Criminal Minds: Evolution: The Eyes Have It in Exclusive Season 18 Character Portraits
The BAU's eyes are all on you in TVLine's exclusive first look at Criminal Minds: Evolution's moody new character portraits, shared below.
Premiering Thursday, May 8 on Paramount+, with new episodes dropping weekly, Season 18 of the crime drama picks up six months after inmates attacked the notorious Sicarius Killer, Elias Voit (played by Zach Gilford). That incident incited Voit's followers on the dark web to begin wreaking havoc all over the country. In order to stop the nefarious group from killing more innocents, the BAU is forced to work alongside an increasingly unpredictable Voit, who of course has his own agenda.
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The BAU's elite team of profilers is again comprised of Emily Prentiss (played by Paget Brewster), David Rossi (Joe Mantegna), Jennifer 'JJ' Jareau (A.J. Cook), Penelope Garcia (Kirsten Vangsness), Dr. Tara Lewis (Aisha Tyler) and Luke Alvez (Adam Rodriguez).
Also back for another go-round is Ryan-James Hatanaka as onetime person of interest Tyler Green, who last season was veritably deputized as an unofficial BAU helper.
As TVLine reported in mid-December, franchise vet Matthew Gray Gubler will return as Dr. Spencer Reid for part of one Season 18 episode, while Lucifer alum Aimee Garcia has a multi-episode arc as Dr. Julia Ochoa, a leading neuropsychiatrist who is 'assigned to help a high-profile patient recover from his injury-induced brain trauma.'
Check out the cool new character posters below, and as always email InsideLine@tvline.com with any burning questions/scoop requests for Season 18!Best of TVLine
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Yahoo
9 hours ago
- Yahoo
'Mission: Impossible' Movies Ranked From Worst to Best
For almost 30 years, Tom Cruise's 'Mission: Impossible' has supplied moviegoers with the most consistent and thrilling spy-themed adventures of any Hollywood franchise outside of the James Bond films. More from Variety Tom Cruise in 'F1' Over Brad Pitt Would've Been 'Scaring Us More,' Says Joseph Kosinski; Action Supervisor Quips: Tom 'Terrifies Me' and 'We'd Have Had a Crash' 'Lilo & Stitch' Outpaces 'Mission: Impossible - The Final Reckoning' as Box Office Surges in U.K. and Ireland Tom Cruise Rejoices Over 'Mission: Impossible - The Final Reckoning' Box Office Record Amid Speculation the Franchise Is Over: Thank You Paramount for 'Years of Unwavering Support' For the first entry, David Koepp and Robert Towne adapted the 1966 television show of the same name for the big screen with a screenplay that, with a handful of granular exceptions, has become a blueprint for every subsequent installment. Anchored by the indefatigable Ethan Hunt, the Impossible Mission Force is given data about — and the choice of whether or not to try and prevent — a calamity of some significance to the U.S., the intelligence community or even the entire world. Almost always, the team is disavowed and finds themselves being chased — not only by their enemies, but their purported allies too. After eight chapters, Ethan Hunt's tenure with the IMF appears to be coming to an end. To commemorate the occasion, filmmaker Christopher McQuarrie has pulled out all of the stops to deliver 'The Final Reckoning' — a finale that he hopes lives up to, and possible exceeds, the almost endless string of nail-biting scenarios that he and his predecessors conceived over the last three decades. Did he succeed? Each viewer's mission, should they accept it, is to determine that for themselves. In the meantime, Variety takes a look back at the eight 'Mission: Impossible' films and ranks them — let's say, from 'I wouldn't watch it without wearing a mask to disguise my identity' to 'I'm willing to HALO jump out of a plane to see it again.'Rightly the chapter in this series with the lowest Tomatometer score (a generous 57% fresh), this follow-up to the original 'Mission: Impossible' overcompensated for criticisms that its predecessor was too complicated by telling a story that is just plain dumb. Perhaps emboldened by the silliness of his (fun) previous Hollywood movies 'Broken Arrow' and 'Face/Off,' director John Woo leans heavily into his visual playbook to create a film full of balletic imagery trying to disguise absolutely preposterous storytelling and action choreography. But most of the story boils down to