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The CINÉ XL ® auditorium is the pinnacle of motion picture presentation with the largest screens and superior projection and sound technology. Featuring pristine laser projection, Dolby Atmos ® with 40,000 watts of crisp digital sound and gold waterfall drapes that open to unveil each performance, the CINÉ XL ® is the very best of Ultimate Moviegoing ® .

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Theater chains are using multisensory technology to entice moviegoers

4dx format brought in close to $50m at the box office in the us in 2023.

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Movie theater chains are revitalizing how consumers watch movies on the big screen to recapture lost revenue after the pandemic.

Cineworld Group, which emerged from bankruptcy last year, is making the movie experience even more immersive by expanding its use of 4DX, which incorporates on-screen visuals with synchronized motion seats and environmental effects like vibration, water, wind, lightning and scents. 

The technology was developed in 2009 by CJ 4DPLEX to make moviegoers feel like they are part of the movie.


On Wednesday, Cineworld's subsidiary, Regal, will open the largest multisensory 4DX theater in the world. 

The Regal Times Square location in New York City has a record-breaking 296 seats, a 60-feet-wide screen, four fog machines and eight shaker amplifiers, which help the seats move. The theater is also equipped with 30 rainstorm fans with 14 fans placed directly above audience members, which marks a first for any 4DX auditorium in the U.S. 

Regal Times Square

The largest 4DX theater in the world is opening at Regal Times Square in New York. (Bill Meisenzahl and Matt Clements of Full Blue Productions)

"After the pandemic, theaters had to prompt film fans to reactivate their movie-going muscles, and they’ve been looking for new ways to event-ize the movie-going experience ever since," Stan Ruszkowski, president of The Boxoffice Company, told FOX Business. 

The Boxoffice Company provides ticketing and showtimes for TikTok, IMDb and Google.


Ruszkowski said movie theater companies are going to continue to look for ways to create an "immersive, unduplicatable experience that you can only enjoy at the movies." 

It is an effort to try and win back consumers who subscribed to streaming services in the early days of the pandemic because of lockdown orders. In 2020, streaming service subscriptions passed the 1 billion market and grew 14% in 2021 to reach 1.3 billion, according to data by the Motion Picture Association. 

However, major blockbuster hits like "Top Gun: Maverick" have been credited for bringing people back to the theaters. The movie, starring Tom Cruise, grossed more than $520 million domestically and over $486 million internationally in the first five weeks of its release in May 2022.

Regal Times Square

Ruszkowski argued that this new theater is a smart business play by Regal, given that "theatergoers are looking for that extra something when they're seeing a big-screen epic." 

They are also willing to "pay extra for a ticket to get those 4D physical effects inside the auditorium," Ruszkowski said.

The Regal Times Square is the first complex in North America that has two theaters with these immersive features, which CJ 4DPLEX said underscores "consumer demand for a premium theatrical experience." 

Last year, the 4DX format brought in close to $50 million at the box office last year in the U.S. alone.


Today, Regal operates about 5,808 screens in 428 theaters in 41 states along with the District of Columbia and Guam, according to its website. It is one of CJ 4DPLEX's largest partners, with 49 4DX theaters in operation as well as 52 ScreenX theaters. 

Aside from Regal, CJ 4DPLEX has 62 other 4DX theaters and 29 ScreenX theaters with Cineworld and CCI across Europe and Israel.  

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‘moana 2’: auli’i cravalho is definitely returning to disney sequel, gkids sets two-night nationwide release for anime ‘the end of evangelion’.

By Matt Grobar

Matt Grobar

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'The End of Evangelion'

Gkids announced on Wednesday that it will soon be bringing The End of Evangelion , the feature follow-up to Hideaki Anno’s influential anime series Neon Genesis Evangelion , to North American theaters for the first time. The film will be screened in its original Japanese language with English subtitles, bowing in select theaters nationwide on March 17th and 20th.

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The End of Evangelion was originally released in 1997, as an alternative ending to the series, remaking its final two episodes.

Gkids first took to North America two years ago with Blu-ray and digital download-to-own versions of the full 26-episode series, as well as the associated films EVANGELION:DEATH (TRUE)2 and THE END OF EVANGELION . The company also handles North American distribution for Anno’s prior se ries NADIA: The Secret of Blue Water .

A producer and distributor of award-winning and artist-driven animation , Gkids has notched a total of 13 Animated Feature Oscar nominations since its founding in 2008, most recently doing so just this year with Hayao Miyazaki’s The Boy and the Heron . In addition to Anno’s series and related projects, the company handles North American distribution for the famed Studio Ghibli library and runs the annual L.A.-based film festival Animation Is Film.

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Los Angeles desperately needs a new film festival. They’re about to give it one

Two artistic collaborators dressed in black pose in front of a brick wall.

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Los Angeles has struggled during the last few years to sustain a signature high-profile film festival, with the closing of the Los Angeles Film Festival , the collapse of Outfest and changes in leadership at AFI Fest .

At the same time, thanks to local institutions such as the Academy Museum , the American Cinematheque and the UCLA Film and Television Archive — as well as organizations such as Vidiots , the New Beverly and Mezzanine — there has arguably never been a more vibrant moment for going to the movies in Los Angeles.

A new festival, the Los Angeles Festival of Movies, co-presented by Mezzanine and the distributor and streaming platform Mubi, hopes to bridge that divide, creating a destination that will tap the enthusiasm of local audiences for both new work and retrospective titles. Set to launch its inaugural four-day edition on April 4, the festival is programmed by Micah Gottlieb, the artistic director of Mezzanine, who founded and co-produced the event with Sarah Winshall, a producer at Smudge Films.

“Often I think that new independent films struggle to gain a foothold in L.A.,” said Gottlieb, 32, in a recent joint interview with Winshall, 38, over Zoom. “Film festivals in L.A. are often defined in relation to the commercial film industry. We wanted to create a space for the kinds of films that either don’t usually play in L.A. or, if they do, they may not get the platform that they deserve.”

“L.A. is so much of a company town, but there is really an audience for movies that may not be traditionally commercial,” agreed Winshall. “I think that audience is being underestimated. And so we’re trying to find a way to show the world, L.A., the industry, whoever, that there is an audience here for these films. Let’s give them all a place to gather and celebrate these movies.”

