for an opening in the $26 million range — the best showing of the year so far for an R-rated comedy, a genre that’s been decidedly challenged.

Directed by Malcolm D. Lee, who also produced alongside Will Packer, Girls Trip stars Regina Hall, Tiffany Haddish, Jada Pinkett Smith and Queen Latifah as lifelong friends who go to New Orleans for a wild weekend of fun.

The news isn’t good for the weekend’s third new release, Luc Besson’s Valerian and the City of Thousand Planets. The sci-fi epic, costing at least $180 million to produce, is projected to gross $7 million on Friday from 3,553 theaters and $17 million for the weekend.

From Besson’s EuropaCorp and U.S. distributor STX Films, the film stars Dane DeHaan and Cara Delevingne as a duo who must travel through space and time to save the universe. EuropaCorp put together financing for the movie and provided marketing funds.

At that pace, Valerian won’t be able to beat holdovers Spider-Man: Homecoming and War for the Planet of the Apes. Among other holdovers, Universal and Illumination’s Despicable Me 3 jumped the $200 million mark at the domestic box office on Thursday.

Finally, as of Wednesday, Wonder Woman was up to $383.5 million domestically. Expected to bring in another $4 million or so this weekend, it will top Guardians of the Galaxy Vol. 2 and become the second highest grossing film of 2017 so far.

This weekend’s forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

  • Dunkirk (3,720 theaters) – $51.0 M
  • Girls Trip (2,591 theaters) – $26.0 M
  • War for the Planet of the Apes (4,100 theaters) – $24.8 M
  • Spider-Man: Homecoming (4,130 theaters) – $21.7 M
  • Valerian and the City of a Thousand Planets (3,553 theaters) – $17.0 M
  • Despicable Me 3 (3,521 theaters) – $10.5 M
  • The Big Sick (2,597 theaters) – $5.2 M
  • Baby Driver (2,503 theaters) – $5.1 M
  • Wonder Woman (1,971 theaters) – $4.2 M
  • Wish Upon (2,154 theaters) – $2.8 M

* Valerian budget courtesy CNC.

dunkirk‘Dunkirk’
Melinda Sue Gordon/Warner Bros. Pictures

    Dunkirk
In theaters
dunkirk_still_2

Courtesy of Warner Bros.

The Warner Bros. war drama centers on the British military evacuation of the titular French city in 1940, one of the biggest battles during World War II. Written and directed by Christopher Nolan, the film’s ensemble cast includes Tom Hardy, Cillian Murphy, Kenneth Branagh, Mark Rylance and One Direction’s Harry Styles.

In comparison to most war films, Dunkirk has very, very little dialogue and focuses and spans a relatively short period of time. “It places you so absolutely in the situation of conflict — you don’t learn the details of characters’ backstories or even their surnames. … You’re invited in to experience it as they’re experiencing it — as in, with not enough time to think or process things,” says Branagh. And since it has a PG-13 rating, Rylance hopes it speaks to a younger audience: “It’s good for young people to see a truthful war film like this. … young boys who are always fascinated by war can come and see just how awful and chaotic any war is. And if, God forbid, they come to a time when they’re going to be drafted or something like that, they’ll be a little more informed about what might be asked of them.”

Girls Trip
In theatersGirls Trip

Courtesy of Michele K. Short/Universal

The Universal comedy stars Regina Hall, Queen Latifah, Jada Pinkett Smith and Tiffany Haddish as four lifelong friends who behave badly while vacationing in New Orleans. Though the R-rated offering has its share of raunchy humor, it’s also filled with heartwarming moments and female empowerment — a combination that’s earned strong reviews.

“I wanted a counterbalance to women sniping at each other or throwing drinks in each other’s faces; I wanted some real relationships,” explained director Malcolm D. Lee. “And my wife’s book club watched the movie as one of my first audiences, and they laughed and loved it and said, ‘I love how soft they are with each other.’ If that’s part of the takeaway of this bold, outrageous comedy, that’s great.”

Valerian and the City of a Thousand Planets
In theatersValerian and the City of a Thousand Planets

Courtesy of STX Entertainment

Luc Besson’s passion-filled adaptation of the 1960s-era French comic book stars Dane DeHaan as the titular time-traveling hero, and Cara Delevingne as his partner Laureline. They both find themselves on an enormous space station called Alpha, which is home to thousands of species. Ethan Hawke, John Goodman, Clive Owen and Rihanna round out the cast of the STX sci-fi thriller, which features a whopping 2,355 visual effects shots, some 600 more than Rogue One.

