Weekend Report:Guardians of the Galaxy added $16.3 million over the three-day weekend, and is now on track to earn at least $300 million total..
A slow Summer at the domestic box office came to a quiet end this weekend.
Guardians of the Galaxy held on to first place, while the two newcomers (As Above/So Below, The November Man fell short of $10 million.
Over the three-day weekend, the Top 12 earned an estimated $85.8 million, which makes this the second-worst weekend of the year so far.
Guardians of the Galaxy added an estimated $16.5 million, which ranks eighth all-time among fifth weekends. It was off just five percent from last weekend, which is a great Labor Day hold; it’s essentially on par with last year’s Lee Daniels’ The Butler and We’re the Millers (down 10 percent and 3 percent, respectively).
The 10th movie from Marvel Studios has now earned $274.6 million at the domestic box office. Even with the Summer season coming to a close, Guardians is still on track for at least $305 million total.
In second place, Teenage Mutant Ninja Turtles eased 30 percent to $11.8 million. A surprise late-Summer hit, Turtles has grossed an impressive $162.4 million.
If I Stay held on to third place with $9.3 million. It was off just 41 percent, which is a respectable drop for a movie targeted toward young women; in comparison, The Fault in our Stars fell 69 percent. Through 10 days, If I Stay has taken in $29.8 million.
Playing at 2,640 theaters, found footage horror movie As Above/So Below opened to an estimated $8.3 million this weekend. It earned 39 percent of that on Friday, which is a very high share for a holiday weekend. As a result, it wound up a bit lower than past Labor Day horror movies Apollo 18 ($8.7 million) and Shark Night 3D ($8.4 million).
As Above/So Below was clearly cheap to make, and it doesn’t seem like Universal spent a ton to market it. Still, big studio movies opening at over 2,500 theaters really ought to be cracking $10 million, especially when they’re in a front-loaded genre like this.
With a “C-” CinemaScore and an audience that’s 64 percent under the age of 25, As Above/So Below is going to drop like a rock from here; it would be shocking if it closed above $25 million.
Let’s Be Cops rounded out the Top Five with $8.2 million (down 24 percent). To date, the R-rated comedy has earned $57.3 million.
The November Man took sixth place with $7.7 million. That opening is noticeably lower than similar Labor Day releases like The American ($13.2 million), The Debt ($9.9 million) and Lawless ($10 million). Including its Wednesday and Thursday grosses, The November Man has now earned $9.4 million.
The movie’s audience was 55 percent male and 83 percent over the age of 25. They awarded it a solid “B+” CinemaScore. Still, it would be surprising if this ultimately wound up over $25 million.
Lionsgate/Pantelion’s Cantinflas opened to $2.63 million at 382 theaters. That’s a fraction of the $7.8 million that Instructions Not Included earned on the same weekend last year; still, this is an above-average result for a limited release exclusively targeted toward Hispanic moviegoers.
In its second weekend, Sin City: A Dame to Kill for fell 66 percent to $2.2 million. Through 10 days, its earned just $10.8 million—less than the first Sin City earned on its first day.
The 30th anniversary re-release of Ghostbusters took in $1.65 million from 784 theaters this weekend. That’s nearly identical to the Raiders of the Lost Ark re-release ($1.67 million), though Raiders was only playing at 267 IMAX theaters.Around-the-World Roundup
Dawn of the Planet of the Apes opened to a massive $47 million in China this weekend. That ranks fourth all-time for an imported title behind the last two Transformers movies and Iron Man 3. Apes has now earned over $611 million worldwide; with Japan still to come, it will almost certainly reach $700 million.
Lucy added $31.2 million, which brings its total to an impressive $151.6 million. It had solid opening in Mexico ($4.3 million), Japan ($2.6 million) and Brazil ($2.4 million).
Guardians of the Galaxy earned $19.7 million overseas this weekend. It opened in first place in Germany with $7 million; that’s 74 percent higher than Captain America: The Winter Soldier, but 17 percent lower than Thor: The Dark World. The Marvel movie has taken in $273.1 million overseas so far, and still has Japan, Italy and China on the way.
Teenage Mutant Ninja Turtles added $13 million for a very early total of $112.1 million. Its only major opening was in South Korea, where it took in $2.6 million. That’s a somewhat disappointing result, considering the fact that Megan Fox did a major press tour in Seoul last week. The Turtles still have openings in Australia, China, France, Germany, Italy, Japan, Spain and the U.K. on the way.
Into The Storm took in $12.9 million this weekend. It opened to $5.2 million in South Korea—twice as much as Ninja Turtles—and also had a decent start in Italy ($1.2 million). Unfortunately, it was underwhelming in Brazil ($1 million) and Spain ($600,000). To date, Into the Storm has earned $47.7 million overseas.
Discuss this story with fellow Box Office Mojo fans on Facebook. On Twitter, follow us at @boxofficemojo, and follow author Ray Subers at @raysubers.
This Weekend in Past Years
• 2013 – ‘One Direction’ Rocks, ‘Instructions’ Surprises Over Labor Day
• 2012 – ‘The Possession’ Leads Typically Quiet Labor Day
• 2011 – ‘The Help’ Works It Over Labor Day • 2010 – ‘The American’ Out-Draws ‘The Mexican’ • 2009 – ‘Final Destination’ Clings to Labor Day Lead
• 2008 – ‘Tropic Thunder’ Leads Quiet Summer Close • 2007 – ‘Halloween’ Severs Labor Day Record
• 2006 – ‘Illusionist’ Impresses on Labor Day Weekend • 2005 – ‘Transporter 2′ Drives to Labor Day Record
Friday earnings bring domestic total to $262.1M, putting it ahead of ”Captain America: The Winter Soldier”
We’ll get to the new releases in just a second, but the news of the box office weekend is Guardians of the Galaxy becoming the highest grossing domestic release of 2014, bringing in $16.3 million this weekend, raising its domestic cume to $274.6 million. On top of leap-frogging fellow Marvel release, Captain America: The Winter Soldier, it might actually become the first and only $300 million release of 2014. Globally the film has topped $547.7 million and still has release dates in Japan and China yet to come.
Last weekend’s highest grossing new release, If I Stay, dropped 40% to $9.3 million and a second consecutive third place finish behind Guardians and Teenage Mutant Ninja Turtles as this weekend offered very little from the new releases.