The new showcase will open with the California premiere of Jane Schoenbrun’s “I Saw the TV Glow,” which launched at Sundance to rave reviews and will also have showings at the Berlin and South by Southwest film festivals. (Schoenbrun is expected to be in attendance at the screening.) Other titles will include the L.A. premieres of Eduardo Williams’ 2023 experimental documentary “The Human Surge 3” and a 4K restoration of Chantal Akerman’s erotically charged 1982 drama “Toute une nuit.”

Ex-Sonic Youth bassist Kim Gordon and “The Flamethrowers” author Rachel Kushner will appear together for a talk about their personal relationships to the city and cinema of Los Angeles. A shorts program is being organized by Andrew Theodore Balasia, Ted Gerike and Sam Raphael, all from the local L.A. microcinema Now Instant Image Hall.

The entire program, expected to include 12 features, will be announced in a few weeks, according to organizers. (The festival’s website is .) Attendees will be lining up at Vidiots in Eagle Rock, 2220 Arts + Archives in Historic Filipinotown and Now Instant Image Hall in Chinatown.

A man sweeps a bar.

The choice of venues was purposeful, as they all include spaces for people to socialize and talk about the films after screenings. All three of the host sites have opened within the last few years, and all three are located east of Hollywood, an attempt to tap into the energy of the current filmgoing scene taking root there. (Previous L.A.-based festivals have more often tried to connect with industry-heavy audiences based on the city’s Westside or with the history of Hollywood itself.)

“There’s a whole new audience of predominantly young, really diverse groups of cinephiles who are coming out to these screenings,” said Gottlieb of the viewers he sees at these venues. “So we really wanted to harness this new generation of cinephiles who are discovering old classics, but also coming out to new restorations and new independent films. This is also the age of Letterboxd , where watching movies has become such a renewed social event.”

Winshall and Gottlieb met after she attended some of Gottlieb’s Mezzanine screenings and was struck by the sense of community building up around the programming.

“What Mezzanine has harnessed and tapped into is a sort of art-skewing intellectual audience that’s ready to be entertained,” said Winshall. “They also want to get dressed up and look nice and have fun out and about. But then they’re also reading philosophy, they’re reading film criticism, they’re engaging in literary conversations. Historically, Los Angeles has always been treated like we don’t have that kind of person here.”

Winshall pointed to regional festivals such as Baltimore’s New/Next Film Festival, Memphis’ Indie Memphis, BAMcinemaFest in Brooklyn and True/False in Columbia, Mo., as models for the LAFM.

“What we’re trying to do is treat Los Angeles like a small town in some ways, and create a festival for a small community that is really excited and passionate,” said Winshall. “I think in the past, it’s possible that there was too much trying to please too many audiences — trying to please film lovers and the industry, which don’t always overlap.

“We aren’t trying to do everything for everybody,” she added. “I’m very much a proponent of: Pick a thing and do it well.”

The festival’s opener, “I Saw the TV Glow” is indicative of what Winshall describes as “pop highbrow,” having connected strongly with audiences of multiple demographics when it became one of the runaway hits of this year’s Sundance. It’s the story of two teenagers who bond over a shared love of a canceled ’90s television show. Steeped in specific pop-culture references and nostalgia, the movie is also an exploration of an emerging trans identity.

Winshall is among the film’s producers (as is Emma Stone) and is careful to point out that she was not involved in any of the programming conversations or decisions around the festival’s opening night.

Two people sit on a couch in front of a TV.

“I was going to joke that, ‘Yeah, if only there was an easier way to find a good place to premiere a film in L.A. than start your own film festival,” Winshall said with a self-deprecating laugh. “It’s definitely selfish in that I’m making independent films and I really want to be able to have a great place to show them in L.A. Historically, that’s been a struggle.”

Gottlieb describes his connection with Winshall as a shared sensibility of “a lot of the same concerns and passions and interests around exhibition in Los Angeles and film culture in general.” Of “I Saw the TV Glow,” he noted, “It’s an independent film that takes really big swings and feels very contemporary. So when I reached out to [the film’s distributor] A24 and then they were down to have us premiere the film locally, I could not be more excited about it.”

There is something purposefully tongue-in-cheek in the slight mouthful of a name for the festival itself, the Los Angeles Festival of Movies. Gottlieb and Winshall wanted viewers to know that, for all their seriousness of purpose, there was still something entertaining at the festival’s heart.

“There are all kinds of ways for this to go in the future if we are able to get our foothold and flourish,” said Winshall, suggesting there are plans to grow the festival if it becomes an established success. “We just wanted people to know that it would be fun.”

“That’s kind of what it comes down to,” said Gottlieb. “As much as we harp on curation and context and all of these things, we still want people to have a good time.”

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Weekend Box Office

Weekend box office results: bob marley: one love continues jamming, plus, ethan coen's solo joint drive-away dolls is off to a rough start, and the new season of anime demon slayer debuts its first episodes at no. 2..

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TAGGED AS: Box Office , movies , news

Despite another rarefied week in 2024 when audiences were offered multiple new titles on a wide scale at the box office, they chose to return to the same-old, same-old of previous weeks. Sure, they turned up again for a television episode that may have Disney rethinking putting their Marvel shows into theaters for a week or two. Meanwhile, a delayed true story with eyes on a faithful crowd failed to attract a significant audience and a singular Coen brother got a wide release that opened to some of the worst numbers of the year so far.

King of the Crop: Bob Marley: One Love Continues Jamming

In its second weekend, Bob Marley: One Love came out on top again. The headlines last week touted its opening of over $51 million, but that was over a six-day stretch. The film’s weekend haul was $28.6 million, which then fell 53% this week down to $13.5 million to bring its 12-day total to $71 million. That puts the Paramount film right in league with the February releases of Daredevil , The Lego Movie 2 , and Kingsman: The Secret Service , only those films’ second weekends were between $18-21 million. The former two finished with $102 million and $105 million, respectively, which now calls into question One Love’ s chances of reaching $100 million. It’s second weekend was closer to Alita: Battle Angel  — still higher by about a million, but if it begins to fall further onto Alita’ s path, it could end up between $95-100 million. That is still in a pretty good position to cover its $70 million production costs, as it has grossed another $49 million overseas to date. It may not be a huge victory, but a win is a win for a studio making headlines this week for being put on credit watch negative.