The high-budget project is a personal gamble for the director, who ended up investing his entire salary into the movie. “[The budget is] not my money, but at the last minute, the financing fell short, so they asked me, ‘Can you put your entire salary in?’ And I said yes,” said Besson, who has wanted to make this movie for decades. However, critics aren’t as enthusiastic about the finished project.

Landline
In theatersLandline

Courtesy of Sundance Film Festival

The Amazon comedy from Jenny Slate, Gillian Robespierre and Elisabeth Holm — the team behind the beloved indie rom-com Obvious Child — stars Slate and Abby Quinn as sisters who, alongside their mother (played by Edie Falco), grapple with the fallout of their family patriarch’s affair in their unique ways.

The ’90s-set title is inspired by the writers’ own experiences. “Liz and I are both from New York City and our parents both divorced in the ’90s when we were teenagers and that’s sort of where this story started, with our personal lives,” says Robespierre. “Then through the course of writing it for a year it turned into something bigger. And that’s sort of how it started — over wine, as it always does.”

Ozark
Friday, NetflixOzark

Jackson Davis/Netflix

Jason Bateman and Laura Linney star in Netflix’s money-laundering drama, which released its full first season on Friday. Ozark sees Bateman, who is an executive producer and director on the series, in a much darker role than on his other Netflix show, Arrested Development. He plays Marty Byrde, a Chicago financial advisor who is laundering money for a Mexican drug cartel. After a betrayal by his partner, the show takes a violent turn and Marty moves the operation, and his family — Wendy (Linney) and kids Charlotte (Sofia Hublitz) and Jonah (Skylar Gaertner) — to Lake of the Ozarks.

Created by The Accountant‘s Bill Dubuque, THR‘s reviewer says the mystery drama is “four or five different shows doing battle at once — generally in the most familiar of moody and murky cable crime veins — but with a couple interesting characterizations and twists if you’re willing to focus in a way the show rarely is prepared to do itself.”

Ballers
Sunday, 10 p.m. on HBOBallers

Jeff Daly/HBO

One week after Game of Thrones’ return, HBO’s Sunday night of originals kicks off its second hour with Dwayne Johnson’s football comedy. The Rock’s Ballers picks up after his character, Spencer’s, hip surgery and welcomes guest stars Steve Guttenberg, Steven Weber and Graceland‘s Serinda Swan.

After filming its first two seasons in Miami, the comedy, which is executive produced by Mark Wahlberg, moved to California to film the third season. The season trailer sees Spencer and Joe (Rob Corddry) hitting up some familiar Los Angeles hotspots, talking about the next step in Spencer’s “global domination” and exploring launching a football team in Las Vegas.

Insecure
Sunday, 10:30 p.m. on HBO.Insecure

Justina Mintz/Courtesy of HBO

The second season of Issa Rae’s acclaimed comedy Insecure picks up fresh in the aftermath of Issa’s breakup with Lawrence (Jay Ellis). “For me it just came down to telling human stories,” Rae told THR of creating a show where people of color could be seen as relatable. “Trying to be funny, putting people in realistic situations. We’re telling a very universally specific story.”

Insecure and Rae were high on the list of snubs after the 2017 Emmy nominations were announced. But the star and co-creator (along with Larry Wilmore) said she was “over it in a minute.” Telling Bravo’s Andy Cohen, “We really stand behind this second season. We’re so excited about it and, you know, it just motivates us to work harder next year to get noticed.” THR‘s reviewer agreed, calling Insecure in his second season review “a show you should be watching.”

dunkirk

Is Christopher Nolan‘s World War II-set Dunkirk, which opens nationwide on Friday, “the greatest war film ever,” as one high-profile film critic suggested in his review? No, that’s getting a bit carried away — but it is one of the most distinguished films of 2017, virtually everyone who has seen it agrees, as is reflected in its 98 percent favorable rating on RottenTomatoes.com. And that, of course, raises another question: To what extent will the Warner Bros. release be an Oscar season player several months from now?

Consciously or not, Dunkirk blends elements of many of the war films of yesteryear that have been most embraced by the Academy: the first and third best picture winners, respectively, 1927’s Wings, with its gorgeous shots of harrowing aerial combat, and 1930’s All Quiet on the Western Front, a statement on the bleakness and futility of war; three best picture nominees from 1942, In Which We Serve and Mrs. Miniver (the winner), with their portraits of Brits employing stiff upper lips and rising to the occasion during WWII, and Wake Island, the first WWII combat film, which depicted Allied troops facing an onslaught with little hope for relief; and countless best picture nominees about groups of men from different walks of life banding together in various WWII battles, from 1949’s Battleground (the Battle of the Bulge) through 1998’s Saving Private Ryan (the invasion of Normandy).

