Video star: Kim Kardashian reportedly stands to make $200million from her hit video game Kim Kardashian: Hollywood
Kim Kardashian has scored a hit with her new video game that could bring her annual revenue reaching $200 million, it has been reported.
The 33-year-old reality star has proven to be a virtual reality magnet as her free game Kim Kardashian: Hollywood ranked number three on Monday on the iTunes charts.
Kim released the video game on June 25 ranking as high as second in the most-downloaded free apps category, and Bloomberg suggest that it could be the star’s most lucrative venture yet.
‘This project has been an amazing experience. I’m so excited that people are enjoying the game!’ Kim told E! News in an article on Monday.
‘I partnered last year with a fantastic company called Glu Mobile to create what is now the No. 3 Free and No. 5 Grossing game on the Apple App Store. We collaborated on every aspect of the game’s design details and continue to do so with the updates we are bringing out,’ she added.
Popular game: Kim, shown earlier this month in Paris, also has clothing, jewelry and cosmetics lines
The game has been popular while also achieving a five-star rating from players.
Kim Kardashian: Hollywood could reach $200 million in annual revenue, said Cowen & Company analyst Douglas Creutz in a recent Bloomberg article.
‘Obviously, Kim Kardashian’s brand has driven people to download the game. But at this point, the game has taken on a life of its own,’ said Creutz.
Shares of San Francisco-based game creator Glu Mobile have risen 42 percent since the game’s release.
The free game allows players to buy digital accessories for real money with $5,000 in virtual money costing $4.99 in US dollars. A pair of high heels cost about $4,000 in the game.
‘Beautiful and big!’ The objective of the game is to ‘create your own aspiring celebrity and rise to fame and fortune’
Voice over: In the game, the 33-year-old reality star used her talents to deliver lines such as: ‘I love your style,’ ‘I love that on you,’ and ‘I’m so excited’
The objective of the game is to ‘create your own aspiring celebrity and rise to fame and fortune.’
Kim provides advice to players to help them maneuver their way to the coveted A-list celebrity status.
‘Dating famous people will get you more fans, too,’ virtual Kim instructs gamers.
Kim also has established clothes, cosmetics and jewelry lines.
‘I love that on you!’ Kim’s self-titled game app allows players to select clothes, hit the clubs, and ‘fall in love’ as house music swells in the background
“The Raid 2″ is a Sony Pictures Classics release, directed by Gareth Evans and is rated R for sequences of strong bloody violence throughout, sexuality and language. The running time is .
The cast includes Iko Uwais, Arifin Putra, Yayan Ruhian, Alex Abbad, Cecep Arif Rahman, Julie Estelle, Very Tri Yulisman, Tio Pakusodewo and Oka Antara.
Iko Uwais and Cecep Arif Rahman in The Raid 2 Photo: Sony Pictures Classics
2012′s The Raid came with a flurry of fanfare following a series of festival screenings touting it as a masterpiece of action cinema. Written and directed by Gareth Evans the film no doubt featured some impressive action choreography, but the story was non-existent to the point of boredom. That said, to say my expectations for The Raid 2 were limited is an understatement. When I saw it runs two-and-a-half hours my interest dwindled even more, expecting to see it, if ever, on Blu-ray. Well, I did and I’m very glad I did, proving expectations can sometimes cause you to miss something great.
The immediate comparison here is to say The Raid 2 is to The Raid what Infernal Affairs 2 is to Infernal Affairs, but that’s to give The Raid too much credit. The comparison to Infernal Affairs 2 alone, however, is apt. The two films follow somewhat similar storylines, centering on a police officer going deep undercover to the point they go to jail and eventually infiltrate a local mob in an effort to uncover the dirty cops from within. For those that have seen the first film you’ll know this undercover cop as Rama (Iko Uwais) as the story picks up only a couple hours following his level-by-level annihilation of the bad guys in The Raid.
Once in prison, Rama, posing as Yuda, befriends Uco (Arifin Putra), son of a local Jakarta syndicate leader and after two years on the inside he’s welcomed into the syndicate with open arms, becoming something of an enforcer alongside Uco who’s desperately eying his father’s seat as top dog in Jakarta, which becomes the eventual shift in the narrative. In an attempt to incite a gang war between the Indonesian and Japanese mafias in Jakarta, loyalties are tested, secrets revealed and a lot of blood is shed.
In all honesty, after seeing The Raid, had I not known Gareth Evans had also written and directed The Raid 2 I would have assumed the film had the same fight choreographer and a brand new writer and director. As it turns out, Evans had written and damn near choreographed this entire film (previously titled Berandal) before ever coming up with the idea for The Raid. Due to the size and scope of the project, however, it was decided a smaller film should be made first, thus, The Raid, which eventually became a prequel to this film.
The story here is definitely something you’ll be familiar with as there are really only so many ways to tell the story of an undercover cop infiltrating a mob enterprise, but Evans brings not only that signature action that was so highly praised after The Raid, but he has a unique style and an impressive level of patience in his storytelling that I never would have expected.
Evans definitely borrows a lot of action techniques from his heroes such as Bruce Lee and Jackie Chan and a love of blunt violence in the same vein as Sam Peckinpah, but stylistically we has a similar watchful eye and love of distinct colors (eye-popping red chief among them) such as what we’ve seen recently from Nicolas Winding Refn.