Rotten Returns:  Drive-Away Dolls Off to a Rough Start

Two weeks ago, Focus Features had their worst wide opening ever on a film put into over 3,000 theaters with Lisa Frankenstein ($3.69 million). This past weekend, not only did that film promptly exit the top 10, but Focus also had one of their worst openings ever for a film in over 2,000 theaters. Ethan Coen’s Drive-Away Dolls was delayed from last year’s September opening (blamed on the strike) and it grossed just $2.4 million in 2,259 theaters. The three films in their history to open worse than that were all during the pandemic in 2020 and 2021 – Come Play ($2.25 million), Let Him Go ($1.94 million), and Profile ($730,290). Lisa Frankenstein’ s per-theater average was $1,176. Drive-Away Dolls was $1,053. They are the two lowest PTAs of the year for releases over 2,000 theaters.

The Top 10 and Beyond: Demon Slayer Lands at No. 2,  Migration Hovers in Top 5

Besting all new feature films this week in second place was Demon Slayer Kimetsu no Yaiba -To the Hashira Training (aka Episode 11). It grossed $11.5 million over the weekend, ahead of what Demon Slayer: Kimetsu No Yaiba – To the Swordsmith Village opened to last March ($10.1 million) and more than the entire run of Crunchyroll’s Suzume . Not for nothing, but the anime company sure knows how to pick release dates to generate maximum headlines. Their fans do show up, and even if its for only one weekend, it did have the sixth best opening of the year to date. Of course it’s not the only television masquerading as film in theaters in the top 10 this week. The Chosen: Season Four Episodes 4-6 made another $1.8 million to bring its total to $7.8 million, below the $13.9 million finish of episodes 1-3.

Moving into third place is Ordinary Angels from Jon Gunn, the director of Do You Believe and The Case for Christ . The PG-rated film scripted by actress Meg Tilly and Kelly Fremon Craig (of Are You There God?, It’s Me Margaret and The Edge of Seventeen ) abandoned last year’s October release date once Taylor Swift moved into it. Despite a pretty good response from critics (81%), the film managed just $6.5 million in its opening. Those who saw it this weekend (and were surveyed) gave Angels an A+ with Cinemascore, the first narrative feature to receive it since Angel Studios’ controversial Sound of Freedom last summer. (Both the Taylor Swift and Beyonce concert films received the same.) This is not much of a surprise given anything with a faith-based slant is normally given that same seal of approval. Jesus Revolution , American Underdog , Overcomer , Unplanned , I Can Only Imagine , and Miracles from Heaven are just a sampling of those to get the top rating. None of them were rated as highly with critics, though, and with the exception of Unplanned , all of them grossed more than three times their opening weekend.

Madame Web last week earned headlines with a $26+ million opening — again, over six days. Its actual weekend haul was just $15 million, which fell 61% to just $6 million. That puts its 12-day total at just $35 million. There is not much to spin out of these totals except that it isn’t going to be a $100+ million loser like a lot of recent comic book failures. This one is headed in the range of $45 million domestic. Not making $100 million globally would be something, and right now, it has approximately $77.4 million total. Devotion was a bigger failure for Sony in comparison, but it is, thus far, the early big failure of 2024.

Staying in the top five for a tenth straight week is Universal and Illumination’s Migration . $3.5 million was enough to hang in there, bringing its total over $121 million domestic and $268+ million globally. That’s a drop in the bucket compared to their Despicable Me , Secret Life of Pets , or Super Mario Bros. movies but more than enough profit to cover Trolls Band Together coming up short. That’s not nearly to chip in enough to cover anything on Argylle , which is down to $2.8 million in its fourth weekend for a mere total of $41.6 million domestic and $86.5 million worldwide.

Rounding out the top 10 this week we see Wonka continuing to make bank with $2.5 million. Its domestic total is now over $214 million and worldwide it is over $617 million. Then we have Jason Statham as The Beekeeper with $1.9 million to bring its total to $63 million domestic and over $146 million worldwide. In other news, Anyone But You has passed $200 million worldwide and Poor Things will surpass $100 million globally this week, making it the first Searchlight film to do so since their Oscar-winning The Shape of Water . Finally, the re-release of Christopher Nolan’s Tenet in 55 IMAX theaters this weekend made an estimated $600,000.

On the Vine: Dune: Part Two Set to Be the First Blockbuster Hit of 2024

Dune: Part Two . Exclusively in theaters. Not on (HBO) MAX. The original grossed over $400 million worldwide. How high will the $190 million production climb?

Full List of Box Office Results: February 23-25, 2024

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  • $13.5 million ($71.1 million total)

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  • $11.5 million ($11.5 million total)
  • $6.5 million ($6.5 million total)
  • $6 million ($35.4 million total)
  • $3 million ($120.4 million total)
  • $2.8 million ($41.6 million total)

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  • $2.5 million ($214.5 million total)
  • $2.4 million ($2.4 million total)
  • $1.9 million ($63.1 million total)

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  • $1.8 million ($7.8 million total)

Erik Childress can be heard each week evaluating box office on  Business First AM  with Angela Miles and his  Movie Madness Podcast .

[box office figures via  Box Office Mojo ]

Thumbnail image by Chiabella James/©Paramount Pictures

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Milwaukee Journal-Sentinel

'Dune: Part Two' and 'Outlaw Posse' among the new movies in Milwaukee theaters this week

Note: This story is updated for the week starting March 1.

The movies’ last really big box-office hit starred Timothée Chalamet. Theaters — including all of the Milwaukee area’s first-run movie houses — are really counting on the next one to do the same.

Here’s what’s new in Milwaukee-area theaters starting Friday, as well as some of the new movies available on streaming and on demand this week.

Get daily updates on the Packers during the season.

‘Dune: Part Two’

Short version: In the second part of Denis Villeneuve’s adaptation of Frank Herbert’s beloved sci-fi epic, Timothée Chalamet goes from being the heir apparent of the Atreides dynasty to one of the leaders of an uprising on the desert planet where his family was murdered — and, possibly, the messiah-like character foretold in local legend. Zendaya, Josh Brolin, Rebecca Ferguson, Javier Bardem, Stellan Skarsgard, Stephen McKinley Henderson and Charlotte Rampling return from the first installment, with a buzzy set of newcomers including Florence Pugh, Christopher Walken and, in the role played by Sting in David Lynch’s 1984 version, Austin Butler (aka last year’s “Elvis” and this year’s “Master of the Air”).