Getting into the weekend’s said new releases, the highest grossing of the two is As Above, So Below, bringing in $8.3 million to go along with its dismal “C+” CinemaScore, which is to say it’s pretty much DOA. But I can’t imagine Universal spent much on this one so it’s probably a wash in the end. Perhaps it’s time to bury the found footage style of filmmaking in the horror genre?
The weekend’s other new wide release was the Pierce Brosnan-led The November Man, which opened on Wednesday and came into the weekend with only $1.6 million to its credit and added only $7.6 million over the three-day. Opening day audiences gave it a “B+” CinemaScore, which is decent enough to say this will have a standard drop from week to week and be out of the top ten soon enough.
The only new movie I felt was even worth seeing this weekend was Tribeca’s Starred Up, which is also available on VOD and iTunes, but with an opening this weekend at the IFC Center and Film Society of Lincoln Center in New York it brought in $11,000, but look out for it elsewhere as it comes to Los Angeles, Seattle, Philadelphia and Chicago next weekend before heading to San Francisco, Washington, Phoenix, Portland and Denver, among others, in the weeks to follow.
I guess I should take back that “only new movie I would have seen” comment above, though this isn’t a new movie as Sony re-released Ghostbusters into 784 theaters this weekend, though to very little fanfare or marketing effort. As a result it’s no surprise it did only $1.65 million over the three-day.
Finally, I know you’re wondering and it seems audiences did Sin City: A Dame to Kill For a favor and rather than stringing it along, let it die a quick death as it brought in only $2.1 million this weekend, booting it out of the top ten after just 10 days in release.
Next weekend things won’t be getting any better at the box office as the only new release will be The Identical, a twin brothers separated at birth, Great Depression era tale of mistaken identity… or something like that. I don’t know, I’m not going to see it.
1. Guardians of the Galaxy — $3.8 million ($262.1 million domestic total) 2. As Above, So Below— $3.2 million (new) 3.Teenage Mutant Ninja Turtles — $2.7 million ($153.3 million domestic total) 4. If I Stay — $2.3 million ($23.2 million domestic total) 5. The November Man — $2.2 million ($3.9 million since Wednesday release)
Meanwhile, the 30th-anniversary re-release of Ghostbusters stomped back into theaters, if not quite with the force of the Stay Puft Marshmallow Man, taking in $490,000 on 1,578 screens. Sony expects the release to end up somewhere between $1.7-$1.9 million over the holiday weekend.
That sound you hear, you know, the one like a bunch of air escaping from a bag? That’s the sound of the summer movie season ending and the doldrums of September arriving. Here we are about to enter the month that’s typically home to the most easily ignored and forgotten new releases. The only thing to do is look forward to the fall and look back on the summer.
So let’s do the latter! Summer 2014 may be over, but the movies are going to stick around. So let’s do what all reasonable and rational movie fans do when it comes to talking about blockbuster movies: hand out imaginary awards.
Most Pleasant Surprise: X-Men: Days of Future Past
After almost a year of toxic buzz, negative press and lame trailers, Bryan Singer’s grand return to the superhero genre with X-Men: Days of Future past ended up being… pretty good! Sure, this isn’t the best superhero movie of the year (let alone the summer), but it’s fast and funny and surprisingly fun, mixing the old and new X-Men casts in a crazy time-travel story that does justice to both sides of the franchise.
Runner-up: Edge of Tomorrow
Because who thought it would be that good?
Best Performance: Shailene Woodley, The Fault in Our Stars
The summer movie season normally isn’t home to many truly great performances, with movie-star charisma typically winning out over honest and raw acting. However, there was at least one great performance this summer and it occurred in one one the year’s biggest successes. Shailene Woodley’s work as a young girl with terminal cancer in the heart-shattering The Fault in Our Stars is phenomenal, proving that she has the chops to headline a weepy teen drama and young-adult adventure adaptations. Yes, the Jennifer Lawrence comparisons are apt.
Runner-up: Chris Pratt, Guardians of the Galaxy
Because this was a movie star being born before our very eyes.
Best Performance in a Bad Movie: Stanley Tucci, Transformers: Age of Extinction
Stanley Tucci doesn’t show up until the second half of the abysmally long Transformers: Age of Extinction, but he’s the drink of water that makes the rest of this death march remotely possible. Acting like he already has his paycheck in his pocket and he just doesn’t give a damn, Tucci screams and shouts and overacts like a master, effortlessly stealing the show from all of his CGI robot costars. Expect his furious shout of “Algorithms! Math!” to become a YouTube sensation alongside Nicolas Cage’s “Not the bees!”
Runner-up: Eva Green, Sin City: A Dame to Kill For
Because Eva Green is the patron saint of bad movies.
Best CGI Performance: Andy Serkis, Dawn of the Planet of the Apes
The human characters aren’t bad in Dawn of the Planet of the Apes, but it’s weird how they’re so much less, well, human than the motion-capture apes that actually drive the story. This sequel is better than its predecessor because it takes the number one thing that worked about Rise of the Planet of the Apes and multiplied it, giving Andy Serkis’ superintelligent chimpanzee leader Caesar even more screen time. All of the humans are (pardon the pun) second banana — this movie is all about Serkis and his team of skilled visual effects artists, who create one of the great modern movie heroes out of pixels.
Runner-up: Vin Diesel, Guardians of the Galaxy
Because “I am Groot.”
Funniest Sequence: Every Moment in 22 Jump Street
Seriously, just pick any random stretch of 22 Jump Street and it would still win this category and make it look easy. Few films are as funny as 21 Jump Street, but 22 Jump Street responded to the first film by finding a way to be just as funny (if not funnier). Directors Chris Miller and Phil Lord keep the pace manic, never letting the flow of jokes (both huge and subtle) stop, but the real MVPs are Channing Tatum and Jonah Hill, who once again prove themselves to be the best and most unlikely comedy duo since, uh… well, it’s been a long time.
Runner-up: Tom Cruise Gets Killed Over and Over Again, Edge of Tomorrow
Because it’s funnier than most comedies.
The Backhanded Compliment Award for a Movie Under Two Hours: Teenage Mutant Ninja Turtles
In an age where Transformers sequels get perilously close to three hours in length, it’s a genuine relief to see the Michael Bay-produced Teenage Mutant Ninja Turles run a breezy 101 minutes. This is by no means a good movie (it’s fairly okay but forgettable), but at least it doesn’t waste our time. It gets to the point, it gets there quickly and it ends before people in the audience start to wonder if it’ll ever be over. That’s a lesson that good movies should actually learn.