While serving as the star once again, Uwais along with Yayan Ruhian, Cecep Arif Rahman and Very Tri Yulisman are among the film’s various fight choreographers (credited or otherwise) and this is where The Raid 2 really goes beyond its predecessor. The fights are still beautifully staged and delivering excellent “punch lines” as Evans refers to those specific action beats where the audience is likely to jump back and say, “Damn!” such as when a baseball bat is lodged into a victim’s face. The difference is the fights are part of the story in the same way music and songs contribute to a good musical.
A good musical isn’t song after song after song, it’s a marriage of music and narrative and once the cast starts singing, that narrative continues not only in the song, but beyond it. Evans and his fight choreographers have accomplished the same thing here only songs have been replaced with all out action, though it’s action that compliments its characters and advances the story.
A muddy prison yard fight, a kitchen is turned bloody in a brutal one-on-one battle, characters such as Hammer Girl (Julie Estelle) and Baseball Bat Man (Yulisman) are far more than just cheesy thugs, instead serving as exciting henchmen in their own right. And a shotgun goes to good bloody use in a payoff moment you won’t soon forget.
What surprised me even more is how my favorite action piece was the one having the least to do with martial arts as Evans and car stunt coordinator Bruce Law put together one hell of an amazing car chase scene with one moment specifically blowing me away as the camera goes from inside one car to the inside and through a trailing vehicle all while punches are being thrown and bullets are being fired.
Evans is able to hold on these action sequences so long, and paces the narrative in such a way, that the action isn’t on a timeline. It’s not a matter of inserting a piece of violence or an action beat just because there hasn’t been one in ten minutes. The action serves the story as opposed to the other way around, a distinct difference when compared to the first film and while the story may be a little cliche, the action and Evans’ directorial style sell this one whole-heartedly.
Working on a budget of only $4.5 million it’s astonishing how much better this film is than damn near any action film I’ve seen in years. The car chase scene alone is more thrilling than anything I’ve seen in any of the Fast & Furious movies and those are carrying budgets north of $150 million with anything and everything at their disposal.
Before I started watching The Raid 2 I wouldn’t have minded never seeing it, but now I’m even contemplating a reassessment of the first film and excited to see what Evans can do with a third, should it come to that. Evans clearly has a mind for action and a patience for story, and I can’t wait to see what he does next.
A horror film about a honeymoon from hell has captivated audiences on the festival circuit.
A woman morphs into an alien creature in this modest but creepy horror flick.
Opens: Friday, Sept. 12 (Magnolia)
Director: Leigh Janiak
Producers: Patrick Baker, Esme Howard
Cast: Rose Leslie, Harry Treadaway, Ben Huber, Hanna Brown
A hit at SXSW and Tribeca, Honeymoon is a microbudgeted horror movie that achieves some genuinely shivery moments. More creepy than truly suspenseful, the story of a honeymoon from hell won’t set the box office aflame, but it will win the affection of genre fans.
The picture begins with newlyweds Paul (Harry Treadaway) and Bea (Rose Leslie) driving from their wedding to a remote cabin in the woods that belongs to Bea’s family. The early scenes meant to convey the couple’s wedded bliss aren’t very compelling. While they declare their love and engage in lusty sexual high jinks, we learn nothing interesting about either character. But when a shaft of light zeroes in on Bea while she sleeps, we can tell that something eerie has changed in their idyllic relationship. Before long, things start to deteriorate between the newlyweds.
When they drive to a local restaurant and meet an old friend of Bea’s, Paul feels pangs of jealousy. But that is just the first in a series of strange events. Bea wanders out naked in the middle of the night, and while she claims she was sleepwalking, Paul suspects a sexual tryst. Even more disconcerting: Bea seems to remember less and less of their personal history, almost as if she has become a different person in the same body.
Film buffs will recognize a storyline that goes back at least to Invasion of the Body Snatchers, with alien creatures taking on the physical form of the humans they replace. It never becomes exactly clear why Bea has been targeted, but weird fluids begin to ooze from her body, and an increasingly frenzied Paul struggles to figure out what has happened to his wife.
A major flaw in the film is that it takes Paul far too long to decide to flee this isolated setting and seek help from the authorities. By the time he decides to leave, Bea has hidden his car keys, and they are trapped in the middle of nowhere, with no possible rescuers except the equally troubled neighbors at the restaurant. If Paul had acted sensibly and decided to seek help when the strange behavior began, there would simply be no movie.
espite this lapse in credibility, the film does grow more chilling as the two lose their moorings. First-time director Leigh Janiak builds a subtle but effectively sinister atmosphere. It’s a little puzzling as to why she chose two British actors to star in this American horror story, but Treadaway (who plays Victor Frankenstein on Showtime’s new series Penny Dreadful) and Leslie (a co-star on Game of Thrones) are both very accomplished. Even though Leslie’s British accent does peep through a few times, she and Treadaway bring intense conviction to this familiar tale. Ben Huber and Hanna Brown also are convincing as the only other characters on screen.
Technical credits are solid, and the special effects are simple but inventive. This minor effort has just enough jolts to stir a few nightmares.
Opens: Friday, Sept. 12 (Magnolia).
Cast: Rose Leslie, Harry Treadaway, Ben Huber, Hanna Brown
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