Where you can see it: ACX Cinema/Bayshore; AMC Mayfair Mall; Avalon Theater; Marcus Theatres’ Bistroplex Southridge, Hillside, Majestic, Menomonee Falls, Movie Tavern Brookfield Square, North Shore, Ridge, South Shore cinemas; Oriental Theatre (showing in a 70-millimeter print); Rosebud Cinema; Silverspot Cinema.

‘Outlaw Posse’

Short version: In the old West of the early 20th century, an outlaw (Mario Van Peebles) returns to Montana to claim a cache of stolen reparations gold, if a ruthless rival (Willaim Mapother) doesn’t get to it first. Van Peebles wrote and directed this Western with a cast including M. Emmet Walsh, Edward James Olmos, Whoopi Goldberg, Neal McDonough, Cedric the Entertainer and many more.

Where you can see it: Marcus Theatres’ Menomonee Falls, South Shore cinemas.

RELATED: 33 movies from 2023 with Wisconsin ties, from 'Barbie' to 'Air'

Oscars' best-picture roundups at Marcus Theatres, AMC Mayfair Mall

In addition to many of this year’s best-picture nominees showing in occasional standalone screenings at Marcus Theatres this week, Day One of Marcus’ Best Picture Festival is playing at 10 a.m. March 2 at the Majestic, Ridge and South Shore cinemas. Showing that day: “Past Lives,” 10 a.m.; “The Holdovers,” 12:15 p.m.; “The Zone of Interest,” 2:55 p.m.; “Oppenheimer,” 5:10 p.m.; and “Barbie,” 8:30 p.m. Day One passes covering all five movies cost $36. Info: .

Meanwhile, AMC Theatres’ 18-plex at Mayfair is showing several of this year’s best picture nominees for just $5 each. Among them, screening once daily: “American Fiction,” March 2 and 5; "Anatomy of a Fall,” March 3 and 6; “Barbie,” March 1 and 7; “The Holdovers,” March 1 and 4; “Killers of the Flower Moon,” March 2 and 4; “Oppenheimer,” March 1 and 5; “Past Lives,” March 3; “Poor Things,” March 2 and 7; and “The Zone of Interest,” March 3 and 6. Info: .

RELATED: Oscars 2024: Where you can watch this year's nominated movies this week, in theaters and streaming

Milwaukee Film’s Women’s History Month movies

To mark Women’s History Month in March, Milwaukee Film is showing directorial debuts by women filmmakers on Mondays throughout the month at the Oriental Theatre. It starts off with “Dryslongo,” Cauleen Smith’s 1998 drama about a photography student who begins taking pictures of Black men because she’s worried they’ll soon become extinct. It’s showing at 7 p.m. March 4. (Showing later this month: Susan Seidelman’s “Smithereens,” March 11; Chloé Zhao’s “Songs My Brother Taught Me,” March 18; Agnès Varda’s “La Pointe Courte,” March 25; and Lucrecia Martel’s “La Ciénaga,” April 1.) Tickets are $13. Info:

Return to Terry Gilliam’s ‘Brazil’

A good choice for a crazy political year, Terry Gilliam’s surreal 1984-ish classic “Brazil” gets a rare big-screen showing at 7 p.m. March 2 at the Oriental Theatre. Tickets are $13. Info:

Alfred Hitchcock retrospective at Oriental Theatre

The Master of Suspense gets his due with a two-month retrospective at the Oriental Theatre. This week: he 1943 Hitchcock gem “Shadow of a Doubt” with Joseph Cotten and Teresa Wright, at 7 p.m. March 1. Tickets are $13. Info:

Season 4 of ‘The Chosen’ in movie theaters

The fourth season of “The Chosen” — the monster-hit TV series recounting the life of Jesus — is showing in its entirety in theaters, a handful of episodes at a time. The final batch, episodes 7 and 8, have a limited run through March 7 at AMC Mayfair Mall, Silverspot Cinema and all eight Milwaukee-area Marcus Theatres. Showtimes vary. Info:, ,

‘The Hunger Games’ returns, in order, at Marcus Theatres

Marcus Theatres is showing “The Hunger Games” movies in order of their release. Last one up: “The Hunger Games: The Ballad of Songbirds and Snakes,” at varying showtimes March 2-4 at the Hillside, Majestic, Menomonee Falls, North Shore, Ridge and South Shore cinemas. Tickets are $5. Info:

Showing at UWM Union Cinema

UWM Union Cinema, 2200 E. Kenwood Blvd., is showing: “A Touch of Zen,” Hong Kong action master King Hu’s 1971 epic, at 6 p.m. March 1 and 5 p.m. March 2 ($5); “Foragers,” exploring the Palestinian tradition of foraging and how it’s changed under Israeli occupation, 7 p.m. March 6 (free); and “Black Panther: Wakanda Forever,” 7 p.m. March 7 (free). Info: .

New movies on demand

“Lord of Misrule”: After a woman moves to a small town as its new priest, her daughter disappears at a local harvest festival, revealing the sinister side of her new community. Tuppence Middleton stars in this horror thriller. Available March 5.

"Amelia’s Children”: In this horror movie, a young man searches for and finds his biological family, but their reunion unearths some dark secrets. Available March 1.

“Wild Fire”: Seven friends get real during a game of truth or dare in this drama about hoensty, gender and identity from writer-director Jennifer Cooney. Available March 5.

Recent release newly available on demand: “Scrambled,” March 1.

New movies on streaming services

“Spaceman”: While on a long solo space flight, an astronaut (Adam Sandler) struggles with the problems he's left behind on Earth and gets help from a mysterious creature that’s turned up in his spaceship. Carey Mulligan, Paul Dano and Isabella Rossellini co-star in this drama from Johan Renck (“Chernobyl”).

“Ricky Stanicky”: When they were kids, three buddies made up an imaginary friend to take the blame for a prank gone wrong — and, since it worked so well, they kept using him as cover for 20 years. So when their spouses call them out on the scam, they hire an actor to “play” their friend, and he has trouble getting out of character. Zac Efron and John Cena star in this new Peter Farrelly comedy. On Prime Video March 7.