Does this mean that the Academy will also warmly embrace Dunkirk, which recounts the evacuation of Dunkirk? At this early date, without having seen all of what’s to be released later this year, and with the knowledge that one-fifth of the Academy’s entire membership joined within the last year, it’s hard to say. But it seems to me that there are four ways things could play out…

(1) The Academy ignores the film entirely, as it did Nolan’s feature directorial debut Following (1998), Insomnia (2002) and The Dark Knight Rises (2012). That’s not going to happen with Dunkirk, which is the most Academy-friendly pic that he’s made, far more up their alley than sci-fi, horror or comic book adaptations.

(2) The Academy recognizes the film’s craft and technical components, and maybe its screenplay, but nothing beyond that, as it did with Memento (2000), which was nominated for its original screenplay and film editing; The Prestige (2006), which garnered art direction and cinematography noms; Batman Begins (2006), which got a cinematography mention; and 2014’s Interstellar, which wound up with a visual effects win and noms for original score, production design, sound editing and sound mixing. (I’d also throw 2008’s The Dark Knight into this grouping, as it’s doubtful it would have bagged a best supporting actor win, or even a nom — to go with its sound editing win and noms for art direction, cinematography, film editing, makeup, sound mixing and visual effects — had Heath Ledger not died earlier that year.) Many interpreted this sort of limited recognition of Nolan’s films as the Academy’s way of saying that it respected his filmmaking abilities but did not feel emotionally invested in his movies.

(3) The Academy recognizes the film’s craft and technical attributes and the film itself, but not Nolan’s direction, as it did with the movie of his that the Academy clearly liked the most, 2010’s Inception, which won for its cinematography, sound editing, sound mixing and visual effects, and also got best picture, original screenplay, original score and art direction noms.

(4) The Academy falls head over heels in love with the film and recognizes it in all, or at least most, of the aforementioned areas, as well as for Nolan’s direction.

Personally, I think the likeliest outcome is three, maybe four.

It seems all but certain to me that Dunkirk will make a major showing in the below-the-line categories in which Nolan films historically have done well: cinematography (the aerial scenes are incredible), film editing (with intercutting not only between storylines but between time periods), production design (formerly known as art direction, done here on a massive scale), sound editing, sound mixing and visual effects. I wouldn’t rule out costume design, supporting actor (past winner Mark Rylance‘s performance is the only one I can see standing out enough to snag a nom) or original screenplay, either. And in an age in which the Academy can nominate anywhere from five to 10 films for best picture, as opposed to just five — a rule change that was borne out of outrage over the best picture snub of The Dark Knight — it’s hard to imagine the Academy not making room for this one in its top category.

I feel less confident about a directing nomination, though, not because Nolan doesn’t deserve one — for my money, he’s one of the masters of his generation and it’s absurd that he never has been nominated — but because he has a few things working against him.

For one, his film’s July release date means it will have somewhat receded into voters’ memories by the time they are deluged with Oscar-caliber movies shortly before nominations voting begins in December. (Consider what happened to Saving Private Ryan, which was released July 24, spent the rest of the year regarded as the frontrunner but ultimately lost to December release Shakespeare in Love.) For another, Nolan doesn’t really like to work the circuit during the awards season. (This is a shame because I’ve found him to be a smart, unassuming and likable guy, but it’s extremely rare to garner personal recognition without indulging in a little bit of gladhanding.) And, finally, there are some who are already arguing that Dunkirk‘s shortcomings are the same as those of his other films — that it all feels a bit too cold and sanitary and would have elicited greater emotional investment if it showed more of the chatter among comrades, spilled blood and gore and faces of the enemy.

Dunkirk

Christopher Nolan shot the entirety of “Dunkirk” using IMAX cameras and 65mm film, which means you can’t settle for digital projection.
Christopher Nolan’s commitment to the film format will be on full display with the release of his World War II drama Dunkirk, whose July 21 release is expected to include roughly 100 70mm theater installations plus 31 Imax 70mm theaters — which would make it among the widest 70mm releases in the last quarter century.

Theaters scheduled to install 70mm film projectors for the release including AMC Burbank in Los Angeles and AMC Lincoln Square in New York, as well as the ArcLight Dome in Hollywood.