a fight over a girl (a hard-working Thandiwe Newton). Villain Dougray Scott, looking like an artist's rendering of a genetic splicing of Ewan McGregor and Hayden Christensen, isn't up to the task of intimidating Tom Cruise — an insult added to the injury of losing out on playing Wolverine in 'X-Men' as a result of taking the a set up to what's meant to be the coup de grace for the series, 'Dead Reckoning' is unfortunately a bit of a slog, even if it replicates with great energy and dexterity the elements that have made earlier chapters so entertaining. Particularly because the film only ever addresses Ethan Hunt's origin story obliquely but also because of the villain's penchant for tiresome self-seriousness, Gabriel (Esai Morales) is a fairly underwhelming final boss, necessary though he may be since his counterpart — the Entity, a rogue AI — is an oscillating electronic eyeball. Putting new recruit Grace (Hayley Atwell) through her own reluctant hero's journey takes too long — almost to the point of exasperation. But then again the whole film is kind of like that: the Rome car chase, the Venice fight, the build to Ethan's mountain jump, even the number of cars they have to climb through after stopping a runaway train — each sequence takes one or two more beats than feels necessary. Also, revealing the Sevastapol in the first scene (rather than where it belongs, in the first scene of 'The Final Reckoning') means that Ethan spends the whole movie chasing after something viewers already know about, marking the first time in franchise history where it feels like the audience is ahead of the assessments that characterize this J.J. Abrams film as a glorified episode of his TV series 'Alias' aren't completely off base, but the future 'Star Trek' and 'Star Wars' fan-disappointer manages something more sly and nuanced with this franchise's mythology than he does later in his career: Abrams dismantles and deconstructs its core iconography, from a malfunctioning mask-maker to the multiple times Ethan Hunt fails to do his job or save the lives of those closest to him. An absolutely ruthless Philip Seymour Hoffman remains one of the best adversaries Cruise faces in the series, and as much as Abrams likes to cute-ify Ethan Hunt's life in between missions, he creates the super spy's purest civilian relationship with Julia Meade (Michelle Monaghan), which elevates every subsequent film from (basically) a James Bond riff to a saga with meaningful emotional connections — and conclusion to Ethan Hunt's story is already dividing audiences — a debate that undoubtedly will continue as the world moves forward without his essential but frequently disavowed brand of heroism. In the years to come, what will carry more weight with viewers? The first half of this film, chock-full of endless, wildly overserious exposition? Or the back half, featuring two of the most thrilling set pieces in the history of the franchise (and arguably cinema itself)? The film's derring-do is enough that the tedium of the build-up to it kind of washes away. Certainly, the entire ensemble's relentless determination to characterize Ethan Hunt as the only man on Earth with the right moral compass to defeat the Entity fails to yield new insights about him, them or the world they inhabit. It feels especially repetitive since the previous chapter already overexplained the challenges the IMF faces, and the stakes if they fail. But with its climactic piggybacking of a (literally) slow-rolling hunt through a wrecked submarine back-to-back with an aerial fight so urgent and visceral that it feels, well, impossible to believe it's real, 'The Final Reckoning' sticks the landing and then his own live-action feature debut, Pixar stalwart Brad Bird translates Abrams' snarky wit as an ironic counterpoint to tension-relieving humanity, with the series' biggest action canvas yet. Introducing Jeremy Renner as a 'no, we promise he was never supposed to be a replacement' co-star for Tom Cruise, the film's success revitalized 'Mission: Impossible' at the time, eliminating the need to even consider swapping out (or letting free) its tireless star. But as a high-stakes tentpole film with a well-modulated sense of humor about itself ('Mission accomplished!' triumphantly — if mistakenly — shouts Ethan at one point), 'Ghost Protocol' firmly and permanently roots the series in the realm of adult entertainment by finding a perfect