“Megamind vs. The Doom Syndicate”: The villain turned good guy has to take on his former partners in evil in this animated action fantasy sequel. On Peacock March 1.

“You Are Not Alone: Fighting the Wolf Pack”: This documentary explores a landmark #MeToo case in Spain, following the sexual assault of a woman during the 2016 San Fermin celebrations in Pamplona. On Netflix March 1.

Recent releases newly available on streaming services: “Five Nights at Freddy’s,” Prime Video March 5; “The Marsh King’s Daughter,” Hulu March 5; “Premonition,” Peacock March 6; "Poor Things," Hulu March 7; “Marlowe” (2023), Prime Video March 7.

This article originally appeared on Milwaukee Journal Sentinel: 'Dune: Part Two' and 'Outlaw Posse' among the new movies in Milwaukee theaters this week

Timothée Chalamet and Zendaya find love, death and destiny in the desert in "Dune: Part Two."


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What to Know About This Crazily Crowded Broadway Spring Season

Why are 18 shows opening in March and April, and which one is for you? Our theater reporter has answers.

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Scenes from six different shows are arranged in a grid. Clockwise from top left, they show three people behind what appears to be a blue car with its headlights on; a group of revelers clustered together; a performer in streetwear sings in front of a group in the background; people jump in midair; people in formal wear are arranged in a swooning pose; a man in a green suit speaks to a “Wizard of Oz”-like group.

By Michael Paulson

Is Broadway facing a bonanza or a blood bath?

The next two months are jam-packed with new productions — 18 are scheduled to open in March and April — while the industry is still struggling to adapt to the new, and more challenging, realities of a postpandemic theater era.

For potential ticket buyers, there will be a dizzying array of options. In early April, about 38 shows should be running on Broadway (the exact number depends on unexpected closings or openings between now and then).

“From a consumer point of view, we’re excited about the amount of choice there is on Broadway,” said Deeksha Gaur, the executive director of TDF, the nonprofit that runs the discount TKTS booths . Anticipating that bewildered tourists will need help figuring out what shows to see, TDF is already dispatching red-jacketed staffers to preview performances and updating a sprawling cheat sheet as the employees brace for questions on what the new shows are about and who is in them.

But the density of late-season openings — 11 plays and musicals over a nine-day stretch in late April — has producers and investors worried about how those shows will find enough ticket buyers to survive.

“On the one hand, how incredible that our industry perseveres, and that there is so much new work on Broadway,” said Rachel Sussman, one of the lead producers of “ Suffs ,” a musical about women’s suffrage that is opening in mid-April.

“On the other hand,” Sussman added, “we’re still recovering from the pandemic, and audiences are not back in full force, so there is industrywide anxiety about whether we have the audience to sustain all of these shows. It’s one of those things that only time will tell.”

Here are some answers to questions about the spring season.

Which new show is for me?

Looking for a favorite pop sound? Alicia Keys is offering “ Hell’s Kitchen, ” Huey Lewis has “ The Heart of Rock and Roll ,” and the Who is represented with a revival of that band’s rock classic, “ Tommy .” There’s even a fictional behind-the-music play, “ Stereophonic ,” that blends songs from an Arcade Fire alum with narrative echoes of Fleetwood Mac.

Love literature? Try musical adaptations of “ The Great Gatsby ,” “ The Notebook ,” “ The Outsiders ” and “ Water for Elephants .”

There will be celebrities aplenty — Steve Carell in “ Uncle Vanya ,” Jessica Lange and Jim Parsons in “ Mother Play, ” Rachel McAdams in “ Mary Jane ,” Eddie Redmayne in “ Cabaret ,” Liev Schreiber and Amy Ryan in “ Doubt ,” and Jeremy Strong in “ An Enemy of the People .”

History buffs might consider “Suffs,” which explores the battle over allowing women to vote, or “ Lempicka ,” about an artistically and sexually adventurous painter whose life was buffeted by 20th-century geopolitics. Those interested in more recent events might check out “ Patriots ,” an eerily timely play about the untimely death of a Putin critic.

And for those who want old-fashioned musical theater merriment, “ The Wiz ” is a new version of the 1975 musical reimagining “The Wizard of Oz,” visiting New York following a tour of 13 American cities .

(And those are just the new productions on Broadway, which come in addition to the shows that are already open. There is also a raft of shows opening Off Broadway this spring — generally with different economic models, because most of those venues are nonprofits, whereas most Broadway productions are commercial. But all of them still need to find audiences.)

Why are all these shows opening at the same time?

You know how many of the best movies open late in the year, just before the deadline to qualify for the Academy Awards? The same thing happens on Broadway, following a different calendar: This year’s deadline to qualify for the Tony Awards is April 25, and that’s why the openings are clustered just before that date.

The Tony nominations are to be announced on April 30, and the ceremony is scheduled for June 16. Producers believe that being part of the Tony conversation, with the attendant news coverage and social media attention, helps them sell tickets. Many also believe that it helps to open near the eligibility deadline because then their shows are fresh in the minds of Tony nominators and voters.

Another factor: Summer, when New York swells with tourists, is often a lucrative season for Broadway. Shows that open in the fall have to hang on for a long time to benefit from that summer traffic, while shows that open in the spring do not.

How strong is the penchant for spring openings? The 2023-24 Broadway season is expected to feature 35 Tony-eligible plays and musicals; more than half (18) are expected to open in the final two months of the 12-month season.

Is this year more April-centric than most?

What’s happening this year is a version of what happens every year — a lot of shows open in April, and a lot of industry insiders express concern.

“It is crazy, but it is also seasonal craziness — every year we say more shows than ever are opening in the spring, and then sometime between July 15 and Labor Day we say more shows are closing than ever before,” said Brian Fenty, the chief executive of TodayTix, a mobile ticketing app. “Within a show or two, it’s pretty standard.”

This year’s April openings do seem to be a touch more densely concentrated in the final days of the eligibility period. Adam Feldman, chief theater critic at Time Out New York, did a statistical analysis of openings over time, and concluded that yes, the seasons are getting more bottom-heavy. This year, two dates even have two openings each — a violation of traditional Broadway etiquette, although not unprecedented.