Because it’s blissfully, beautifully brief.
Best New Character: Groot, Guardians of the Galaxy
What’s with Vin Diesel bringing beautiful life to monosyllabic science fiction characters? Everyone’s favorite marble-mouthed meathead brings that Iron Giant majesty to Marvel’s talking tree, taking an alien that can only speak three words and embodying him with humor, toughness and simple beauty. Groot says more with a single CGI expression or an offhanded “I am Groot” than most characters accomplish with an entire screenplay.
Runner-up: Sergeant, The Purge: Anarchy
Because Frank Grillo is the man.
Best Returning Character: Godzilla, Godzilla
Godzilla is back! And he’s angrier than ever! And cuter than ever. And sleepier than ever. Seriously, by treating this version of the king of the monsters as a big animal with basic animal needs, director Gareth Edwards makes him lovable and weirdly relatable outside of the carnage. This Godzilla doesn’t give a crap about humans — we barely even register as ants to him! He simply wants to kick rival monster butt so he can go back to the ocean and go back to sleep. It’s so elegant and simple that we cant help but wonder why we ever tolerated a different take on the character.
Runner-up: Magneto, X-Men: Days of Future Past
Craziest Action Scene: The Street Battle, Dawn of the Planet of the Apes
The summer was full of crazy and jaw-dropping battle sequences, but there was only one action scene so intense and emotionally affecting that we wish it wasn’t happening. The first major battle between the apes and the humans in Dawn of the Planet of the Apes has to be seen to be believed, combining cutting-edge special effects with cinematography that feels truly next level. Director Matt Reeves and his team’s technical expertise ultimately serve the story through and through. We like both sides enough that this battle, no matter the outcome, is a tragedy.
Runner-up: Godzilla Throws Down with the MUTOS, Godzilla
Because HOLY CRAP DID WE JUST SEE THAT?! WHAT?! OH MY GOD.
Best Movie That Was Not a Sequel: Edge of Tomorrow
Emerging from a turgid marketing campaign to mediocre box office, Edge of Tomorrow is the kind of movie that people will discover on Blu-ray and wonder why the hell they skipped a movie this good when it was in theaters. A pitch-perfect examination of video game culture hidden behind an exciting and frequently hilarious science fiction story, the film is a helpful reminder that Tom Cruise is still the greatest movie star on the planet and that completely original worlds with no baggage are just as exciting as sequels, prequels and reboots.
Runner-up: The Fault in Our Stars
Because it got awfully dusty in that theater. Seriously. It’s just allergies. Stop looking at me.
Best Scene of the Summer: Baby Groot Dances, Guardians of the Galaxy
The action in Guardians of the Galaxy is fine, but it’s a sign of Marvel Studios’ unique strengths that the scene everyone is still talking about is just a quick sequence where a newly regrown Groot dances to the Jackson 5. It’s an adorable capper to a charming movie, proof that audiences will always respond to great characters before they respond to spectacle. Hell, this scene is so great that it inspired a toy after the fact. Everyone is going to own a baby Groot.
Runner-up: Godzilla Finally Uses His Atomic Breath, Godzilla
Because we knew it was going to happen eventually and then it happened and then it was fantastic.
Most Romantic Scene: The MUTOs Do Their Biz-Ness, Godzilla
What’s crazy about the two Big Bads in Godzilla is that all they want to do is get it on and make babies. They have no hatred toward humanity and they bear no ill will toward civilization. They’re just animals and they want to do what animals do. We don’t actually see these two massive beasts consummate their relationship, but we do it to see the buildup and it’s as weird and beautiful as any nature footage. There have never been two “villains” whose motivations have made more sense.
Runner Up: That Controversial Anne Frank Scene, The Fault in Our Stars
Because romantic scenes that take big, crazy risks should be rewarded.
The WTF Award for the Moment That Made Us Say “WTF!”: The Final 15 Minutes of Lucy
Look, I won’t beat around the bush: spoilers, okay? Ahem. The final 15 minutes of Lucy find Scarlett Johansson accessing 100% of her brain’s power and then the real crazy starts to happen. Instead of just being an unstoppable warrior with the ability to tap into people’s phone calls, she can now travel through time. And she does. And she sees thousands of years of history. And she meets the first human on a riverbank. And then she witnesses the birth of the universe. And then she, uh, creates the universe? And becomes God? Maybe? Meanwhile, Morgan Freeman watches in horror as her corporeal form transforms into into a liquid computer. WTF?
Runner-up: The Climax of Into the Storm
Because Matt Walsh reenacts that scene from The Matrix Revolutions.
Hero of the Summer: The TIDUS, Into the Storm
Forget Star-Lord. Forget Tom Cruise. The real hero of the summer of the summer is the Tidus, the Badass F***ing Tank Car built to withstand tornadoes in the instant camp classic Into the Storm. While the humans barely leave an impression, the TIDUS gets entire scenes dedicated to how badass it is, including a sequence where a character speaks directly the camera and explains everything it can do. And then there’s the climax, which revolves entirely around whether or not the TIDUS can just stay in one place while the biggest tornado in human history rides over it. Oh, man. This car is so great and so stupid and it deserves to star in so many sequels.
Runner-up: Caesar, Dawn of the Planet of the Apes
Because if we’re being perfectly honest, there were no summer movie characters this complicated and fascinating.
Special Grand Jury Prize for the Movie You Forgot Existed: The Amazing Spider-Man 2
What? This movie actually came out? No one told me. Oh. Wait. I did see this! Oh. Oh, man. Oof. Never mind.
Runner-up: Jersey Boys
Worst Movie: Sin City: A Dame to Kill For
Outside of Eva Green’s truly insane performance, there are few pleasures to be found in Sin City: A Dame to Kill For. It may look like the 2005 original and the Frank Miller comics that inspired it, but the heart and humor are nowhere to be found. This is cheap, ugly nonsense that emphasizes the flaws of the source material in a way that makes everyone look bad. It’s time for someone to give director Robert Rodriguez an intervention.
Runner-up: Transformers: Age of Extinction
Because it’s a Transformers movie that’s perilously close to three hours.
Best Movie: Godzilla
A blockbuster that zagged when everyone was expecting it to zig, Godzilla is one of the most surprising movies of 2014. Embracing its schlocky material while treating its monsters like living breathing animals with no human characteristics, this film literally feels like nothing that came before it, blazing a new trail and not caring who doesn’t get it. In director Gareth Edwards, we have found a filmmaker with the scope, imagination and playfulness of a young Steven Spielberg. He deserves to make movies until the day he dies.