balance between briskness and nail-biting intensity — something that the best subsequent installments not only carried forward, but further it looks almost quaint in comparison to the ambitious, muscular chapters that followed, O.G. auteur-turned-crowd pleaser Brian De Palma delivers a franchise-starter that codifies all of the essential ingredients needed for a 'Mission: Impossible' film (with proportions to be determined by each subsequent director). The vault heist remains an all-time gold standard for action set pieces (here or elsewhere), and it's where Cruise first really began to hone the smoldering, delicately-cheeky intensity that has made him an A-list mainstay for decades. Those old enough may remember David Koepp and Robert Towne's script absolutely bewildering audiences at the time of its release, but in retrospect not only was it deceptively — and delightfully — complex, but ultimately a template for intriguing misdirection that, like so many other elements in the film, has become a franchise oversized version of its predecessor 'Rogue Nation,' 'Fallout' gives you the sense that Christopher McQuarrie had not only gotten his sea legs beneath him, but started running with the speed of Ethan Hunt. Bringing back Ilsa (Rebecca Ferguson) as a frenemy yet again feels just a bit like the filmmaker walking back what he previously accomplished just to keep her around as a simultaneous screen magnet and plot device, not that anyone minds because Ferguson is just as good here as before. But Henry Cavill absolutely lights up the film as August Walker, a double operative who thrillingly — and unambiguously — hates Ethan on sight, resulting in a friction that overshadows the elaborate machinations of the terrorist groups he leads. Meanwhile, the set pieces are unilaterally great here, from the HALO jump to the nightclub fight to the breakout of Solomon Lane to the helicopter chase that wraps the film. But after the tightly-plotted perfection of 'Rogue Nation,' the freedom the filmmakers indulge here leaves audiences feeling like they've just eaten an especially rich meal: satisfying but just a tiny bit apotheosis of Tom Cruise's collaboration on the franchise with any of its directors, Christopher McQuarrie's 'Rogue Nation' delivers massive (and in one case literally) operatic set pieces in a story that operates with Swiss-clock precision. Introduced unforgettably in this film, Rebecca Ferguson's Ilsa Faust remains the second-best character ever created for 'Mission: Impossible,' and her role creates a thrilling dynamic that gives Ethan an adversary who's also a friend, both to complicate the plot and enhance its emotionality. In an 'embarrassment of riches' quandary, it's a toss-up whether the opening plane sequence, the opera assassination, the underwater vault or the motorcycle chase is the best sequence in the film. But McQuarrie's seemingly inexhaustible creativity strengthens all of the characters and supercharges the world they operate in, turning a film series into a bona fide saga. Best of Variety All 23 Best Picture Nominees Directed by Women in Oscars History 'The Last of Us' Season 2 Cast Guide: Who's Who From the Video Game? The 15 Best 'Black Mirror' Episodes, Ranked
Yahoo
16 hours ago
- Yahoo
‘Lilo & Stitch' Kicks Up $63M Second Weekend, ‘Mission Impossible 8' $27M+, ‘Karate Kid: Legends' At $21M
SUNDAY AM: Saturday was kind to most movies in the top 10 which saw lifts over Friday, in particularly Disney's Lilo & Stitch and Paramount's which were respectively up 51% and 56%. Lilo & Stitch is coming in at $63M for its second frame, while Mission Impossible 8 is $27.3M. Disney executives are skipping around the Burbank lot for with Lilo & Stitch it catapults the studio past the $1 billion mark at the domestic box office with a 30% market share. Disney is the first studio to pass that milestone YTD. Excluding 2020, Disney has grossed $1B+ domestically for 20 consecutive years since 2005, the only studio to accomplish this. More from Deadline 'Lilo & Stitch': All The Box Office Records Broken 'Karate Kid: Legends' Will Provide Kick To Summer Box Office But Won't KO 'Lilo & Stitch's $60M Second Weekend – Preview Breaking Baz: 'Bring Her Back' Star Billy Barratt Says He Performed Best In The Horror Pic After Being Locked Alone In A Room Without His Phone Total weekend for all titles is $151M, +130% from the same post Memorial Day frame a year