“It’s horrible — it just puts a tremendous amount of pressure on publicists, journalists, photographers and the public,” said Carole Rothman, the president and artistic director of Second Stage Theater, which is opening Paula Vogel’s “Mother Play” on the final day of the eligibility period, the same day that “The Great Gatsby” is opening. “The question is what does this mean in terms of visibility — how do you get attention for all those plays opening in a very short period of time?” she said. “And who is going to have time to build word of mouth? Especially for musicals, it’s going to be tough.”

The conventional wisdom is that the crush of openings creates an enormous marketing challenge at a time when it is already unclear how best to reach potential ticket buyers.

“It’s hard to stand out and get attention when there’s an opening every single night,” said John Johnson, a lead producer of “Stereophonic” and an executive producer of “Lempicka.” “Whether it’s your reviews, your advertising, or the award season, there’s just going to be so much noise created in April.”

Do all these openings suggest Broadway is back?

Not really.

There are certainly reasons for cheer. The large number of openings is a reminder that, contrary to some of the most pessimistic predictions made at the height of the pandemic, a ton of shows are in the pipeline as well as investors who profess to being willing and able to finance them.

But total attendance thus far this season is 16 percent below where it was at the same point in 2020, and total box office grosses are down 15 percent.

The persistence of hybrid work means there are still fewer commuters looking for entertainment in Midtown after hours, and the rising costs of production make it harder for shows to achieve profitability.

The postpandemic Broadway audience is younger and more diverse than it had been before the pandemic, and that’s a positive development for an industry that is concerned about its audience demographics. But one reason for the shift is that, even as tourism rebounds, suburban theatergoers have not returned in significant numbers.

“It’s not a secret that we’re still missing a core part of our audience,” said the producer Sue Frost, who is not opening a show this spring, but instead is focusing on managing global productions of “Come From Away.”

Broadway has long been a brutal business, in which far more shows fail than succeed, and this season has been rough, especially for new musicals. Four of the six new musicals to open thus far have already closed as financial flops, including “Once Upon a One More Time,” “Here Lies Love,” “Harmony” and “How to Dance in Ohio.” And producers of a planned one-person comedic play, “My Son’s a Queer (But What Can You Do?),” took a look at the crowded spring and reconsidered their plans, announcing less than three weeks before previews were to begin that they were postponing its run .

On the other hand, the season has been decent for plays and musical revivals — among the success stories so far are “Merrily We Roll Along,” which is a big hit; “Gutenberg! The Musical!,” which recouped its costs just before ending its run; and Branden Jacobs-Jenkins’s play, “Appropriate,” which has been selling so well at a nonprofit Broadway house that a group of commercial producers is planning to move it to a for-profit house and extend its run .

Wait. Thirteen shows open in April, and the Tony nominations are announced April 30? How is that possible?

There is a 60-member Tony nominating committee , made up almost entirely of theater artists who are expected to see every Tony-eligible show. And they are expected to see all those shows before they vote on the nominations; if they miss a show, they have to recuse themselves.

Nominators say they are used to an April scramble, but this year will be unusually challenging.

“When I saw the list of confirmed announcements, I was like, ‘Oh my God! It’s a lot!” said Kamilah Forbes, a Tony nominator and the executive producer of the Apollo Theater. Forbes said there will be a period in April when she will see a show every night.

“Look, I’m always for more art,” she said. “You just hope each show is able to find their audience.”

Pun Bandhu, an actor who is also a Tony nominator, said he has had to turn down work to make sure he could see all the shows before the nominators gather to vote.

“You basically have to clear your calendar,” he said. “I see being a nominator as a big responsibility and an honor, so I do what’s necessary, and obviously I love theater. But I’m also happy this is my last year.”

Michael Paulson is the theater reporter. He previously covered religion, and was part of the Boston Globe team whose coverage of clergy sexual abuse in the Catholic Church won the Pulitzer Prize for Public Service. More about Michael Paulson

The Best Movie of 2023 Is Now on Hulu: ‘All of Us Strangers’


Everything we can't stop loving, hating, and thinking about this week in pop culture.

Kevin Fallon

Kevin Fallon

Senior Editor, Obsessed

Andrew Scott and Paul Mescal in a still from ‘All of Us Strangers’

Searchlight Pictures

  • Madonna fell down, and it sent me down a spiral .
  • The best movie of last year is now streaming.
  • Are you watching Real Housewives of Miami ?!
  • Casting that made applaud.
  • A trailer that made me cheer.

Get Ready to Cry

Award seasons are strange. There are movies that are nominated for everything, then swiftly forgotten once the last trophy is handed out. In three months, will any of us remember that Maestro exists? (A fun game to play at the end of each award season is to try to name the actors who actually won the awards the previous year without Googling.)

Then there are the movies that spent the season championed by a contingent of cinema fans and awards enthusiasts who cheered for them, begged for voters to pay attention to them, and just plain wouldn’t shut up about them. Oscar nomination morning is a deflating experience when, despite the films’ worthiness and the passion of their fans, they’re passed over for the typical Academy-friendly fare that was rubber-stamped at every precursor award show.

The thing is: These are the movies that last. Because they’re so good—so special—that the word of mouth never ends. People discover them when they hit streaming. They’re revisited, sometimes often, whereas the litany of snoozy biopics that did get awards attention essentially disappear. (On Mar. 11, Nyad swims off into the abyss, never to be heard from again.)

There are a few titles that I predict this will be true for from the 2023 award season. I’ve already noticed in my social circles that people are starting to check out—and then rave about— Are You There, God? It’s Me, Margaret . The movie that the most people in my life have watched and wanted to talk with me about is Theater Camp . And then there is the film that I, personally, feel is the best movie of 2023 , a gem that I think a lot of people are going to be talking (and crying about) in the coming months: All of Us Strangers .

The poignant, haunting romance, written and directed by Andrew Haigh, is available to stream on Hulu as of this weekend. I can’t recommend enough that you go to the store, pick up a jumbo-sized box of tissues, and then return home to watch the movie.

Andrew Scott plays Adam, a lonely writer living in a near-empty skyrise in London who is working on a screenplay about his childhood. After a fire drill one night, he meets Harry (Paul Mescal), who seems to be the only other person living in the building. Despite Adam’s early resistance, they spark a connection, which develops into a passionate romance that cracks Adam open emotionally, seemingly for the first time in a long time.