Runner-ups: Dawn of the Planet of the Apes, 22 Jump Street, Edge of Tomorrow
Image Credit: Beyonce: Jeff Kravitz/MTV1415/FilmMagic; Vergara: Michael Tran/FilmMagic; Spider-Woman: Marvel; VH1
Ah, the summer of 2014: It was the best of times, it was the blurst of times. Though mostly, let’s face it, it was the worst. Yet even as horrific violence and heartbreakingly premature deaths and hemorrhagic fevers have marred the past few months, there have also been a few spots of levity. And most are thanks to butts.
True, the humble hiney is no stranger to celebration, especially when it’s warm outside. (You may, however, be shocked to learn that Sisquo’s “Thong Song” was actually released in January.) But this summer went above and beyond, prominently featuring ladies’ posteriors in movies, TV shows, and, more than anywhere else, music. As the season unofficially comes to a close over Labor Day Weekend, let’s take a look back at the Butts of Summer.
May 2 Consider this tasty little news story an appetizer: Word breaks that Japanese Godzilla fans are incensed about the monster’s appearance in Gareth Edwards’ upcoming reboot. Why? Because it’s just so… round, and out there: “It’s fat from the neck downwards and massive at the bottom,” one says. Clearly, nobody appreciates a big ol’ booty like Americans do—as the next three months will prove.
May 21 You know how summer movie season begins over Memorial Day weekend, even though summer doesn’t technically start until mid-June? Well, the Summer of Butts officially launched when Jason Derulo first crooned “You know what to do with that big fat butt” in the music video for “Wiggle.”
Meghan Trainor releases the video for her soon-to-be viral hit “All About That Bass.” “Bass” — “B” = Ass. That’s simple math—and all the right junk in all the right place…s.
June 13 Not to be outdone, derriere pioneer Jennifer Lopez releases a teaser for her next album, A.K.A. The snippet comes from a new song called “Booty.” Sample lyrics: “Big, big booty/What you got a big booty/Big, big booty/What you got a big booty.”
June 17 Queen of Bounce Big Freedia releases her fourth studio album, full of twerk-inspiring tracks like “Lift Dat Leg Up.”
Lopez performs “Booty” live on Good Morning America. Guess what the dancing is like.
June 25 New to iOS phones and Google Play: Kim Kardashian: Hollywood, an addictive game branded around one of pop culture’s most famous butts.
July 17 VH1 premieres Dating Naked, a dating show that’s exactly what it sounds like. Boobs and crotches are blurred out; butts are not.
July 18 Not all butts are created equal: Cameron Diaz and Jason Segel’s raunchy comedy Sex Tape debuts and immediately fizzles with critics and audiences. The film earns just $15 million its opening weekend, well below projections. Could it be because the movie’s leads don’t have enough back?
July 28 Girls of summer Nicki Minaj, Ariana Grande, and Jessie J team up for the electric single “Bang Bang.” The first lines? “She got a body like an hourglass/But I can give it to you all the time/She got a booty like a Cadillac/But I can send you into overdrive.”
Big Freedia hosts Bounce 4 Year Anniversary in New Orleans. Tagline: “This is the big one: the bounciest of bounces, the twerkiest of twerks, the shakiest of shakes…”
Nicki Minaj’s “Anaconda” leaks, days before its planned Aug. 5 release. The cover art looks like this:
Then there’s the universally adored Guardians of the Galaxy, a movie anchored by the Legend of Kevin Bacon. One of its most memorable exchanges:
Starlord: “On my planet, there’s a legend about people like you. It’s called Footloose. And in it, a great hero named Kevin Bacon teaches an entire city full of people with sticks up their butts that dancing, well, it’s the greatest thing there is.” Gamora: “Who put the sticks up their butts? That is cruel.”
Aug. 8 Cinemax—a premium cable channel that, until recently, was primarily known for showing softcore pornography—goes prestige by premiering The Knick, a highly pedigreed period drama. Literally seconds into its first episode, a naked prostitute appears onscreen. We can’t see her butt, but we know it’s there—marking a rare instance in which a butt could have been shown, but wasn’t.
Aug. 9 There’s a ton of sex in the first episode of Starz’s moody time-travel drama Outlander, but barely any nudity. One notable exception: A torrid love scene where the only naughty bit shown onscreen is heroine Claire’s shapely behind.
Aug. 11 Miley Cyrus is so enamored with Nicki Minaj’s tush that she Instagrams several doctored “Anaconda” covers in which her face and, once, Hannah Montana’s have been photoshopped onto a white version of Minaj’s body. One of these photos briefly becomes her Twitter avatar. Minaj is not pleased.
Aug. 12 EW reveals the winner of our Best Character on TV Right Now poll: Tina Belcher, smart, strong, sensual woman and unapologetic lover of butts.
Aug. 18 Hey, you know who else loves to shake her booty? Taylor Swift, that’s who. Even if you’re going to make fun of her for it. Actually, especially if you’re going to make fun of her.
Also, the new season of America’s Next Top Model premieres, featuring both male and female posers—sorry, that’s “boochers” and “toochers.” For those not fluent in Tyranian: to “tooch” is “to pop your out booty while taking a photo in order to accentuate your ass.” To “booch” is to be a boy toocher.
Aug. 20 The rump-centric video for “Anaconda” drops, featuring “Look At Her Butt” t-shirts, a bemused Drake, and tons of undulating cheeks (like dun duh dun dun dun dun dun).
The very same day, comics fans go ballistic about this variant Spider-Woman #1 cover, which presents the superheroine… presenting.
Aug. 22 “Kathy Griffin Challenges Nicki Minaj to Butt Contest.” Everybody wins.
Aug. 24 MTV airs the most butt-forward VMAs in recent memory, featuring performances of “Anaconda” and “Bang Bang,” complete with innumerable wiggling asses. Presenter Chelsea Handler observes that all the “big, fat asses” on the show made her feel insecure, which is why she asked to come onstage after someone super white (i.e. Taylor Swift.) But the classiest butts of the evening naturally belong to the shiny-skinned backup dancers doing splits in the air as Beyoncé slays “Drunk in Love.”
Aug. 25 “Bang Bang” gets an appropriately booty-shaking music video.