ago. Sony is calling Karate Kid: Legends at $21M but others see it under $20M, like in the $19M range. Oh, no. I mean, if Sony called it at $20M and everyone is in the high $19M, that's not a big deal, but no one knows where $1M+ extra is coming from. Saturday was $7.3M, -5% from Friday/previews $7.7M. If you back out $2.3M previews, then Saturday was an up day for the Jackie Chan and Ralph Macchio team-up at +35%. Why wasn't there a big rush to this film? Why is it under its projections? It's the Cobra Kai streaming Netflix effect, dummy. With the Karate Kid audience conditioned to stay at home, what's the big reason for them to run out and watch another fight tournament onscreen? Yes, as we said before, being in the shadow of Lilo & Stitch crowd doesn't help given some audience overlap. Families are on a budget and they're going to put their money toward the title that kids are nagging them to see (tracking does take this into consideration with kids under 12). RelishMix noticed negative chatter, concentrated around the fear that the movie wouldn't live up to hype and the success of the previous installments. Comments included, 'I mean the story is same as every Karate Kid film,' and, 'I do not know how I feel about this. I'm half terrified.' Call it what you will — $19M-$20M. Note that while it's under expectations, the picture will be somewhat profitable. It's an okay piece of business at $45M net production cost, even though I'm sure Sony would have loved to see bigger numbers. I'm told that Karate Kid: Legends came on tracking at $35M and dropped to the mid $20Ms before this weekend. Oh, jeez. Let's not forget the great exits which should help the film hold. Karate Kid: Legends was originally dated for June 7, 2024, before the strikes pushed it to Dec. 13, 2024. When it came to business for this film, Sony had second thoughts and chose kids out of school for the summer over a crazy multiple over Christmas, thus moving Karate Kid: Legends back to a post-Memorial Day weekend slot. A24's — this is an excellent, original gross movie with great exits. Beyond the B+ CinemaScore, there's 80% audience on Rotten Tomatoes with a big hug from critics at 90% certified fresh. Just like A24's was trying to campaign for Toni Colette for Hereditary, there's an awards push to be done here for Sally Hawkins. Though the movie is at the top of its forecasted range with $7M, it's a bit surprising that the movie didn't overindex even more, and do a number beyond the Philippou's first movie, Talk to Me ($10.4M), or at least on par. Remember when it comes to these indie labels, it's a business of margins in regards to P&A spend to theatrical yield to profiting in the home windows. A 3x-4x multiple off a movie's opening (Midsommar, Heretic) is typically A24's theatrical goal on these genre movies, however, Talk to Me had a 4.6x (final domestic was $48.2M). That movie eased -39% in its second weekend. We'll see if Bring Her Back can bring more back. Bring Her Back played best in the East and West and even throughout the U.S./Canada. AMC Burbank was the pic's highest grossing location with just under $30k. Chart is updating with Sunday figures indicated with bold titles and including Saturday and Sunday number. & Stitch (Dis) 4,410 theaters, Fri $17M (-70%) 3-day $60M-$64M (-56% to -59%), Total $277M-$281M/Wk 2 2. Mission: Impossible – Final Reckoning (Par) 3,861 (+4) Fri $7.5M (-70%), 3-day $26.7M (-58%), Total $122M/Wk 2 3. Karate Kid: Legends (Sony) 3,809 theaters, Fri $7.5M, 3-day $21M-$23M/Wk 1 4. Final Destination: Bloodlines (NL) 3,134 (-389) Fri $3.1M (-43%), 3-day $11M (-43%), Total $111.9M/Wk 3 5. (A24) 2,449 theaters, Fri $3.1M Sat $2.2M Sun $1.67M 3-day $7.08M/Wk 1 6.) Sinners (WB) 2,138 (-494) theaters Fri $1.55M (-35%) 3-day $5.1M (-40%), Total $267M/Wk 7 7.) Thunderbolts (Dis) 2,520 (-660) theaters Fri $1.3M (-48%) 3-day $4.7M (-51%), Total $181.7M/Wk 5 8.) Friendship (A24) 1,293 (+238) theaters, Fri $780K (-56%), 3-day $2.5M (-44%), Total $12.3M/Wk 4 9.) (Angel) 1995 (-210) theaters, Fri $642K Sat $876,5K Sun $620K 3-day $2.14M (-60%), Total $10.75M/Wk 2 10.) J-Hope Tour: Hope on Stage (TRAF) 631 theaters Sat $789K Sun $150K, 2-day $939K/Wk 1 Busting into the top 10 is Trafalgar Releasing's live broadcast of the grand finale of j-hope's first solo world tour from Osaka Japan's Kyocera Dome. The concert was transmitted live to 2,700+ cinemas across 83 countries