‘Thunderbolts*' Leads U.K., Ireland Box Office as ‘Sinners' Holds and ‘Ocean With David Attenborough' Makes a Splash
Marvel's 'Thunderbolts' continued to lead the U.K. and Ireland box office into the second week of May, holding onto the top spot for Disney with a weekend gross of £2.3 million ($3.1 million). That brings its total to $15.6 million.
Warner Bros.' 'Sinners' continued its strong run in second place, adding $1.4 million in its fourth weekend and crossing $17.5 million overall. 'A Minecraft Movie' took third with $834,597 in its sixth frame, boosting its cumulative total to $73.6 million.
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A strong new entry in fourth place, 'Ocean With David Attenborough' from Altitude Film Distribution earned $770,625 on debut. Warner Bros.' 'The Accountant 2' held fifth with $305,004, reaching $1.5 million overall, while Sony's horror entry 'Until Dawn' followed in sixth with $254,965, and is now at $2.1 million after three weeks.
Vertigo Releasing's 'The Surfer', starring Nicolas Cage, opened in seventh with $177,432. In eighth, Lionsgate U.K.'s 'The Penguin Lessons' added $136,680 to bring its total to $4 million. 'Bluey At The Cinema: Let's Play Chef Collection' followed with $87,392, lifting its two-week total to $533,108.
A24's 'Warfare' rounded out the top 10, earning $85,464 in its fourth frame and pushing its total to $2.8 million.
A wide-ranging slate of new releases arrives in U.K. and Ireland cinemas this week, featuring K-pop concert events, anime favourites, horror sequels, arthouse dramas, and live cultural broadcasts, offering something for virtually every audience.
Wednesday, May 14 kicks off with 'ATEEZ World Tour [Towards the Light: Will to Power],' a limited-event release from Trafalgar Releasing featuring K-pop group ATEEZ.
Also opening midweek is 'Final Destination: Bloodlines,' the latest entry in the long-running horror franchise. Distributed by Warner Bros., the film launches wide across more than 300 locations. Anime devotees are also catered to with the return of 'Demon Slayer: Mugen Train,' screening through Sony Pictures.
Trafalgar Releasing also brings 'Wagner's Die Walküre – ROH, London 2025' to cinemas, continuing its successful series of Royal Opera House productions for operagoers nationwide. Thursday, May 15 features concert documentary 'Holding Back the Years – 40 Years of Simply Red, Live in Santiago' from Source Entertainment.
Friday, May 16 sees Bangladeshi film 'Daagi' from Moviegoers Entertainment and Punjabi film 'Shaunki Sardar' from Zee Studios International.
Cosmic Cat's 'Make It To Munich,' a sports documentary directed by Martyn Robertson and starring Ethan Walker, opens in over 25 cinemas. Also debuting is 'Hallow Road,' a thriller from Universal Pictures.
From France, Vertigo Releasing offers 'The Marching Band,' a light drama directed by Emmanuel Courcol and starring Benjamin Lavernhe, Pierre Lottin, and Sarah Suco. Also are Sundance-winning documentary 'A New Kind of Wilderness' (MetFilm Distribution) and Sundance and Cannes selected drama 'Good One' from Conic, starring Lily Collias and James LeGros.
Rounding out Friday's slate are 'E.1027 – Eileen Gray and the House by the Sea,' a Modern Films release exploring the life and legacy of the trailblazing architect and artist, and thriller 'Hurry Up Tomorrow' from Lionsgate U.K.
Saturday, May 17 brings two major live events: CinemaLive's 'Eurovision – Grand Final Live,' screening the 2025 contest finale in cinemas across the country, and 'Salome' from the Met Opera's 2025 season, from Trafalgar Releasing.