That evening, Sofia Vergara climbs onto a rotating dais at the Emmys, posing like Awards Show Barbie as the president of the TV Academy gives a speech. There’s no question about which body part we should be lavishing with attention; at one point, she pats the junk in her trunk.
Aug. 26 Remember Jennifer Lopez? Now there’s a “Booty” remix. And it features Iggy Azalea. And EVEN MORE BUTTS.
You know what? Maybe the Summer of Butts will never be over. Maybe it’ll live inside us always… or at least directly behind us.
Gym gear chic: Geordie Shore’s Holly Hagan showcased her trim tum in Liverpool on Thursday
Holly Hagan turned the streets of Liverpool into her own little catwalk on Thursday.
The busy Geordie Shore babe had no qualms flaunting her surgically-enhanced assets in a low-cut pink crop-top.
Presumably fresh from a gym session the brunette beauty opted for a comfy pair of Nike tracksuit trousers and black trainers.
Buddies: The star was joined by co-star Marnie Simpson
Despite looking like she’d just come from the gym, the 22-year-old made sure she didn’t have a hair out of place and a full face of make-up.
The reality TV star was joined by good pal and co-star Marnie Simpson, who also flaunted her flat stomach in a white crop-top.
Marnie finished off her look in high-waisted black jeans, flip flops, a brown satchel and sunglasses.
Gym junki: ‘Saturday morning sit-ups,’ Holly wrote alongside this snap
Fit and fab! ‘‘Taking a huge compliment to people thinking I photoshop my photos, means my hard work must be paying off,’ Holly said of her ab selfie
On Saturday Holly uploaded a selfie of her toned abs alongside the caption: ‘Saturday morning sit-ups.’ However shortly after, several several users accused her of photoshopping the image.
‘Taking a huge compliment to people thinking I photoshop my photos, means my hard work must be paying off,’ Holly defended.
Speaking about the ninth season of Georgie Shore, Holly told Female First she isn’t sure what location it will be shot at but hopes it’s overseas. ‘As the cast, we don’t know where we’re going. Hopefully somewhere abroad though,’ she told.
Cool and classic: Marnie kept things stylish in a long-sleeved white crop-top and high-waisted skinny leg jeans
Undeterred by the nay sayers, she has also been keeping fans updated with her fitness overhaul.
‘Never in my life have I put a size 10 pencil dress on and needed to get a smaller size so pleased with my progress,’ she tweeted earlier in the week.
Before adding: ‘Can someone please tell me why I wasn’t born with ankles #cankle.’
Bonding time: The duo happily chatted as they strolled the sun-drenched streets
Labor Day fun: Jennifer Lopez spent some down time at a beach in The Hamptons with twins Max and Emme
She had a hectic week with her stunning VMAs appearance and then jetting to New Orleans as a judge on American Idol.
So it’s no wonder mother-of-two Jennifer Lopez was ready for some relaxation over the Labor Day weekend.
The pop diva hit the white sandy beaches of the Hamptons with six-year-old twins Max and Emme, along with pals, to enjoy some fun in the sun.
The 45-year-old looked perfect for the beach in a pair of ripped Daisy Dukes which showed off her athletic and tanned limbs.
She teamed them with a white Zara T-shirt with the words ‘Do you understand the difference between like and love’ which she used to layer over a colourful string bikini top.
The Waiting For Tonight singer added a touch of glam to her casual outfit with purple hued aviators as well as large hooped earrings.
Rarely seen in such a casual setting, the mother-of-two scraped her locks up into a messy bun as she grabbed a ball and played catch with a delighted Emme.
Ready for the beach: The 45-year-old singer showed off her athletic pins in ripped Daisy Dukes
Playing catch: The mother-of-two was seen playing a ball game with her adorable little girl Emme
‘Lazy Summer days’: JLo looked relieved to have some days off as she shared this snap on Friday
Her little girl looked adorable in a grey marl jumper which she wore as a dress with her dark hair swept into a high ponytail.
Later on the twins – who are fathered by Jennifer’s ex-husband Marc Anthony – jumped in the back of a Jeep for a quick jaunt around the sandy dunes with little Max clutching a brightly coloured beach ball as he sat wedged between his sister and another young friend.
Earlier the actress looked ready for some down time as she shared a laid back selfie as she sat in her car. She captioned: ‘A lil sleepy today…feels good…:) #lazysummmerdays #julybaby #Ilovesummer #ilovelongweekends #labordayweekend’
The jet-setting TV star was seen in New Orleans, Louisiana on Wednesday as she arrived with fellow American Idol judges Keith Urban and Harry Connick Jr as they start auditions for season 14.
Off-road: Later on the kids jumped on the back of a jeep for some exploring
And before that JLo made a jaw-dropping appearance at the MTV VMAs on Sunday in a shimmering silver gown with daring split to the thigh and multiple cut-outs showing off her toned torso.
The star accessorized with a Thalé Blanc clutch, Jimmy Choo heels and Normal Silverman jewels.
Although she didn’t perform at the ceremony – instead introducing Iggy Azalea and Rita Ora before they took to the stage with Black Widow, J-Lo was still one of the biggest talking points of the show.
Jennifer and Iggy are collaborating on a revamped version of her single Booty.
Originally featuring Pitbull on the track, J-Lo has wisely replaced her featured rapper with the 23-year-old hit-magnet (who currently has no less than three songs on the Billboard Hot 100).
Adventure: Something caught the attention of Max and Emme as they sat in the vehicle and drove past the sandy dunes
Meanwhile, Lopez sparked rumours of a reconciliation with her ex-boyfriend Casper Smart – the dancer was seen handing her some Skittles during the awards ceremony in Inglewood.
Clad in a blue suit, the 27-year-old was seen generously pouring some sugary snacks into the Latina beauty’s hand, as she sat behind him in a different section.
The pair split up in June amid rumours that Smart had been texting a transsexual model.
Smart was not at the event to support his ex-girlfriend – he had choreographed Nicki Minaj’s performance of Anaconda.
Goddess: JLo looked stunning at the MTV VMAs on August 24
What a summer at the movies! The galaxy got guarded. The future days went past, like some sort of extinct age. The planet of the apes stopped rising and started dawning. Our stars had a fault. And also: Lucy!
Hollywood had a rough season at the box office in summer 2014, with overall box-office receipts falling precipitously from last year’s flurry of mega-grossers. Going into this weekend, Guardians of the Galaxy, the highest-grossing film at the summer box-office, has earned about $256 million–which would have made it the fifth highest-grossing movie of summer 2013.