on Saturday. Select encores are taking place today around the globe (64% encoring in North America, 46% worldwide). Global projection (sans Japan) for the weekend stands at $4.1M. 11.) (AMZ) 820 (-1182) theaters, Fri $214K (-56%) Sat $331K Sun $231K 3-day $776K (-62%), Total $65M/Wk 6 Notables: The Phoenician Scheme (Foc) 6 theaters, Fri $270K Sat $160K Sun $140K 3-day $570K, PTA $95K, Wk 1As we said yesterday, it's the biggest per screen of the year to date. Updated on individual theaters through Saturday: NYC's Angelika $121K, AMC's Lincoln Square is $96K, LA's AMC Century City is $58K, LA's AMC the Grove $55K, AMC Burbank $53.4K and NYC's Alamo Brooklyn stands just under $44k. Movie is 77% certified fresh with critics on Rotten Tomatoes. No audience score yet. Asteroid City, Focus Features' previous Cannes Film Festival premiere and theatrical release with Wes Anderson, had a RT critic score of 76% certified fresh and audience score of 66%. SATURDAY AM: It's a solid weekend following the Memorial Day holiday with all titles driving around $144M worth of business, +117% from the post-holiday doldrums a year ago. Let's rejoice and take it. No, it's not the biggest for the post 4-day holiday during post pandemic times — that belongs to 2023 when Sony's all-pleasing fanboy animated movie, Spider-Man: Across the Spider-Verse led all titles to a $205M+ marketplace. However, out of 22 weekends in 2025, only ten of 'em have grossed north of $100M-plus. Let's be pleased. I'm sure those novelty popcorn buckets at the circuits are still flying off counters. Disney's Lilo & Stitch is still on track for a $60M-$64M second weekend, Paramount's Mission: Impossible – Final Reckoning is showing that Imax makes a difference in weekend 2 with a -58% hold and $26.7M, and Sony's …the studio is forecasting $21M-$23M opening off a $7.5M Friday. Rivals see it lower in the high teens, however, as we said yesterday, it boils down to Saturday business and whether that tips more families into both Karate Kid, and Lilo & Stitch toward the higher end of its range. There is a bit of overlap between the two films demo wise, even though Lilo skews more female at 62% and Karate Kid: Legends more male at 59%. Their men under 25 demos are close (Legends is 22% to Lilo's 18%) and their women over 25 as well (Legends is 30% and Lilo 34%). Yes, of course, substantially more moms are taking kids to see Lilo. Net production cost on Karate Kid: Legends was $45M before P&A. It will be interesting to see how big overseas is. The franchise was born at a time in 1984 before studios relied on overseas. With Jackie Chan in the 2010 reboot, the foreign box office on that movie edged out domestic, $182.5M to $176.5M and that's without China, however, Japan made a great $17.4M. Men over 25 for Karate Kid were 37% and women under 25 the lowest turnout at 11%. Best grades for the crossover comes from women over 25 with 95%. Diversity demos were 36% Caucasian, 31% Hispanic and Latino, 16% Asian American and 12% Black. Great exits though for Karate Kid: Legends with an A- CinemaScore, the same grade as the 1986 sequel, Karate Kid II. The 2010 Chan version landed an A. Of course, the biggest reason on Screen Engine/Comscore's PostTrak why people bought tickets to Legends is because it's part of a franchise they love (46%). Also interesting to note that of all the moviegoers going to see Karate Kid: Legends, 68% of them said they have Netflix as their leading streaming service. That's where Sony's output deal is in the pay-one, and it's also where Cobra Kai lives. A24's Bring Her Back after a $3.1M Friday is looking at $7M-$8M in 5th place. For horror films, especially an A24 one, which typically divides audiences, the movie, wow, landed a B+ CinemaScore. Also, four stars and 80% positive and a 57% definite recommend. High praise. Hopefully that all works in the film's favor throughout this weekend and leg-wise. Thirty one percent of those who bought tickets said they went because it's a Philippou twins movie, and 48% said it's because it's a horror movie. Men over 25 mostly turned out at 42%, as well as women over 25 at 28%, with an even amount of men and women under 25 at 15% apiece. Diversity demos were 50% Caucasian, 23% Latino and Hispanic, 14% Black and 9% Asian American. Most influential forms of advertisement for Bring Her Back was social media at 21% per those polled by PostTrak which isn't