Much of Dunkirk was lensed with Imax film cameras by Oscar-nominated cinematographer Hoyte van Hoytema. Oscar-winning VFX house Double Negative is leading the tricky visual effects work. Meanwhile, Burbank-based Fotokem — the last remaining film lab in Los Angeles — was the lab for the production and is handling the film prints, including those for the 15-perf Imax and 5-perf (standard) 70mm release. (Word on the street is that an anamorphic 35mm film version of Dunkirk is also being made.)

“I have been a longtime proponent of film — particularly the Imax film format — as a storytelling medium,” Nolan said in a released statement. “The immersive quality of the image is second to none, drawing the audience into the action in the most intense way possible.”

Nolan has been a champion of keeping film alive as a production medium, as well as for exhibition and archival purposes. He has been using Imax film cameras for a growing portion of the production of his motion pictures, an effort that started with  2008’s The Dark Knight.

Warner Bros. is working to make the 70mm release possible, though didn’t offer details. With digital projection now common around the world and a scarcity of 70mm projectors, this is an ambitious undertaking. The last time a notably wider release on 70mm occurred was for Ron Howard’s 1992 period drama Far and Away. More recently, the 70mm film format got a burst of attention when The Weinstein Co. released Quentin Tarantino’s The Hateful Eight on roughly 100 screens.

The 70mm release of The Hateful Eight was challenging, starting with the need to simply locate the projectors and then rebuild and install them for the theatrical presentations (at a total cost of $8 million to $10 million, according to sources), led by Boston Light & Sound (which had not responded to a call from The Hollywood Reporter at press time, though presumably might be involved in Dunkirk due to the scarcity of 70mm equipment and expertise).

Projectionists also needed training to present Hateful Eight, and Fotokem made the release prints. Tickets to the Dunkirk 70mm engagements go on sale Wednesday at DunkirkMovie.com, Fandango and other sites, two days before the availability of the wider release.

‘Dunkirk’: Here’s Every Movie Theater Showing Christopher Nolan’s New Movie on 70mm Film

One of the most important things you need to know about Christopher Nolan’s “Dunkirk” is that the entire 106-minute feature was shot on 65mm film, with 75% incorporating IMAX film cameras. In terms of visual scope, these stats suggest “Dunkirk” might just be Nolan’s biggest movie to date, which means you shouldn’t settle for a digital projection if you don’t have to.

“Dunkirk” will be projected in 70mm in select theaters and tickets for those engagements are now for sale on the “Dunkirk” official website, so we finally have confirmation on what theaters across the country will be showing the WWII drama in its preferred format.

“Dunkirk” will be screening on both regular 70mm and IMAX 70mm, the later of which being the ideal experience. But those aren’t the only ways one will be able to experience Nolan’s latest. Trailer Track founder Anton Volkov has made a handy guide detailing all the different formats “Dunkirk” will be screening in. There will be six total ways to watch “Dunkirk” projected, though only the 70mm screenings are now on sale. All other showtimes will be available to purchase Friday, July 7.

“Dunkirk” opens in theaters nationwide July 21. Here’s a rundown of every theater screening the movie on 70mm.

ALABAMA
IMAX Dome Theater (Birmingham)
US Space Center IMAX (Huntsville)
Cineplex Scotiabank Chinook 16 IMAX (Calgary)
Cineplex Scotiabank IMAX (Edmonton)

ARIZONA
AMC Westgate (Glendale)
Grand Canyon IMAX (Grand Canyon Village)
Harkins Tempe Marketplace (Tempe)
Loft (Tuscon)

BRITISH COLUMBIA
Cineplex Colossus IMAX (Langley)
Cineplex Park (Vancouver)

CALIFORNIA
AMC Burbank 16 (Burbank)
Century Daly City (Daly City)
Regal Hacienda 20 IMAX (Dublin)
ArcLight Hollywood (Hollywood)
Pacific ArcLight Dome (Hollywood)
Regal Irvine Spectrum IMAX (Irvine)
ArcLight 14 (La Jolla)
Grossmont Center 10 (La Messa)
Regal Long Beach Stadium (Long Beach)
Cinemark 18 (Los Angeles)
Landmark 12 (Los Angeles)
Timko Grand Lake 4 (Oakland)
Regal Ontario Palace 22 IMAX (Ontario)
Sagewood Camelot (Palm Springs)
Esquire IMAX (Sacramento)
Tower Theatre (Sacramento)
AMC Mission Valley (San Diego)
AMC Metreon IMAX (San Francisco)
Cinemark San Francisco Center (San Francisco)
Alamo Mission 5 (San Francisco)
Century Oakridge (San Jose)
Hackworth IMAX (San Jose)
AMC Mercado (Santa Clara)
ArcLight Sherman Oaks (Sherman Oaks)
AMC Del Amo 18 (Torrance)
Cinemark Union City 25 (Union City)
AMC Citywalk IMAX (Universal City)