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Los Angeles Times
30 minutes ago
- Los Angeles Times
There's more to Korean music than K-Pop. Young composers show how in L.A. Phil's Seoul Festival
K-pop. Oscar-celebrated cinema. Samsung in the living room. Political urgency in the press. However prominent Korean culture seems to be, there is surprising lack of coverage of the classical scene at large. Already at 21, Yunchan Lim, winner of the 2018 Van Cliburn International Piano Competition, has reached superstar status. Myung-Whun Chung, whose conducting career began as an assistant to Carlo Maria Giulini at the Los Angeles Philharmonic in 1977, was just selected, over a veteran Italian conductor, to head La Scala in Milan with the blessing of Italy's nationalist president, Giorgia Meloni. And now the L.A. Phil has turned to the South Korean capital for an eight-day Seoul Festival as a follow-up to its revelatory Reykjavik and Mexico City festivals. Unsuk Chin, today's best-known Korean composer, is the curator. She is, in fact, today's only Korean composer who's well known internationally. Despite a seeming wealth of renowned performers, Korea remains a musically mysterious land. Most of what happens, even now, in Seoul's classical music scene doesn't roam far from Seoul. The mostly youngish composers and performers in the first L.A. Phil festival event, an exceptional Green Umbrella concert of new music at Walt Disney Concert Hall on Tuesday night, were all discoveries. Korean music is a discovery for much of the world. But California does have a head start. Chin, whose music has a visceral immediacy, has long fit in to L.A., championed by Kent Nagano at Los Angeles Opera and by Esa-Pekka Salonen, Gustavo Dudamel and Susanna Mälkki at the L.A. Phil. Moreover, ancient Korean court music and its instruments became an obsession with the echt-California composer Lou Harrison. Its noble gentility has been subtly adding to the DNA of the California sound. Only two Korean composers before Chin have made an indelible impression on the world stage, and both, as is Chin, became avant-gardist emigres. As outsiders, they have striking relevance. Isang Yun ((1917–1995) had a shocking career. A brilliant pioneering composer who melded traditional Asian music with contemporary techniques, Yun had been briefly arrested for his participation in the Korean independence movement of the early 1940s. He fled to West Germany, where he became a prominent composer before being kidnapped and returned to Korea. Imprisoned, tortured and threatened with a death sentence, he was eventually freed thanks to pressure from a consortium of internationally influential musicians (Igor Stravinsky, György Ligeti and Herbert von Karajan among them) and returned to West Berlin. And then there was Nam June Paik (1932-2006). Though famed for having been the first major video artist, Paik was a classically trained pianist and composer who began his career following in Schoenberg's footsteps by writing 12-tone music. His route to video was an erratic one that began when he fell under the spell of John Cage and became one of the more outrageous members of the anarchic Fluxus art and performance movement. I once asked Paik, who taught briefly at CalArts when it opened, about whether he always considered himself a composer. He said only a yuppie — 'you know, those people who work in a bank during the day and only go to concerts at night' — would think he wasn't. The Yun and Paik zeitgeist of going your own original and expressive sonic way while always being aware of tradition, whether embraced or rejected, pervades Chin, 63, and the generation of Korean composers who came after her and whom she has invited to the festival. Chin herself left Seoul to study with Ligeti in Europe. The Hungarian composer's music, thanks to Salonen's advocacy, is also in the L.A. blood. The orchestra has, of course, had a Ligeti festival. For the Green Umbrella concert, Chin revealed a great range of approaches among the four exceedingly interesting next-generation composers. She also invited a dazzling array of soloists specializing in Western and Korean instruments as well as the magnificent Ensemble TIMF, which joined the L.A. Phil New Music Group. All were making debuts alongside the luminous and poetic young conductor Soo-Yeoul Choi. In the four pieces (each about 15 minutes), Korean, European and American traditions can serve as sources for reinvention. Juri Seo's Concertino for Piano and Chamber Orchestra, given a dashing performance by pianist