John Lee Hancock assisted Stromberg with reshoots for the film. Hancock, who had just finished overseeing the final postproduction stages of Saving Mr. Banks, was approached by producer Joe Roth, with whom he had worked on Snow White and the Huntsman. Roth said: "He's not directing. He wrote pages, and I hired a first-time director, and it's good to have him on set." Roth was asked why a "film of this magnitude was entrusted to a novice director", and he noted that Stromberg won Academy Awards for production design on Avatar and Alice in Wonderland. Roth said: "The movie is gorgeous to look at, and the last 75 minutes are really entertaining. The issue was the opening, which was reshot over eight days."[54]
In North America, Maleficent earned $4.2 million in Thursday-night showings, surpassing the midnight or late-night grosses of previous live-action fantasy films, Alice in Wonderland, Oz the Great and Powerful[84][85] and Snow White and the Huntsman. By the end of its opening day (including late-night Thursday earnings), the film earned $24.3 million, similar to Oz, but ahead of Snow White and the Huntsman and behind Alice.[86] Maleficent finished its debut weekend at first place with $69.4 million[77] ($6.7 million of which was earned from IMAX locations and 35% of which was earned from 3D showings),[87][88] which exceeded Disney's expectations of a $60 million opening[89] and making it the largest opening-weekend performance for a live-action film starring Jolie (a record previously held by her 2008 film Wanted),[87] as well as the third-highest opening weekend for a solo female star (behind the first two films in The Hunger Games series).[90] Disney reported that 46% of ticket buyers in Thursday previews were male,[84] while weekend reports said family audiences accounted for 45% of the film's total audience, and couples and teens accounted for 38% and 18%, respectively.[87][89] Female audiences and moviegoers over 25 years old held respective proportions of 60% and 51%.[87] Dave Hollis, head of Walt Disney Studios Motion Pictures, attributed this success to "some momentum and great word-of-mouth."[89] During its first week, the film earned $93.8 million, ahead of Snow White yet behind Oz and Alice.[91] In its second weekend, Maleficent dropped by 50.6% to $34.3 million, finishing in second place.[77] It experienced a smaller second-weekend drop than Snow White,[92][93] yet still bigger than Oz and Alice.[94] In North America, Maleficent is the eighth-highest-grossing 2014 film.[95]
maleficent full movie with english subtitles 13
On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 54% based on 273 reviews, with an average rating of 5.70/10. The website's critical consensus reads: "Angelina Jolie's magnetic performance outshines Maleficent's dazzling special effects; unfortunately, the movie around them fails to justify all that impressive effort."[122] On Metacritic, the film has a weighted average score of 56 out of 100 based on 44 critics, indicating "mixed or average reviews".[123] Audiences polled by CinemaScore gave the film an "A" grade on a scale of A+ to F.[124][125] Jolie's performance in the film was repeatedly singled out for praise.
The CaveDocumentary on a female-led team providing medical care to locals at a secret underground hospital in Syria. Directed by Feras Fayyad. In Arabic, English with English subtitles. (1:35) PG-13.
Cyrano, My Love19th century French playwright Edmond Rostand faces personal and professional challenges as he struggles to write his famous heroic comedy. With Thomas Solivérès. Written and directed by Alexis Michalik, based on his play. In French, Russian with English subtitles. (1:50) R.
Immortal HeroA writer emerges from a near-death experience with a profound sense of spiritual purpose. With Hisaaki Takeuchi, Fumika Shimizu. Written by Sayaka Okawa; story by Ryuho Okawa. Directed by Hiroshi Akabane. In Japanese with English subtitles. (1:58) PG.
The Last FictionThe forces of light and the forces of darkness do battle in ancient Persia in this animated fable from Iran. Written and directed by Ashkan Rahgozar. In Persian, English with English subtitles. (1:40) NR.
Parents need to know that The Magnificent Seven is a remake of the classic 1960 Western (which itself was a take on Akira Kurosawa's Seven Samurai). The biggest issue is the movie's relentless violence: It's not particularly gory, but there's tons of shooting and killing, as well as stabbing and slicing with knives and arrows. Characters are bashed with blunt objects or kicked, bloody wounds are shown, and rape is referenced. Language includes a few uses of "s--t" and "bitch," and more. Sexual content is limited to verbal innuendo/references, though one female character's cleavage is highlighted. Another character is referred to as "drunken," and most characters drink and/or smoke cigarettes or cigars. But teamwork is a strong theme, as is overcoming racial tensions and stereotypes. The titular seven are a diverse bunch, and they work together against difficult odd for the greater good. But the lack of consequences for their violent actions should also be considered (as should the fact that the cast is almost all men).
Yet even if Fuqua's direction isn't on par with that of Kurosawa or Western masters like Sam Peckinpah, he effectively uses the language of the genre to underline its strong, simple themes and codes of honor. The movie occasionally acknowledges racial differences and fears but quickly gets the seven on equal footing, and they come to life in entertaining ways. The thundering score (begun by the late James Horner and completed by Simon Franglen) helps, using bits of Elmer Bernstein's legendary music from the 1960 version. The Magnificent Seven has always been, and still is, more crowd-pleaser than great poetry, and that's OK.
How does the movie deal with the characters' different races and cultures? Does it seem to take a positive, pro-diversity approach? Does that make up for the fact that there are few female characters of note? 2ff7e9595c
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