COLORADO
Regal Contiental (Denver)
AMC Westminster 24 (Westminster)

CONNECTICUT
INDLF Maritime IMAX (Norwalk)

WASHINGTON D.C.
Regal Gallery Palace Stadium 24 (D.C.)

FLORIDA
Cinemark Palace (Boca Raton)
Coral Gables Art Cinema 1 (Coral Gables)
Cinemark Paradise Park 24 (Davie)
AMC Disney Springs 24 (Lake Buena Vista)
AMC Aventura (Miami)
Regal Waterford Lakes (Orlando)
AMC Veterans (Tampa)
AMC Parisian (West Palm Beach)

GEORGIA
Regal Atlantic Station (Atlanta)
Regal Mall of Georgia 20 (Buford)

IOWA
Sci Dome IMAX (Des Moines)

ILLINOIS
River East 21 (Chicago)
Keresotes Showplace Icon (Chicago)
Music Box (Chicago)
Cinemark Evanston (Evanston)

INDIANA
White River IMAX (Indianapolis)

KANSAS
AMC Town Center (Leawood)

LOUISIANA
AMC Elmwood Palace (New Orleans)

MASSACHUSETTS
AMC Boston Common (Boston)
Coolidge Corner 2 (Brookline)
Somerville 5 (Somerville)

MARYLAND
AFI Silver Theatre (Silver Spring)
AMC White Marsh (Baltimore)
Cinemark Egyptian (Hanover)
Maryland Science Center IMAX (Baltimore)

MICHIGAN
AMC Livonia (Livonia)
AMC Forum 30 (Sterling Heights)

MINNESOTA
Great Clips IMAX (Apple Valley)
AMC Southdale (Edina)
ARC Willow Creek 12 (Plymouth)

MISSOURI
OMNIMAX (St. Louis)
Marcus Ronnies (St. Louis)

NORTH CAROLINA
Discovery Place IMAX (Charlotte)
Regal Stonecrest (Charlotte)
AMC Southpoint (Durham)

NEW JERSEY
AMC Cherry Hill (Cherry Hill)
AMC Hamilton 24 (Hamilton)
AMC Garden State (Paramus)

NEW MEXICO
Cinemark Rio 24 (Albuquerque)

NEVADA
AMC Town Sqaure (Las Vegas)

NEW YORK
Alamo Drafthouse Downtown Brooklyn (Brooklyn)
Farmingdale 14 (Farmingdale)
Regal New Roc City (New Rochelle)
AMC Lincoln Square IMAX (New York)
City Cinemas East 86th St. (New York)
Cinema 1,2,3 (New York)
Village East 7 (New York)
Regal E-Walk Stadim (New York)

OHIO
Gateway Film Center 7 (Columbus)
Cinemark Valley View (Valley View)

OKLAHOMA
AMC Quail Springs (Oklahoma City)

ONTARIO
Cineplex Coliseum IMAX (Mississauga)
Cineplex Varsity 12 (Toronto)
Cineplex Colossus IMAX (Woodbridge)

OREGON
Hollywood 3 (Portland)
Regal Bridgeport (Tigard)

PENNSYLVANIA
AMC Neshaminy 24 (Bensalem)
Regal King of Prussia 15 IMAX (King of Prussia)
Tuttleman IMAX (Philadelphia)
AMC Waterfront (West Homestead)

QUEBEC
Cineplex Banque Scotia 12 (Montreal)

RHODE ISLAND
Providence Place IMAX (Providence)

SASKATCHEWAN
Kramer IMAX (Regina)

TENNESSEE
Regal Pinnacle Stadium (Knoxville)
Regal Opry Mills 20 IMAX (Nashville)