HieYon Choi, consists of short movements that include a jazz fughetta and Schumann-esque romanticism. Sun-Young Pahg's austerely formal 'L'autre moitié de Silence' for daegeum and ensemble featured Hong Yoo as soloist bending notes and bending time on the bamboo flute used in Korean folk and traditional music. In Yie-Eun Chun's spritely Violin Concerto, which was commissioned by the L.A. Phil for the festival, scale-like passages got the Paganini treatment from soloist SooBeen Lee. Dongjin Bae's 'reflective — silky and rough' for standard western flute and spacey strings, another L.A. Phil commission, had an ancient feel with its silences and breathy solos played with enthralling focus by Yubeen Kim. Chin's 'Gougalon (Scenes From a Street Theater),' which ended the program, is a riotous evocation of Hong Kong. Rather than musically reproduce street sounds and people sounds, Chin transforms them into spectacular orchestral chatter. The effect is what their joy must sound like, what their meals must sound like, what their walking and talking and laughing and crying must sound like in a language you don't understand because exhilaration isn't language. All of this is music by distinct personalities, each striving for something sonically personal. Musically mixing East and West dispenses with regulations when crossing borders and becomes an an act of individuality and often resistance. Chun's do-re-me scales become cockeyed before you grasp what's happening. Bae's silky flute, when rough underneath, evoke the feeling you might get when taking a break from Bach an instant before the world's most compelling composer overtakes your own senses. The conductor Soo-Yeoul Choi favors transparency and sensuality at the same time with expressive gestures that seem to magically mold sound. Each piece had different instrumental combinations involving both L.A. Phil and TIMF players. Everything worked. The festival continues with weekend orchestra concerts featuring different mixes of four more new Korean scores commissioned by the L.A. Phil, Chin's 2014 Clarinet Concerto and a pair of Brahms concertos. A chamber music concert with works by Schumann and Brahms played by Korean musicians is the closing event Tuesday. Meanwhile, for a better idea of what Unsuk Chin is up to, last month in Hamburg Kent Nagano conducted the premiere of her new opera, 'The Dark Side of the Moon.' It is a philosophical reflection on the relationship between quantum physicist Wolfgang Pauli and Carl Jung that profoundly reflects how ideas and traditions interact. It can be watched on YouTube.
Yahoo
3 hours ago
- Yahoo
Elvis + Baz = EPiC: Everything we know about Baz Luhrmann's upcoming Elvis Presley film
"EPiC: Elvis Presley in Concert." That's the title of director Baz Luhrmann's upcoming movie — a title both obvious and brilliant, with an acronym so inevitable it's a shock nobody thought of it before. Here's what we know so far about the project, which if nothing else offers more evidence that Elvis — who died almost 50 years ago — has never really "left the building." (You can find him and his music in movie houses right now, referenced throughout Disney's new live-action "Lilo & Stitch," which in just two weeks of release has become the second biggest box-office hit of 2025, behind "A Minecraft Movie.") We'll use Elvis song titles for this story's "chapters." In 2022, Australian director Baz Luhrmann released his sixth feature film, "Elvis," an inventive and, yes, epic biopic about the King of Rock 'n' Roll. The movie was a hip-shaking runaway hit, grossing close to $290 million at the worldwide box office and earning eight Academy Award nominations, including Best Picture and Best Actor (Austin Butler, who was propelled to stardom). Shot over the course of a year in Australia, the film's production was grueling, and had been preceded by years of research that included multiple trips by Luhrmann and his staff to the Graceland archives and other Elvis sites. Nevertheless, Luhrmann, after the release of "Elvis," almost immediately began teasing plans for an Elvis documentary, to make use of the extensive footage and audio he uncovered that had not previously been seen or heard by the public. Elvis Presley Enterprises managing partner Joel Weinshanker confirmed that Luhrmann was working on a second Elvis film during an Elvis Week panel discussion at the Graceland Soundstage in 2024. 'I probably really shouldn't say that,' Weinshanker cracked, after letting the cat — or "Hillbilly Cat," to cite one of Elvis' 1950s nicknames — out of the bag. 