surprising as it's an A24 movie, and that's where they focus most of their P&A spend. Those polled also said buzz from friends/family was influential (15%) as well as the in-theater trailer (14%). Social media universe across TikTok, Instagram, etc. was 50M per RelishMix, which is ahead of Hereditary (44M) before opening and just under NEON's Cuckoo (53M, $3M opening). Positive word of mouth that RelishMix spotted included fans of the Philippou's Talk to Me, as well as excitement over their trailer, some horror fans remarking that the movie looks like a throwback to 1989's Pet Sematary. RELATED: A24 financed the movie for around $20M I hear, with foreign rights sold going to Sony for around $13M, I understand. Also, as expected, Focus Features' Wes Anderson movie, The Phoenician Scheme, is heading toward the best theater average of 2025 year to date with $95K from six NYC and LA theaters. Not as high as the director's Asteroid City two years ago ($142,2K), but robust enough for the specialty sector post pandemic which is desperate for dollars. 3-day looks like $570K in 12th place. The Angelika in NY led all theaters with $78K yesterday where they had a premium $62 ticket that included an 'Immersive Experience' and popcorn. AMC Lincoln Square did $63K, LA's AMC Century City posted $38K, AMC The Grove a similar take, AMC Burbank $31.3K and Alamo Brooklyn was around $23K. Muy bien. RELATED: Saturday numbers: & Stitch (Dis) 4,410 theaters, Fri $17M (-70%) 3-day $60M-$64M (-56% to -59%), Total $277M-$281M/Wk 2 2. Mission: Impossible – Final Reckoning (Par) 3,861 (+4) Fri $7.5M (-70%), 3-day $26.7M (-58%), Total $122M/Wk 2 3. Karate Kid: Legends (Sony) 3,809 theaters, Fri $7.5M, 3-day $21M-$23M/Wk 1 4. Final Destination: Bloodlines (NL) 3,134 (-389) Fri $3.1M (-43%), 3-day $11M (-43%), Total $111.9M/Wk 3 5. Bring Her Back (A24) 2,449 theaters, Fri $3.1M, 3-day $7M-$8M/Wk 1 6.) Sinners (WB) 2,138 (-494) theaters Fri $1.55M (-35%) 3-day $5.1M (-40%), Total $267M/Wk 7 7.) Thunderbolts (Dis) 2,520 (-660) theaters Fri $1.3M (-48%) 3-day $4.7M (-51%), Total $181.7M/Wk 5 8.) Friendship (A24) 1,293 (+238) theaters, Fri $780K (-56%), 3-day $2.5M (-44%), Total $12.3M/Wk 4 9.) Last Rodeo (Angel) 1995 (-210), Fri $640K (-69%), 3-day $2.25M (-59%), Total $10.8M/Wk 2 10.) The Accountant 2 (AMZ) 820 (-1182) theaters, Fri $214K (-56%) 3-day $778K (-62%), Total $65M/Wk 6 Notables: The Phoenician Scheme (Foc) 6 theaters, Fri $270K, 3-day $570K, PTA $95K, Wk 1 FRIDAY AFTERNOON: Disney's Lilo & Stitch is coming in right where we were seeing it — at $60M in weekend 2, -59%, at 4,410 locations. That hold is similar to that of the second weekend of Little Mermaid, which was also a Memorial Day theatrical release. Today looks like $17M for Lilo's second Friday, -70%. Running total for the Dean Fleischer Camp directed movie by Sunday is $277M. However, Sony's is looking lighter than forecasts with a $20M opening after a $7M-$8M Friday that includes previews in 3,809 theaters. That would put the Ralph Macchio and Jackie Chan team-up in third place behind Paramount's second weekend of Mission: Impossible – Final Reckoning, with a $7.7M second Friday and $27.3M second weekend, -57% at 3,861. That's better than Dead Reckoning's second weekend decline of -65% sans Imax screens. Running total for the Christopher McQuarrie directed, Tom Cruise title by Sunday looks like $122.6M. The anticipation is that Saturday will work in both Lilo and Karate Kid: Legends' favor. Fourth is New Line's Final Destination: Bloodlines with $2.8M today at 3,134 and a third weekend of $10M, -48%, for a running total by Sunday of $110.9M. Fifth is A24's Bring Her Back with $3M today (including previews), and $6M-$7M for the weekend at 2,409 sites. Even if Karate Kid: Legends comes in less than expected, we are in far better shape than a year ago when the post Memorial Day weekend only did $66M per Box Office Mojo (there weren't any major studio releases and Garfield Movie led with a second weekend take of $14M). The top five movies this weekend (at the high end) are already grossing north of $124M. PREVIOUS FRIDAY AM: Sony's Karate Kid: Legends grossed $2.3M from previews that began at 2 p.m. Thursday. The PG-13 movie is a vortex of old school and new school: Ralph Macchio's Daniel-san, Jackie Chan's Mr. Han and, shhhhh, the Cobra Kai gang (I mean, is it really a secret?). Forecast for the movie is $25M-$30M in a