TEXAS
Studio Movie Grill 9 (Arlington)
Alamo Drafthouse Ritz (Austin)
AMC Northpark 15 (Dallas)
Look 11 (Dallas)
Studio Movie Grill Royal Lane 9
Cinemark 17 IMAX (Dallas)
OmniaMAX Fort Worth (Fort Worth)
AMC Gulf Pointe (Houston)
Regal Edwards Freenway Grand Palace (Houston)
Cinemark Tinseltown (Pflugerville)
Cinemark West Plano (Plano)
Santikos Palladium 19 (San Antonio)

VIRGINA
AMC Hoffman Center (Alexandria)
AMC Tyson’s Corner (McLean)

WASHINGTON
AMC Pacific Place 11 (Seattle)
Cinerama (Seattle)

WISCONSIN
Marcus Majestic Cinema of Brookfield (Waukesha)

Dunkirk (2017) Tom Hardy
Dunkirk (2017)
Tom Hardy

Dunkirk is easily the best movie of the year so far….

Type: Movie; Genre: Drama, Historical Drama; Release date: 07/21/17; Performer: Fionn Whitehead, Tom Hardy, Harry Styles, Mark Rylance; Director: Christopher Nolan; MPAA: R

It was still just the early months of World War II, but it was beginning to look like the end. In the last week of May 1940, more than 300,000 British soldiers along with French, Belgian, and Canadian troops were beaten back to the beaches of Dunkirk by the Germans. A small coastal town at the northernmost point of France, Dunkirk was an especially unfortunate place to be pinned down. The harbor was so shallow that large British naval ships couldn’t get close enough for a rescue. The men on the beach were stranded with nowhere to go. Lined up in columns on the sand, they were sitting ducks waiting for either deliverance or, more likely, death. Perhaps the cruelest irony of all was that they could actually see the coast of England just 26 miles across the channel. Salvation was so close, yet so far.

From that seemingly hopeless situation sprang one of Britain’s finest moments of the war. Had all of those soldiers been slaughtered or taken prisoner, Britain would have, in all likelihood, been forced to surrender to Hitler. The history books wouldn’t just look very different today, they’d also be printed in German. But thanks to countless civilian sailors who assembled a flotilla of small, non-military ships and pleasure boats to cross the channel and evacuate their boys, the country stayed alive to fight another day. In the decades since that death-defying turning point in the war (codename: Operation Dynamo), Dunkirk has become synonymous with stiff-upper-lip British resolve—a shining example of how to snatch victory from the jaws of defeat.

This race-against-the-clock rescue operation (and the tense days leading up to it) is the subject of Christopher Nolan’s miraculous new massive-canvas epic, Dunkirk. Nolan has for all intents and purposes conjured the British response to Steven Spielberg’s Saving Private Ryan. If you can imagine that film’s kinetic, nerve-wracking 29-minute opening D-Day invasion stretched out to feature length, this is what it would look like. It’s a towering achievement, not just of the sort of drum-tight storytelling we’ve come to expect from the director of Memento, The Dark Knight, and Inception, but also of old-school, handmade filmmaking.

I don’t think the director would mind being called “old school.” I certainly don’t mean it as a backhanded compliment. Like Quentin Tarantino and Paul Thomas Anderson, he’s a throwback and cinema purist who’s messianic in his belief in celluloid. He argues (convincingly, I’d say, from the evidence on display) that something ineffable gets lost in all of those cold ones and zeroes of digital technology: the warmth, grain, and poetry of actual film stock. Shot in 65 mm and IMAX film (if you live near an IMAX theater, spring for the upgrade), Dunkirk is a totally immersive experience. For two hours, all of your senses are taken over.

Nolan, who also wrote the film, tells his story from three different perspectives: land, sea, and air. And he weaves his three narrative threads together seamlessly. On the ground, the story zooms in on a young, scared baby-faced infantryman named Tommy (newcomer Fionn Whitehead), who scrambles amidst the falling bombs and chaos to stay alive until he (and any One Direction members among his comrades) can be rescued. He doesn’t say much. He doesn’t have to. You can read the fear and confusion on his face. On the sea, we’re on board a sailboat called Moonstone with its stoic captain (Mark Rylance) and his teenage son and his son’s best friend. As they motor across the channel to do what they believe is their duty and shepherd the boys out of harm’s way, they take on a shell-shocked survivor of a torpedo attack (Cillian Murphy) who protests going back to the hell he just escaped from. And in the air, we are in the cockpit of a Spitfire with a cool-under-pressure RAF pilot (Tom Hardy), who’s flying on fumes and dogfighting against German planes providing cover to the doomed men on the ground.

