
Disney's ‘Thunderbolts*' opens to US$76m in US and Canada
Thunderbolts*, the latest film in Walt Disney Co.'s Marvel Cinematic Universe of superhero titles, was the No. 1 movie this weekend, grossing $76 million in US and Canadian ticket sales in its debut.
The figure compares with an estimate of as much as $90 million in sales from industry tracker Box Office Pro. Disney had forecast as much as $75 million.
Thunderbolts* stars Florence Pugh and Sebastian Stan as part of a group of antiheroes trying to thwart a rogue US intelligence official played by Julia Louis-Dreyfus. The performance on opening weekend was similar to Captain America: Brave New World in February, although Thunderbolts* scored significantly better reviews from critics, which may help its long-term box office prospects. The picture cost about $180 million to produce.
Outside of last year's $1.34 billion blockbuster Deadpool & Wolverine, an R-rated anomaly in the genre, superhero films have struggled to reach the heights they set six years ago when Avengers: Endgame took in a colossal $2.8 billion globally.
Thunderbolts* is the second of three Marvel pictures Disney is releasing this year. The third is July's The Fantastic Four: First Steps, which opens two weeks after Warner Bros. Discovery Inc.'s Superman.
Disney reports fiscal second-quarter earnings on May 7. Performance at the division that includes theatrical releases is expected to be held back by Snow White, which was mired in controversy and took in a disappointing $200.3 million at the global box office after its debut in March. –BLOOMBERG
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New Straits Times
a day ago
- New Straits Times
Labubu-maker Pop Mart diversifies into jewellery with new concept store
SHANGHAI: "Blind box" toymaker Pop Mart, which has seen frenzied sales worldwide for products related to its ugly-cute Labubu character, opened its first jewellery store in Shanghai on Friday. The jewellery concept store, called Popop, sells accessories adorned with Pop Mart's top-selling characters, including Labubu, Molly and Skullpanda. While Chinese consumption remains subdued in the face of a prolonged property downturn and sluggish economy, Pop Mart's affordable and adorable toys have remained in high demand both domestically and internationally, driving its share price up more than 200 per cent so far this year. Investor Zhang Ming, 34, who owns Pop Mart stocks worth 100 million yuan (US$13.92 million), flew from his base in the southwestern Chinese city of Chongqing for the opening to check out the new store concept and decide whether to increase his shareholding in the company. "I believe that the pricing and target audience for this brand are particularly well-suited, and I am confident that Pop Mart could potentially become China's version of Disney," Zhang said, predicting that the company's market capitalisation could double from its current US$45.65 billion valuation. Alongside some Disney characters and others related to anime, comics and popular video games, Pop Mart's characters are seen as fulfilling what has been called "emotional consumption" — where young consumers spend on affordable luxuries that bring joy into their lives. Fang Ke, 35, who has a birthday coming up this month, decided to treat herself to a 699 yuan Labubu bracelet at the opening. "I've loved Pop Mart for a long time; it's good-looking, brightly coloured, and also has a visual impact," she said. "My daughter likes it too." At Popop, prices start at around 350 yuan for charms or a simple silver ring, and go as high as 2,699 yuan for necklaces adorned with metallic models of the characters. Most pieces are priced at under 1,000 yuan. At a traditional Pop Mart store, the "blind box" toys the chain is best known for generally sell for 69 yuan and up, but consumers have shown a willingness to pay significantly more for limited editions. Earlier this week, a Beijing auction house sold a human-sized Labubu figure for 1.08 million yuan, setting a new record and marking the toy's transition from craze to collectible.


The Sun
a day ago
- The Sun
The Ugly Stepsister puts evil spin on classic fairy tale
FAIRY tales have always had a dark side, but The Ugly Stepsister takes that idea, douses it in bleach, slaps on a tapeworm and drags it screaming into a grotesque new realm. Directed by Emilie Blichfeldt in her wildly confident feature debut, the film delivers a macabre, head-spinning take on the Cinderella mythos, one that is more scalpel than sparkle and more grotesque than glass slipper. From the moment it premiered at Sundance's Midnight Section, this Nordic horror oddity made it abundantly clear: this is not your typical rags-to-riches story. Instead, it is a rags-to-ravaged-body tale wrapped in couture and soaked in commentary. Through a distinctly Scandinavian lens (and with a touch of wicked humour), The Ugly Stepsister satirises beauty standards and societal pressure with the precision of a surgeon's scalpel, a rusty one. Metaphoric stab wounds While the name Cinderella might conjure images of chirping birds and magical makeovers, The Ugly Stepsister drags those expectations into a back alley and stabs them repeatedly with metaphor. The story focuses on the oft-overlooked 'ugly' stepsister, placing her front and centre in a warped competition for the crown or rather, the prince's affection. The brilliance lies in its commitment to the genre. Blichfeldt does not flinch. Where other horror-fairytale hybrids lean into fantasy or drama, this one gleefully dives into body horror. Think flesh, fluids and fashion stitched together in the name of so-called perfection. It is bold, it is grotesque and it is beautifully shot, almost annoyingly so, considering the subject matter often involves scenes that could make viewers dry heave. That said, while the film is not afraid to cross lines, it does so with purpose. Every agonising transformation, every uncomfortable close-up, every squeamish moment has thematic weight. There is no gore for gore's sake, only a merciless dissection of what beauty costs, especially when society defines it for women. For fans of Grimm, not Disney To truly appreciate The Ugly Stepsister, one must approach it less like a Disney tribute and more like a Grimm Brothers séance. It channels the same brutal, unfiltered energy that once saw stepmothers mutilating their daughters' feet to force a fit. This film does not sanitise the horror of fairy tales, it reclaims it, reanimates it and throws glitter on the blood. The narrative keeps its roots in the original structure but shifts perspective in a way that reframes the story completely. By centring the 