marketplace where Disney's Lilo & Stitch is overpowering with a potential $60M second frame. also is hoping to hold with those Imax screens, around $32M or less. Critics like this Karate Kid a little less than the 2010 Chan one, 55% Rotten vs. 67% fresh. Karate Kid: Legends received 4 stars on PostTrak and a 68% definite recommend from definite audiences, 4 1/2 stars from parents and a 63 definite recommend, and kids under 12 with 4½ stars and a 79% must-see right away. Boys ages 10-12 at 64% made up the majority of the under-12 set; that demo is an essential portion of the Cobra Kai cult. Overall, men showed up at 60% last night. Karate Kid: Legends' Thursday night is just ahead of the $1.9M that Sony/Alcon's The Garfield Movie reboot made last May before a Friday of $8.4M and 3-day of $24M. Karate Kid: Legends was made for $45M net before P&A that's $5M more than the 2010 version cost (unadjusted for inflation). The Karate Kid franchise is 41 years old and counts $620M at the global box office from five previous movies; the bulk of that figure is from the Chan/Jaden Smith version 15 years ago, which made $359M worldwide. A24's Danny and Michael Philippou horror movie Bring Her Back made $850K in previews at 2,409 theaters that began at 4 p.m. Thursday. That figure is just under A24's fall sleeper Heretic, which made $1.2M in previews starting at 7 p.m. before turning into a $4.3M Friday and $10.8M opening. The Philippou twins' previous A24 movie, 2022's Talk to Me, opened to $10.4M. A good definite-recommend from the fanboy crowd last night for Bring Her Back at 58%, with women over 25 giving the movie its best positive score at 83%. The Thursday crowd was male-heavy at 57% to female's 43%. Women overall enjoyed it more than the guys, 83% to 77%. Go Sally Hawkins. The pre-weekend outlook is $5M-$7M. On Rotten Tomatoes, Bring Her Back has been stamped with 88% certified fresh. No audience score yet. Lilo & Stitch ends its first week with $217M at 4,410 theaters, after $9.2M yesterday, -9% from Wednesday. The pic's first week is 15% behind that the $255M for Inside Out 2, which ended its run at $652.9M, and it's 9% behind Moana 2's first seven days of $239.3M (final $460.4M). No, we're not saying the movie is doing badly, we're just trying to give you an idea of where Lilo & Stitch lives. While no one is forecasting this for Lilo & Stitch, sometimes these fan-fave Disney movies can go into overdrive, i.e. Inside Out 2 owns the best second weekend ever for a PG movie of $101.2M. And nobody saw that coming… Mission: Impossible – The Final Reckoning ends its first week with an estimated $95.3M at 3,857, which is 7% ahead of the first week of 2018's Mission: Impossible – Fallout ($220.1M final domestic) and 4.7% ahead of the first seven days of 2022's Dead Reckoning (final domestic B.O. was $172.6M). The rest of the top 5 for the week: 3. Final Destination Bloodlines (WB/NL) 3,523 theaters, Thu $1.85M (-13% from Wed), Week $30.7M (-56%), Total $100.9M/Wk 2It was the highest grossing of the franchise out of the gate. Nothing in its way. 4. Thunderbolts* (Dis) 3,180 theaters, Thu $765K (-10%), Wk $14.8M (-36%), Total $177M/Wk 4 5. Sinners (WB) 2,632 theaters, Thu $880k (-15%), Wk $14.06M (-37%), Total $261.8M/Wk 6 Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds 'Poker Face' Season 2 Guest Stars: From Katie Holmes To Simon Hellberg 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
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17 hours ago
- Chicago Tribune
What to watch for at the Tony Awards, Broadway's biggest night
NEW YORK — Twenty-nine shows on Broadway got Tony Award nominations this season, but not all will walk away with a trophy — and the box office attention they usually bring. Here are some key things to know as Broadway's biggest night approaches, including how to watch, who is poised to make history, what old favorite gets to take a victory lap and how you can see George Clooney on Broadway from the comfort of your couch. The Tonys will be broadcast to both coasts on Sunday, June 8, from 7 p.m.-10 p.m. central time, live from Radio City Music Hall. On CBS and streaming on Paramount+ in the U.S. Tony-, Emmy- and Grammy-winner and three-time Oscar nominee Cynthia Erivo, the 'Wicked' star, will be making her debut hosting the Tonys. She won the lead actress in a musical Tony in 2016 for 'The Color Purple' and will have just released her new album, 'I Forgive You.' A pre-show will be broadcast on Pluto TV from 5:40 p.m.