Nolan cuts between these there arenas of combat slowly at first, then faster and faster, heightening the sense of urgency and danger. His editing is like a metronome, picking up speed and nail-biting suspense. We’ve come to expect the exceptional from Nolan as a visualist over the years, but what sets Dunkirk apart from his previous films is how his visual language is heightened by what we’re hearing. A pulsing, pounding beat on the soundtrack feels like the blood rushing into your eardrums during a panic attack. The sound of a stopwatch ticking adds a sense of ratcheting tension until you almost can’t take it anymore. Layered on top of it all is Hans Zimmer’s propulsive score. Zimmer, an A-list composer who has provided some of the more bombastic scores to the past decade’s biggest blockbusters, has dialed down the orchestral shock and awe here and has gone for something more harrowing and unrelenting (in a good way). As fine as some of the performances are (especially Rylance’s and Hardy’s), this isn’t a film of big, dramatic, for-your-consideration moments. (For the Directioners wondering, Harry Styles is also solid, seamlessly blending into the ensemble.) It’s a full-body sensory experience that sweeps you up in its thrall and places you directly into the fog of war. It leaves you emotionally exhausted by the time the end credits roll.

By the end of Dunkirk, what stands out the most isn’t its inspirational message or everyday heroism. It’s the small indelible, unshakeable images that accumulate like the details in the corner of a mural. A PTSD soldier walking into the surf to his death. The sight of a hit German plane silently pinwheeling down into the sea like a paper airplane. The female nurses handing out tea and comforting words to the haunted men when they’re rescued. This is visceral, big-budget filmmaking that can be called Art. It’s also, hands down, the best motion picture of the year so far.dunkirk_ver7

dunkirkDunkirk (2017) Movie Trailer #3

Watch the Trailer of this Movie:

DUNKIRK Official Trailer #3 (2017) Tom Hardy, Christopher Nolan WWII Movie HD
PLOT: Allied soldiers from Belgium, the British Empire, Canada, and France are surrounded by the German army and evacuated during a fierce battle in World War II.

CAST: Harry Styles, Tom Hardy, Cillian Murphy, Mark Rylance



girls-trip-spiderman-and-from-the-land-of-moon

Summer movie season is heating up, with major crowdpleasers (Spider-Man: Homecoming) and indie gems (Landline) offering a major seasonal rush throughout the month. Here’s every notable movie coming to theaters in July.

Spider-Man: Homecoming

Spider-Man swings into theaters in the driver’s seat of his own starring vehicle for the first time since 2014, as Jon Watts puts a delightful teenage spin on the classic superhero tale with a new film that follows Peter Parker through his formative teenage years. “The fact that Peter Parker is 15 allows me to have fun with it,” Watts (Cop Car) told EW for this week’s cover story. “Yes, there’s a lot of drama and conflict, but more than anything, it’s about, ‘If you were that age and could do what he can do? That would be really fun.”

Release date: July 7 — get tickets here
Release type: Wide

City of Ghosts

Hailed as an “urgent” and “timely” documentary about the civil war in Syria by EW’s Chris Nashawaty, City of Ghosts hits limited release as one of the best-reviewed nonfiction titles of the year. “City of Ghosts shows us what journalism can do in the face of evil,” Nashawaty writes. “Its message is haunting, humane, and ultimately hopeful.”

Release date: July 7 — get tickets here
Release type: Limited

A Ghost Story

In the mood to see Casey Affleck spend most of a movie hiding under a sheet? That’s exactly what A Ghost Story, David Lowery’s well-received Sundance drama about a grieving widow (Rooney Mara) who mourns the loss of her husband (Affleck) while he “haunts,” in one way or another, their home. The movie also reportedly delivers an amazing extended sequence of Mara eating pie, so there’s that, too.

Release date: July 7 — get tickets here
Release type: Limited

War for the Planet of the Apes

Regarded as one of the best blockbuster franchises of the contemporary era, the revival of the classic Planet of the Apes series returns for a fourth go-round, this time centering on Caesar (Andy Serkis), the protagonist primate (and his legion of similar-species followers) embroiled in a massive war with humans.

Release date: July 14 — get tickets here
Release type: Wide

Wish Upon

A bullied teen (Joey King) whose mother died by suicide discovers a mysterious music box that grants her seven wishes — which come at a deadly price.

Release date: July 14 — get tickets here
Release type: Wide

Lady Macbeth

Having traveled the festival circuit for most of the latter half of 2016, Lady Macbeth — starring Florence Pugh as a young bride sold into marriage to a middle-aged man, ultimately beginning an affair with an estate worker — is exactly the kind of English costume drama you’ve been waiting for all year.