'ugly' one, the film explores resentment, rivalry and identity with surprising emotional depth, while also indulging in some of the most viscerally upsetting visuals seen in recent genre cinema. There is also a deeply effective feminist undercurrent here. It is a parable about the impossible standards imposed on women, especially within family structures and social hierarchies. That this message comes laced with horror-show surgery and surrealist fairytale sequences only makes it hit harder. Unsettling, unapologetic and unexpectedly hilarious For all its blood and bile, the film also boasts a streak of dark comedy that is impossible to ignore. Whether it is the absurdity of a beauty treatment gone awry or the twisted etiquette lessons dished out with a smile, there is a wicked humour baked into nearly every scene. The cast delivers these moments with deadpan precision, never once winking at the audience but always in full control of the absurdity. Lead actress Lea Myren gives a gutsy, full-bodied performance that shifts from pitiable to terrifying with unnerving ease. The rest of the ensemble, including Thea Sofie Loch Næss and Ane Dahl Torp, handle the madness around them with a surreal kind of calm, elevating what could have been a grotesque freak show into a strangely poignant family drama. And yes, while the makeup and prosthetics are Oscar-worthy in their own right, it is the emotional gut-punch beneath the gore that makes the film linger long after the credits roll. Caution for the squeamish Let it be said plainly: The Ugly Stepsister is not for the weak of stomach. There are sequences in this film that could cause spontaneous hair loss, not unlike the protagonist's own follicular misfortunes. Between twitch-inducing body horror and thematic discomfort, viewers prone to squeamish reactions may find themselves watching through splayed fingers if they can keep their eyes open at all. Headache-inducing? Occasionally. Visually aggressive? Absolutely. But for fans of arthouse horror, feminist satire, or just good ol' disturbing cinema, it is a masterpiece of madness. The Ugly Stepsister is a little bit messed up in all the right ways. It is a visual and psychological assault, but one that leaves its audience with more than just trauma, it leaves them with something to chew on. Twisted but thoughtful, gorgeous but grotesque and shockingly sincere beneath all the sludge, this film carves out a space for itself as one of 2025's most unforgettable horror debuts. Anyone who has ever loved the original Grimm tales with their unapologetic cruelty and moral ambiguity will find something deliciously dark in Blichfeldt's warped vision. Just do not expect a happily ever after. Expect something better: a cautionary tale with blood under its nails and brains behind its madness. DIRECTOR: Emilie Blichfeldt CAST: Lea Myren, Ane Dahl Torp, Thea Sofie Loch Næss, Isac Calmroth, Malte Gårdinger E-VALUE: 8/10 PLOT: 8/10 ACTING: 8/10


The Star
2 days ago
- The Star
Marvel's Thunderbolts spotlights Malaysian stunt talent
Local stunt talent gained global recognition once again with JST & SFX Production's involvement in Marvel Studios' Thunderbolts, filmed partly in Kuala Lumpur and premiered globally early last month. Its founder, James Chung, said its involvement proves the local team's ability to produce high-quality action scenes on par with international productions. "We first got involved in international film productions around 2017 to 2018 through the UK film Strike Back and Skyfire, a China-US co-production. "For Thunderbolts , we were contacted by renowned stunt director Noon Orsatti before the collaboration was finalised,' he told Bernama recently. The film Thunderbolts , directed by Jake Schreier, features a star-studded cast including Florence Pugh, David Harbour, Hannah John-Kamen, Julia Louis-Dreyfus, Sebastian Stan, Wyatt Russell and Geraldine Viswanathan. Parts of it were filmed at the world's second tallest building, Merdeka 118, in mid-2023. In addition to Thunderbolts , JST & SFX Production has also been involved in various other international productions including I Want To Be Rich, The Ghost Bride, The Little Nyonya, Attack Part 1, Special Raid, Big Octopus, Rajah, The Chosen One and Lord Of The Flies . Chung, who is also a stunt director, said his team consists of 20 experienced, well-trained and disciplined male and female local stunt actors. With over 20 years of experience in the field, he said their expertise was essential in executing complex and high-risk explosion scenes, which also involved over 100 extras. "The main challenge is ensuring that all the extras are well-coordinated so everything runs smoothly and safely, as explosions can send flying debris. We are flexible and can perform stunts that regular extras can't,' he said. Chung added that his team was only given one day to prepare, including costume setup and technical briefing before filming began. "For this explosion scene, we were only given a day to prepare costumes and a day to shoot. We conducted about seven rehearsals to ensure the scene went smoothly,' he said, adding that no special training was required for the shoot. Meanwhile, stunt coordinator Ali Arami said they had to turn down a "rigging" scene in the superhero film due to the lack of specialised equipment. "The equipment costs around US$120,000. We didn't think it was necessary to purchase it because the rental cost is high, which would burden local productions. If there was a government grant, that would be a different story. We could buy it and rent it out at a more affordable rate,' he said. Ali, who has nearly 20 years of experience, said discipline and professionalism were among the key reasons international productions choose local teams. "Mr Noon himself praised Asians, including Malaysians, for their strong work ethics. Even when they're exhausted, they complete tasks quickly – unlike American crews who tend to take a more 'slow and steady' approach,' he said. "Even though not all stunt performers are fluent in English, they still try hard to understand and follow instructions well. Respecting the director's orders and being easy to work with are our added values,' he said. Ali also noted that international productions emphasise clear work structures, including a 12-hour work limit per day, per diem allowances (pocket money) and on-set safety. Therefore, he hopes the local film industry will better appreciate the sacrifices and expertise of stunt actors, while also safeguarding crew welfare and safety. "Yes, we are paid to fall or take impact, but before that, we always check whether the stunt is safe. We're not Superman,' he said. – Bernama