-7:00 p.m. central time, where some Tonys will be handed out. Darren Criss and Renée Elise Goldsberry will host that telecast. Viewers can access it on their smart TV, streaming device, mobile app or online by going to Pluto TV and clicking on the 'Live Music' channel, found within the Entertainment category on the service. A total of 26 competitive categories, from lead and featured actors to scenic, costume and lighting design. Some technical award handouts may be pre-taped and winners won't appear on the live show, only cut down into edited bits sandwiched into the telecast. There are three of them: 'Buena Vista Social Club,' which takes its inspiration from Wim Wenders' 1999 Oscar-nominated documentary; 'Death Becomes Her,' based on the 1992 cult classic film; and 'Maybe Happy Ending,' a rom-com musical about a pair of androids. Each have a leading 10 nominations. For new musicals, it's 'Buena Vista Social Club,' 'Dead Outlaw,' 'Death Becomes Her,' 'Maybe Happy Ending' and 'Operation Mincemeat: A New Musical.' For new plays, it's 'English,' 'The Hills of California,' 'John Proctor Is the Villain,' 'Oh, Mary!' and 'Purpose.' Many of the races are unusually tight this year, the product of a Broadway heaving with shows after having largely rebounded from the pandemic. 'I haven't seen one nominated show that I haven't been wowed by. Everything brings something,' says Lowe Cunningham, lead producer of 'Death Becomes Her' and also a Tony voter. 'How dare the Broadway community come together with such excellent work,' she jokes. 'I needed everything else to be much worse, and I don't appreciate it.' Audra McDonald, the most recognized performer in the theater awards' history, could possibly extending her Tony lead. Already the record holder for most acting wins with six Tonys, McDonald could add to that thanks to her leading turn in an acclaimed revival of 'Gypsy.' She will push the record for a performer to most wins with seven if she prevails on Tony night. And Kara Young — the first Black actress to be nominated for a Tony Award in four consecutive years — could become the first Black person to win two Tonys consecutively should she win for her role in the play 'Purpose.' Other possible firsts: — Daniel Dae Kim could becomes the first Asian winner in the category of best leading actor in a play for his work in a revival of 'Yellow Face.' And Marjan Neshat and her co-star Tala Ashe are vying to become the first female actors of Iranian descent to win a Tony. Normally, shows open for several years don't get any Tony telecast attention but 'Hamilton' is no normal show. The original cast will celebrate the show's 10th anniversary on Broadway with a performance featuring creator Lin-Manuel Miranda and actors Goldsberry, Ariana DeBose, Daveed Diggs, Jonathan Groff, Christopher Jackson, Jasmine Cephas Jones, Javier Muñoz, Leslie Odom, Jr., Okieriete Onaodowan and Phillipa Soo. Any repeat of last year, when Jay-Z's electrifying reunion with Alicia Keys on what appeared to be a live duet of 'Empire State of Mind' was actually pre-taped hours before the live show. The appearance by the rapper in support of Keys' musical 'Hell's Kitchen' turned out to be a piece of Hollywood trickery, undercutting the Broadway community's full-throated embrace of live singing and dancing. The health of Broadway — once very much in doubt during the pandemic lockdown — is now very good, at least in terms of box office. The 2024-2025 season took in $1.9 billion, the highest-grossing season in recorded history, overtaking the pre-pandemic previous high of $1.8 billion during the 2018-2019 season. In terms of attendance, Broadway welcomed nearly 14.7 million ticket buyers, the second best attended season on record, behind only 2018-2019. But sky-high ticket prices have led to fears that Broadway is getting financially out of touch. A revival of 'Othello' with Denzel Washington and Jake Gyllenhaal broke the record for top-grossing play in Broadway history with a gross of $2,818,297 for eight performances, fueled by some seats going for as high as $921. Even if you haven't been able to get to Broadway this season, you can still see one of the shows. The night before the Tonys, 'Good Night, and Good Luck' — starring and co-written by Clooney, a Tony acting nominee — will stream across CNN properties.