He travels to the house he grew up in to reconnect with his parents (Claire Foy and Jamie Bell), but there’s a strange twist: His parents died in a car crash 30 years before. How is it possible that they can see each other? None of them are sure, but they seize the opportunity to get to know each other again, this time with Adam as a grown, successful, gay man.

The relationship with Harry dovetails with the interactions with his parents’ ghosts, allowing Adam to heal old wounds and come into himself in ways that his past pain had stalled. The process is as gorgeous as it is heartbreaking, creating a viscerally cathartic viewing experience; just as Adam’s feelings are finally unleashed, so are yours. At least that’s what the Kleenexes that are suddenly soaked suggest.

Haigh is no stranger to this kind of film, one that was small, cut championed at its release, but which would eventually capture more and more attention—and be truly cherished—as years pass. His 2011 romance Weekend is a foundational film for LGBTQ+ millennials, especially, while his once polarizing HBO series Looking is, 10 years after its premiere, experiencing a cultural reexamination. All of Us Strangers doesn’t need to be reconsidered— it’s already beloved —but expect its impact to only continue to grow as more people get to watch it. (Which, again, you can do right now on Hulu!)

The Real Housewives of Miami Is *the* Show

We’re a broken record when it comes to screaming about how The Real Housewives of Miami is the most slept-on city in the Bravo franchise. But we consider it a civil service—a public duty—to inform society what they are missing if they do not start watching and appreciating this show. Don’t you want nice things in your life?

The season finale aired Wednesday night, showing off how the series balances intense personal storylines and explosive cast feuding with equal parts hilarity and empathy—and does that better than any other Housewives series. That the women can fight with the violent volume of feral cats being dropped in hot water and then rally to cheer on a cast member who is debuting a new song at a party is exactly how these shows should work!

But the moment from the finale that I really want to point to is when Guerdy Abraira, who is about to start chemotherapy treatment for breast cancer, decides to shave her head, asking her husband, Russell, to do it. It goes without saying that I was sobbing during this scene. But what struck me about it—especially as we learn at the end of the episode that Abraira is now cancer-free—is how remarkable Abraira’s willingness to show her cancer journey on the show was, and how production handled it.

She was candid, allowing cameras into every part of the journey, but it never felt exploitative—or, in the dark world of reality TV thirst for fame, like she was capitalizing on her illness for attention. We saw how sick it made her, but we also saw how vivacious she remained in the face of it: going on cast trips, attending parties when she could, and still looking glamorous.

In the grand scheme of Real Housewives, the whole arc was something you don’t normally associate with these shows: extremely classy.

This Is Perfect Casting

It was announced this week that Vanessa Williams will play Miranda Priestly in the musical version of The Devil Wears Prada debuting in London later this year. Rarely is there a casting that is this undeniably perfect.

Of course, real ones know that Williams was preparing this for years. On Ugly Betty , she played Wilhelmina Slater, a ruthless but secretly compassionate editor of a fashion magazine with a wardrobe that would be at home on the glossy’s cover and a scorching, judgmental wit that she’d shoot like poison darts. Williams should have an Emmy for her work on the show. Maybe a Tony for Prada will be the long overdue consolation prize.

Vanessa Williams

Now to the most important matter: Who is going to fly me to London to see this?

This Is a Perfect Trailer

When the opening notes to The Corrs’ “Breathless” first dropped about midway through the trailer for the new Lindsay Lohan rom-com Irish Wish , just know that I ascended to a higher plane of existence. (The vibes up here are great .) Perfect song. Perfect trailer. Perfect hype for what will be a mediocre movie that I am going to love.

Watch the trailer here .

More From The Daily Beast’s Obsessed

Actor David Krumholtz went viral spilling his wildest Hollywood stories. Turns out he had a few more—and told them to us. Read more .

What in the world was going on with all the Pepsi product placement in Madame Web ? Read more .

Raff Law (Jude Law’s son!) broke down Masters of the Air ’s most devastating episode yet. Read more .

What to watch this week:

About Dry Grasses : Spend three hours with a real prick. It’s a good time , we swear! (Now in theaters)

Ordinary Angels : They finally made a good faith-based movie . (Now in theaters)

The Second Best Hospital in the Galaxy : But it’s the first-best voice cast in a new animated series . (Now on Prime Video)

What to skip this week:

Drive-Away Dolls : Ethan Coen should stick to making movies with his brother. (Now in theaters)

Avatar: The Last Airbender : Why can’t they make a good live-action adaptation of this?! (Now on Netflix)

Constellation : The multiverse meets outer space, and we just have a headache . (Now on Apple TV+)

Got a tip? Send it to The Daily Beast  here .


Screen Rant

2023 movie flop that lost $80 million is now a global netflix hit.

A movie that flopped in theaters in 2023, losing the studio an estimated $80 million, is now a hit on the global Netflix streaming chart.

  • Despite being a box office flop, Ruby Gillman, Teenage Kraken is now a global hit on Netflix.
  • With 6.5 million viewers, it landed at No. 5 on Netflix's global Top 10 list of English-language movies for the week.
  • The possibility of a movie sequel seemed unlikely, but the movie's Netflix success may lead to further installments.

Ruby Gillman, Teenage Kraken is now a global hit on Netflix. The animated feature starred Lana Condor in the title role as a young woman who is trying to hide the fact that she and her family are secretly sea monsters. The star-studded ensemble voice cast of the movie also included Toni Collette as Ruby's mother Agatha, Colman Domingo as her father Arthur, Jane Fonda as her Grandmamah, and Annie Murphy as the wicked mermaid Queen Nerissa. In spite of this, the movie was a major flop in theaters and is estimated to have lost Universal $80 million.

Netflix has now calculated their global list of the Top 10 most-watched English-language movies during the week of February 19 through February 25. DreamWorks' Ruby Gillman, Teenage Kraken has landed on the list at No. 5 thanks to 6.5 million viewers streaming the movie for a total of 9.8 million hours. It has even landed above the Netflix original animated movie Orion and the Dark , which is at No. 9 during its fourth weekend on the platform.

Can There Be Redemption For Ruby Gillman?

Ruby Gillman in her with her mouth hanging open in Ruby Gillman Teenage Kraken.