Word on the street says that 2014 was an off year between mega-franchises—that next year will unleash Hollywood’s A-Game. After all, summer 2015 has Avengers: Age of Ultron. And a Jurassic Park reboot starring everyone’s favorite new movie star. And a Fantastic Four movie that didn’t show up to Comic-Con. And a Terminator movie with a funny name. And… oh, um, The Man From U.N.C.L.E. remake your grandparents have been asking for.
Maybe 2015 will be huge. Maybe someday 2014 will be a distant memory. But there are some valuable lessons to learn from the success and failures of this summer season. Remember: By some metrics, the most successful movie of the summer was a movie where a tree and a raccoon make friends with a wrestler and a green lady, while the dude from famously low-rated sitcom Parks & Recreation plays them his ’70s mixtape. Which brings us to the first lesson:
1. Marvel cannot be stopped.
Marvel Studios came into the summer from a position of strength, having scored the year’s first big smash with Captain America: The Winter Soldier. (Globally, the star-spangled sequel grossed $350 million more than the first Captain America.) All of Marvel’s Phase 2 sequels have outgrossed their immediate sub-franchise predecessors: proof of the Avengers halo effect. But what would happen when Marvel stretched outside of its Avengers wheelhouse? Could they launch a new franchise with zero name recognition—especially when that franchise looks nothing at all like their other movies, or hell, any other movie on the market right now?
And so Guardians of the Galaxy stormed into theaters. It made all the money. It earned raves from critics—and Iron Man!In a year or so, we might retroactively decide that Guardians also hit the market at a moment when moviegoers suddenly learned to love space movies again—one year after Gravity, we’re cusping on Interstellar and a new era of annual Star Wars movies. But for right now, the only thing that’s really certain is that Marvel turned one of their fringiest fringe franchises into a megahit.
2. Michael Bay also cannot be stopped.
Good news for humanity: Trans4mers grossed significantly less domestically than Trans3mers. Bad news for everyone: Age of Extinction is the year’s only hit to top $1 billion worldwide. Bay took a victory lap in August by producing Teenage Mutant Ninja Turtles, a canny Nolanization of a nostalgia-bait franchise that joined Guardians in lifting up the end-of-summer doldrums. You could argue that Bay’s success is just an example of savvy franchise profiteering—he’s not making any movies about weird raccoons—but 2014 reconfirmed his status as the demon god of teenage boys everywhere.
3. Stars still matter…
Lucy earned a decent chunk of change off little more than the promise of Scarlett Johansson punching people. It’s easy to overpraise Lucy as an “original” premise—it’s a superhero movie by any other name, built on some rather precarious movie-science—but what’s undeniable is that Johansson’s recent career turn kicking ass in successful Marvel movies has now given her the ability to turn non-Marvel movies into a success. Similarly, it’s hard to imagine Maleficent doing such elaborate business without Angelina Jolie—after taking a few years off to direct, Jolie’s Disneyfied comeback is the second highest grosser worldwide.
4. …but maybe humans don’t…
Transformers, apes, mutant turtles, Godzillas: This was a big year for Things That Aren’t Human. Maybe Sin City 2 should’ve added in a stripper squirrel or something.
5. …and maybe men don’t.
Even with good reviews, Tom Cruise couldn’t get people Americans to see Edge of Tomorrow. And after a few years of raising his stock with some savvy franchise-hopping career movies, Dwayne Johnson couldn’t convince people to see Hercules. Playing Black Widow might have turned Scarlett Johansson into a minor box-office force, but Captain America himself couldn’t get moviegoers to see Snowpiercer. (Harvey Weinstein didn’t help, either.) You could argue that biggest dude-stars of summer 2014 were Mark Wahlberg and Hugh Jackman, but they were safely ensconced in deep-sequel franchises, playing second fiddle to beloved non-human Optimus Prime and beloved angel from heaven Jennifer Lawrence.
6. Or maybe men do matter, but only if they’re in an R-rated comedy.
22 Jump Street and Neighbors continued the winning streak of the Apatow Diaspora, with Jonah Hill and Seth Rogen further expanding their respective brands. Jump Street earned more; Neighbors was cheaper; they both had lots of swears. Meanwhile, we can maybe confirm that the sun has finally set on Adam Sandler’s long-running PG-13 assembly line: Blended grossed less at the domestic box office than Let’s Be Cops, the curiously popular R-rated bro-com which finally gave the 2010s its very own Dude, Where’s My Car?
7. Seth Rogen is a star again.
Two consecutive summers, two lower-budget comedies, two big hits. Rogen never really went away, but the days of the Green Hornet/Guilt Trip dry spell look very distant indeed. This December’s highly anticipated, controversial-among-dictators The Interview could make three in a row.
8. And Melissa McCarthy is still a star.
Tammy didn’t make Identity Thief money. But considering that Tammy was an R-rated dark-comedy passion project for McCarthy and her husband/co-writer/director Ben Falcone, grossing very close to $100 million worldwide has to be considered some kind of success. Did Tammy damage Brand McCarthy? Next May, she’s reuniting with Bridesmaids director Paul Feig in a movie where she plays a spy opposite Jason Statham and Jude Law. Tell me you’re not a little interested.
9. People like sequels that feel a little new.
People want more of what they wanted before: This is the modern Hollywood truth. But when sequelizing, it helps if you can promise something old and something new. X-Men: Days of Future Past rejuvenated the mutant franchise by mixing the old X-Men with the new X-Men. (Worldwide, it’s the biggest X movie ever.) Dawn of the Planet of the Apes scrubbed out most of Rise‘s supporting cast and genre-jumped from science-amok thriller to post-apocalyptic action. Winter Soldier essentially restarted the Cap sub-franchise from scratch. And Trans4mers had robot dinosaurs this time!
Conversely, adding a few more familiar faces to Expendables 3 couldn’t stop the AARP action franchise from freefalling. Amazing Spider-Man 2‘s decision to do the whole Green Goblin thing for like the millionth time resulted in the lowest-grossing Spidey movie ever. (Domestically, it grossed half as much as the original Spider-Man.) Sin City: A Dame to Kill For added a few new faces to the greenscreen blood opera, but the trailer for Sin City 2 is basically the trailer for Sin City with different people and worse music. And take heart, parents! Your kids wanted to see Planes 2 about half as much as they wanted to see Planes 1.