Release date: July 14 — get tickets here
Release type: Limited

Dunkirk

Christopher Nolan returns to the big screen for another monolithic undertaking, fronting a period war picture about the 1940 evacuation of Dunkirk, France during World War II, which saw more than 300,000 Allied soldiers safely venture across the English Channel. “I kept coming back to the firsthand accounts, with people describing the sights and sounds of being on that beach, or being up in a plane above that beach, or being on a boat coming across to help the situation,” Nolan has said of the film. “I think the confusion, not knowing what’s really going on, was one of the most frightening and disturbing things for people.”

Release date: July 21 — get tickets here
Release type: Wide

Girls Trip

Queen Latifah, Regina Hall, Jada Pinkett Smith, and Tiffany Haddish embark on a hilarious bonding venture in Malcolm D. Lee’s (The Best Man Holiday, Barbershop: The Next Cut) latest comedy. ““It’s The Hangover meets Sex and the City,” Lee told EW of the movie. “Women are just as lascivious and sexual as men, and they want to let loose and have fun.”

Release date: July 21 — get tickets here
Release type: Wide

Valerian and the City of a Thousand Planets

The most expensive French movie ever made finally hits theaters this summer, promising an epic, sci-fi adventure based on the beloved comic series. “If you don’t like sci-fi, I want you to still like Valerian,” Besson told EW of the film. “I allowed myself much more freedom. I centered the story to make it more real, more human.”

Release date: July 21 — get tickets here
Release type: Wide

Landline

Jenny Slate and Abby Quinn play a pair of sisters, bonding while investigating whether their father (John Turturro) is cheating on their mother (Edie Falco) in ’90s New York City.

Release date: July 21 — get tickets here
Release type: Limited

Atomic Blonde

Gal Gadot isn’t the only Wonder Woman in town. Charlize Theron is kicking ass and taking names in this action-thriller set in 1980s Berlin, which also stars James McAvoy and John Goodman. “I remember sitting in a room one day thinking about how do you make this different from other spy movies,” Theron, who is also a producer on the film,. “It’s really hard. Who is going to be the love interest? Kurt [Johnstad], who’s a punk rock writer, suggested she falls in love with a woman. It’s unexpected. It’s refreshing. Everybody says you can’t do that — which is such bullsh–. Why is it that James Bond can sleep with every girl in every movie and nobody says, ‘Wow, he’s not in love with them?’ Am I the only person who — long, long ago before I had children — had a one-night stand with somebody from a club? Nobody else has done that before?”

Release date: July 28 — get tickets here
Release type: Wide

The Emoji Movie

Those cute little buggers you send to friends in text messages are finally getting their own movie — and, yes, that includes the poop emoji, voiced by Patrick Stewart. Need we say more?

Release date: July 28 — get tickets here
Release type: Wide

From the Land of the Moon

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A headstrong French woman (Marion Cotillard) bucks convention and incites scandal by falling for a war veteran (Louis Garrel) after her arranged marriage to a Spanish farmer in this Cannes-debuting romance.

Release date: July 28 — get tickets here
Release type: Limited

An Inconvenient Sequel: Truth to Power

Climate change might put the planet in an early grave, but at least we have Al Gore to tell us how it’s all going to happen. The former vice president returns to the nonfiction genre for another documentary highlighting the ever-evolving state of our natural environmental, this time examining Gore’s global efforts to convince political leaders to adopt sources of renewable energy.

Release date: July 28 — get tickets here
Release type: Limited

Menashe

A Hasidic grocery clerk fights for custody of his son following his wife’s death, challenging traditions that require children to be raised by women.

Release date: July 28 — get tickets here
Release type: Limited

Strange Weather

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Holly Hunter gives a stunning performance in Katherine Dieckmann’s latest film, a poignant exploration of death and redemption navigated by its maker’s fearless commitment to exploring the truths about grief and loss with real women at the center — complete with an Americana-inspired Sharon Van Etten score. “I was trying to write [these characters] away from stereotype. I also have a number of friends who are southerners, and I have a strong connection to the South… I’m equally frustrated as a filmgoer by southern people [presented] as backwards rubes, because I know that to not be the case,” Dieckmann. “I think in film, it’s been way more difficult for women to be iconic. I don’t know why that is. I want to see women who are aesthetically ruthless shake it up.”

Release date: July 28 — get tickets here
Release type: Limited