The Ruby Gillman, Teenage Kraken box office operated at such a substantial loss that it seems unlikely it could ever turn a profit. With a production budget of $70 million, it most likely needed to earn at least $140 million just to break even . However, it made only $41.6 million at the worldwide box office, just barely earning back more than half of its budget.

Ruby Gillman, Teenage Kraken only ran in domestic theaters for 49 days, a number that pales in comparison to Pixar's animated feature Elemental , which opened the same month and ran for 105 days.

While the Ruby Gillman, Teenage Kraken ending neatly wrapped up the story of the movie, it left the door open for further installments should they be greenlit. With its box office gross, that possibility seemed entirely unlikely. However, this groundswell of audience support on Netflix could potentially lead to keener general interest in a follow-up .

Ruby Gillman, Teenage Kraken also has an audience score of 81% on Rotten Tomatoes alongside its Fresh critic score of 65%. The movie's prospects on Netflix seem unlikely to help it hit its large break-even point unless it continues to be a hit for many more weeks to come. While a movie sequel at the budget level of the original may not be possible, should its popularity continue, this newfound streaming success could help the property find longevity online, perhaps as an animated show.

Click here to watch Ruby Gillman, Teenage Kraken on Netflix.

Source: Netflix

Ruby-Gillman-Teenage-Kraken Movie Poster

Ruby Gillman, Teenage Kraken

*Availability in US

Not available

DreamWorks Animation presents Ruby Gillman, Teenage Kraken, an animated action-adventure film that follows high-schooler Ruby Gillman as she tries to fit in at Oceanside High. When Ruby finally discovers that she's directly descended from the protectors of the seas, the Krakens, she'll have to dig deep to protect her school and the oceans themselves from the popular but dangerous mermaid, Chelsea.


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    12746 W Jefferson Blvd Suite 3190, Playa Vista, CA 90094 (310) 862 5668. Amenities: Party Room, Online Ticketing, Wheelchair Accessible, Kiosk Available.

  14. Harkins Theatres

    The CINÉ XL ® auditorium is the pinnacle of motion picture presentation with the largest screens and superior projection and sound technology. Featuring pristine laser projection, Dolby Atmos ® with 40,000 watts of crisp digital sound and gold waterfall drapes that open to unveil each performance, the CINÉ XL ® is the very best of Ultimate Moviegoing ®.

  15. Theater chains are using multi-sensory technology to entice movie-goers

    The Regal Times Square location in New York City has a record-breaking 296 seats, a 60-feet-wide screen, four fog machines and eight shaker amplifiers, which help the seats move.

  16. 'The End Of Evangelion' Theaterical Release Date Set By Gkids

    The End of Evangelion was originally released in 1997, as an alternative ending to the series, remaking its final two episodes.. Gkids first took to North America two years ago with Blu-ray and ...

  17. Movie Tickets & Movie Times

    Washington, DC Boston, MA San Diego, CA Seattle, WA Edison, NJ Houston, TX Tampa, FL Movie Times by Cities Movie Times by States Movie Times by Zip Codes Movie Times by Theaters Buy movie tickets in advance, find movie times, watch trailers, read movie reviews, and more at Fandango.

  18. The Los Angeles Festival of Movies, a new event, is coming

    The new showcase will open with the California premiere of Jane Schoenbrun's "I Saw the TV Glow," which launched at Sundance to rave reviews and will also have showings at the Berlin and ...

  19. AMC Theatres

    AMC Theatres

  20. Weekend Box Office Results: Bob Marley: One Love Continues Jamming

    Ethan Coen's Drive-Away Dolls was delayed from last year's September opening (blamed on the strike) and it grossed just $2.4 million in 2,259 theaters. The three films in their history to open worse than that were all during the pandemic in 2020 and 2021 - Come Play ($2.25 million), Let Him Go ($1.94 million), and Profile ($730,290).

  21. Merced Movie Tickets and Showtimes in Merced, CA

    Pre-order your tickets now! ThuMar 7FriMar 8SatMar 9SunMar 10MonMar 11TueMar 12WedMar 13ThuMar 14. Imaginary. 1HR 44MINS. Pre-order your tickets now! ThuMar 7FriMar 8SatMar 9SunMar 10MonMar 11TueMar 12WedMar 13ThuMar 14. Kung Fu Panda 4. 1HR 34MINS. play_arrowWatch Trailer.

  22. 'Dune: Part Two' and 'Outlaw Posse' among the new movies in ...

    Note: This story is updated for the week starting March 1. The movies' last really big box-office hit starred Timothée Chalamet. Theaters — including all of the Milwaukee area's first-run ...

  23. Broadway Shows Opening Spring 2024: What to Know About This Season

    Performances in N.Y.C. Advertisement Supported by Why are 18 shows opening in March and April, and which one is for you? Our theater reporter has answers. By Michael Paulson Is Broadway facing a ...

  24. New Movies in Theaters Now

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  25. The Best Movie of 2023 Is Now on Hulu: 'All of Us Strangers'

    (Now in theaters) Ordinary Angels : They finally made a good faith-based movie . The Second Best Hospital in the Galaxy : But it's the first-best voice cast in a new animated series .

  26. AMC Theatres

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  27. US Movie Theaters

    Movie Theaters Fandango is your go-to destination for theater information. We make it easy to find and buy the right movie at the right time, with showtimes and tickets to more than 26,000 screens nationwide. Are you ready to find your local theaters? Search for your location in the search box or view all theater partners below.

  28. 2023 Movie Flop That Lost $80 Million Is Now A Global Netflix Hit

    The star-studded ensemble voice cast of the movie also included Toni Collette as Ruby's mother Agatha, Colman Domingo as her father Arthur, Jane Fonda as her Grandmamah, and Annie Murphy as the wicked mermaid Queen Nerissa. In spite of this, the movie was a major flop in theaters and is estimated to have lost Universal $80 million.

  29. Stopmotion (2024) Tickets & Showtimes

    Go to previous offer. We're bringing Fandango home, for you Fandango—at home and at the theater; Stream Oppenheimer Exclusively on Peacock Nominated for 13 Academy Awards®; Buy a ticket to Bob Marley: One Love For a chance to win a Sandals Resort trip; Buy Pixar movie tix to unlock Buy 2, Get 2 deal And bring the whole family to Inside Out 2; Buy a ticket to Imaginary from 2/21 - 3/18 Get ...