10. When you’re adapting a beloved YA novel, it’s best to strike while the iron is hot.
See: The Fault in Our Stars. Don’t see: The Giver. (Being good helps, too.) (Or anyhow, being not-terrible.)
So what if Transformers: Age of Extinction grossed less than Transformers: Dark of the Moon? So what if Amazing Spider-Man 2 grossed less than Amazing Spider-Man? So what if, when you adjust for inflation, Future Past couldn’t quite match up to the domestic grosses of the original X-trilogy? So what if, when you adjust for inflation, 2014’s Godzilla didn’t really outperform 1998’s Godzilla (and may have actually underperformed)? And so what if Tom Cruise had a tough time cracking $100 million? All those movies multiplied considerably in overseas grosses. Worldwide, Edge of Tomorrow is one of Tom Cruise’s biggest post-millennium hits not titled Mission: Impossible. And China still loves you, Transformers.
12. Unless domestic grosses definitely matter.
Money works in mysterious ways. Trans4mers might play in Puyang, but if Hollywood studios want to collect every cent of their dollars, it still works better to play in Peoria. And after this weekend, the two highest-grossing movies of 2014 will come from the same production company. Which company? See Lesson 1.
Starred Up is absolutely one of the best films of 2014 with a star-turning performance from Jack O’Connell, star of Angelina Jolie’s upcoming WWII feature Unbroken.
“Starred Up” is a Tribeca Film release, directed by David Mackenzie. This film has not yet been rated by the MPAA. The running time is .
The cast includes Jack O’Connell, Ben Mendelsohn, Rupert Friend, Anthony Welsh, David Ajala, Peter Ferdinando, Mark Asante and Gershwyn Eustache Jnr.
The title Starred Up refers to the premature transferal of a juvenile to adult prison. In the case of this film, directed by David Mackenzie, said juvenile is 19-year-old inmate Eric Love played with utter ferocity by Jack O’Connell. The overall awe I felt in watching O’Connell here is like the first time I saw Tom Hardy in Nicolas Winding Refn‘s Bronson, though, while both films focus on unstable prison inmates, you have to strip away all the dark humor and absurdity of Bronson before you can get to the harsh, real world, brutal intensity of Starred Up and it doesn’t let up for a second.
Jack O’Connell in Starred Up
Photo: Tribeca Film
Eric Love’s transfer comes as a result of his violent nature and Mackenzie introduces the audience to Eric’s new environment right along with the young man — strip off your clothes, raise your arms, squat, put your clothes on. He’s ushered down the cell block wing that will serve as his new home for the years to come and once inside his cell we witness a brief moment of pained reflection, but it doesn’t last long.
When it comes to O’Connell’s physical dominance, the young actor is clearly fit, but in no way would he be physically menacing based on stature alone. This is where the beauty of his performance lies. The fierce nature of his glare, his merciless attitude and downright threatening delivery of dialogue quickly establish a character not to be fucked with. He may be a boy among men, but he isn’t to be taken lightly.
The complexity of the story, however, is beyond just mere violent tendencies. Eric’s father, Neville (Ben Mendelsohn), is one of Eric’s fellow inmates, an unlikely family reunion for most fathers and sons, but in this case it seems just about right. Neville has been inside for some time, built a network of acquaintances and is feared himself by many on the inside. His way of parenting isn’t much different, choosing to bark orders in Eric’s face. The reigniting of a tenuous relationship that will clearly have issues.
Eric almost immediately finds himself into trouble, but this trouble also finds him a possible awakening, a clear cliche in this sort of film, but not a long-lived one as Starred Up isn’t interested in exploring cliches.
Rupert Friend plays Oliver, a volunteer prison therapist who leads a group for inmates just like Eric, teaching them to use words instead of violence to work through their issues. Oliver intervenes just as Eric has his mouth clamped down on one of the guard’s genitals and won’t let go in defense of being clubbed once more. After persuading Eric to loosen his grip, Oliver negotiates for him to join his group, but the prison’s higher ups are keeping the young man on a tight leash.
These are the complex dynamics of Starred Up, a film written by Jonathan Asser, a first timer whose background is working as a therapist in the British penal system. First and foremost you could probably call the film a father-son drama within the confines of a prison, but at the same time both prison and inmate politics play a huge role.
O’Connell gives a star-turning performance, Mendelsohn is as great as you’ve ever seen him, again playing a lower class citizen with might and gusto, and Friend is outstanding as a compassionate therapist whose reason for being there in the first place adds another layer to an onion of a film you may never stop peeling. But I also found tremendous amounts of emotional highs and lows in the supporting cast, most notably the members of Oliver’s group, many of which whose character names I could never quite catch, all largely due to how intense each of their scenes are and the authenticity of their conversations and/or arguments. It gets to a point where a mere fist bump says so much about what’s going on between these fellas and it’s a beautiful thing to see.
Visually, Starred Up almost feels like a documentary. Cinematographer Michael McDonough goes largely hand-held for the duration, slicing through the swath of inmates as prison chatter and the clanging of metal fills your ears. However, in one instance specifically, McDonough keeps the camera steady on Eric as he speaks, a dingy yellow wall behind him and real emotion beginning to pour out. As such, I also have to mention production designer Tom McCulloch whom you could argue didn’t have a ton of work to do since the production made use of a former, fully intact prison, but the authenticity can’t be argued.
I was, honest to God, blown away by Starred Up and the absolute intensity of the picture and ferocious nature of O’Connell’s performance. This is the film to see before O’Connell becomes a star as he is set to headline Angelina Jolie‘s Unbroken at the end of 2014. This is the film you’ll reference the next time David Mackenzie (Young Adam, Hallam Foe) directs another feature and Jonathan Asser writes another screenplay. This is ground floor excellence and you’re going to want to get in before this elevator goes to the top.
SIDE NOTE: The film uses a lot of legitimate “prison speak” for its dialogue and included in the press notes is a glossary of terms. I felt it would be helpful to share that glossary with you as this film is currently available On Demand and on iTunes right now.
ACKI – fellow Muslim
BACON – any type of sex offender
BAG HEAD – heroin addict
CLUMP – hit
CSU (Care and Separation Unit) – solitary confinement
DOUBLE BUBBLE – two for one
FRAGGLE – vulnerable prisoner
GWAP – money
KANGA – prison officer
KICK OFF BACK DOOR – anal sex
MUG OFF – show disrespect
OFF – kill
STARRED UP – premature transferal from juvenile to adult jail
A villainous trollcatcher sets out to eradicate the underclass and join the cheese-eating elite in this latest from the animation house behind ‘Coraline’ and ‘ParaNorman’
Something vital got lost in translation
Venue: Venice Film Festival (Out of Competition)
Opens: Friday, Sept. 26 (Focus Features)
Cast: Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Dee Bradley Baker, Steve Blum, Toni Collette, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, Simon Pegg
Directors: Anthony Stacchi, Graham Annable
VENICE – There’s a captivating sequence on the end credits of The Boxtrolls that’s more or less a hand-drawn capsule version of the entire story, accompanied by an airy cover of the Pete Seeger hit “Little Boxes” performed by Portland band Loch Lomond. That’s followed by two characters who share an existentialist bent — amusingly voiced by Richard Ayoade and Nick Frost — imagining a world in which their every movement is manipulated by unseen giants, before cameras pan back to show producer and lead animator Travis Knight tinkering away.
Those few playful minutes are packed with charm, wit and an infectious fascination with the magic of animation, all qualities that this stubbornly unappealing 3D toon lacks.
Like Coraline and ParaNorman before it, the film was hatched out of artisanal Oregon-based animation studio Laika, where Knight serves as president. And like those earlier features, which managed more successfully to juggle dark with light, this one appears unafraid to target a more limited audience than most wide-release CG-animated movies. Its demographic seems likely to mirror the 8-14 age range of the source material, British children’s author Alan Snow’s fantasy adventure, Here Be Monsters!
Whether kids unfamiliar with that book and others in the Ratbridge Chronicles series will respond to the film’s unrelenting cynicism is doubtful. There’s a crucial shortage of heart here, from the messy storytelling to the hit-or-miss humor and unattractive visuals. Directed by Anthony Stacchi (Open Season) and first-timer Graham Annable, the film was shot, with no major dividends, in stereoscopic 3D, and is predominantly stop-motion, with some CG and hand-drawn work.
Considered in adult terms, it’s a tale of class envy and attempted genocide in a mountaintop Victorian-era township called Cheesebridge, where access to that dairy product in all its most flavorful forms is what separates the rich “White Hats” from the poor in red. Down below ground level live the Boxtrolls, mischievous non-verbal creatures outfitted in recycled cartons. Each of them takes its name from their packaging: Fish, Shoe, Fragile, etc.
Irena Brignull and Adam Pava’s screenplay perhaps intentionally fudges the intro, which explains how the Boxtrolls came to be so hated by the above-ground citizenry, and how they came to raise a human boy, Eggs (Isaac Hempstead Wright), since his infancy. This background is outlined more clearly later on, but that doesn’t exactly facilitate early plot access.
Limited compensation comes in our initial exposure to the happy Boxtroll community, who travel by conveyor belt in their underground lair, eating bugs and stacking themselves into a neat cube when it’s time to rest. A race of builders, as opposed to the idle folk up above, they also make regular forays into the town proper after nightly curfew to forage for whatever useful junk they can get their hands on. However, once introduced, the Boxtrolls don’t actually do much.
Having successfully spread the falsehood that Boxtrolls eat children, social-climbing “Red Hat” Archibald Snatcher (Ben Kingsley) has vowed to exterminate the vermin, believing their demise is his ticket to the civic leaders’ cheese-tasting table. He roars in his wagon along the cobblestone streets at night with his henchmen, crying, “Hide your cheese! Hide your tender and delicious babies!”
With each nighttime excursion, a few more Boxtrolls are captured and believed killed, and as their numbers dwindle, Eggs begins to fear for their survival. But during one trip above ground, he meets fellow 11-year-old Winnie (Elle Fanning), the neglected daughter of snooty Lord Portley-Rind (Jared Harris), leader of the White Hat elite. The girl’s morbid fixation with Boxtrolls gives way to solidarity upon closer acquaintance, and she becomes an ally as Snatcher grows ever more ruthless.
There’s no shortage of plot here and yet somehow it never gathers much steam, shuffling from one busy set-piece to the next without fostering investment in characters good or bad. While Dario Marianelli’s robust score spells drama and action, even the requisite rollercoaster-like chase scenes fail to build excitement. And the more dialogue-driven moments are often sluggish and dull, particularly when the writers start underlining their themes about how loving families come in many forms, and how packaging matters less than what’s inside.
The death blow to any residual affection the film has managed to hang onto comes in the climactic stretch, during which the now-crazed Snatcher unleashes a mammoth contraption that’s like a steampunk transformer robot, stomping all over town, causing panic and mayhem. This ugly imagery is a far cry from the quaint Edward Gorey-style Victoriana of the illustrations that accompanied Snow’s novel. In fact, the dreary-looking storybook hamlet has little that could be called distinctive.
The work of the voice cast is fine but rarely interesting enough to bust out from behind the artists’ lackluster character designs. Kingsley’s Snatcher is a particularly joyless villain, not least of all when he’s grotesquely bloated from cheese intolerance. Actors like Toni Collette, Tracy Morgan and Simon Pegg are wasted; the most entertaining contributions come from Ayoade and Frost as Snatcher’s incongruously cerebral sidekicks. Questioning the notion of heroism and the lines separating the righteous from wrongdoers, they wonder if Boxtrolls “understand the duality of good and evil.”
The saddest misstep here is that while the kind, industrious Boxtrolls are the downtrodden of the story, they are also treated as such by the screenwriters. Their fate becomes entirely secondary to Snatcher’s lust for position and wealth, to Eggs’ friendship with plucky Winnie and to the boy’s reunion with a lost figure from his past. And frankly, when there are trolls in peril in the mix, who cares about all that other stuff?
Production company: Laika
Cast: Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Dee Bradley Baker, Steve Blum, Toni Collette, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, Simon Pegg
Directors: Anthony Stacchi, Graham Annable
Screenwriter: Irena Brignull, Adam Pava, based on Alan Snow’s book, “Here Be Monsters!”
Producers: David Bleiman Ichioka, Travis Knight
Director of photography: John Ashlee Prat
Production designer: Paul Lasaine
Costume designer: Deborah Cook
Music: Dario Marianelli
Editor: Edie Ichioka
Animation supervisor: Brad Schiff
Visual effects supervisors: Brian Van’t Hul, Steve Emerson
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