'Oops — sorry, Baz." Later, it was revealed that the documentary would be a project of Sony Music Vision; Bazmark, the company founded by Luhrmann and his wife, designer/producer Catherine Martin; and a new production company, Authentic Studios, an offshoot of Weinshanker's Authentic Brands Group, which licenses "likeness" rights for such celebrities as Marilyn Monroe and Muhammad Ali. ELVIS AT 90: Decade-by-decade milestones in the life — and afterlife — of the King Luhrmann announced that his new Elvis film will be titled "EPiC: Elvis Presley in Concert" on May 29 — first on his Instagram account, then onstage at the Sony Music Vision "content showcase" in Los Angeles, an event that also touted such upcoming projects as a Barbra Streisand documentary and a concert tour film about the rock band Oasis. Also on Instagram, Luhrmann shared a brief montage of Elvis-in-concert footage. "During the making of ELVIS, we went on a search for rumored unseen footage from the iconic 1970s concert films Elvis: That's The Way It Is and Elvis on Tour," he wrote, in a May 30 Instagram letter to fans. "I had researchers go into the Warners Bros. film vaults buried in underground salt mines and, to the astonishment of all, we uncovered 68 boxes of film negative, as well as unseen 8mm footage. It has taken two years to restore the footage to a quality that it has never been projected at previously, while the team had to meticulously claw back sound from the many, unconventional sources that were also unearthed. One of the great finds has been unheard recordings of Elvis talking about his life and his music." Luhrmann said the film will weave "never-before-seen footage" with "iconic performances that have never been presented in this way, from the 1970 Vegas show, on tour in 1972 and even precious moments of the 1957 'gold jacket' performance in Hawaii. Most importantly, Elvis will sing and tell you about his life in first person, through both classic and contemporary musical prisms.' So, Luhrmann is crafting the definitive Elvis-in-concert documentary, eh? Not so fast. On Instagram, the director wrote that "EPiC" is "not specifically a documentary, nor a concert film." In an interview with the entertainment website, Deadline, he added: "Our aim is to make something new in the Elvis canon." "EPiC" will "bring something to the screen that befits the magnitude of Elvis as a performer but also offers deeper revelations of his humanity and inner life," Luhrmann told Deadline. Sonically speaking, the director's reference to "classic and contemporary musical prisms" on his Instagram post suggests the film could contain radically remixed Elvis recordings and diverse covers of Elvis songs, much as the biopic "Elvis" incorporated hip-hop and other post-Elvis forms into the soundtrack, to suggest the timeless nature and continuing influence of Presley's music. Wrestling those 68 boxes of footage and all the rest of the tape into feature film form will be a formidable if fascinating challenge for Luhrmann and editor Jonathan Redmond (who was Oscar-nominated for his editing of "Elvis," and also edited Luhrmann's 2013 version of "The Great Gatsby"). It seems certain that Luhrmann — an advocate of the big-screen, big-sound experience — will insist that the movie receive a theatrical run before it becomes available for home viewing, but no release date has been announced. Our bet would be late 2026 or 2027, to tie the movie in with the hoopla that will accompany Graceland's recognition of the 50th anniversary of Presley's death on Aug. 16, 1977, at the age of 42. This article originally appeared on Memphis Commercial Appeal: New Elvis film from Baz Luhrmann will be 'EPiC': Everything we know
Yahoo
3 hours ago
- Yahoo
Madonna Teams Up With Shawn Levy and Netflix For a Limited Series Based on Her Life: Report
Madonna fans have been waiting for years to see the Queen of Pop get her very own biopic — and according to a new report, they may finally get to see one. According to a report from Deadline on Monday (May 12), Madonna has teamed up with Deadpool & Wolverine producer Shawn Levy to develop a limited series based on her life and career for Netflix. Levy's production company 21 Laps currently has an exclusive deal with Netflix. More from Billboard See Madonna, Chappell Roan, Charli xcx & Lorde Squeeze In for Epic Met Gala Selfie Twenty One Pilots Fans Jumped Into Veronica Mars Mode After Someone Took Off With One of Josh Dun's Bespoke Drums Palm Tree Festival to Debut in St. Tropez With Headliners A$AP Rocky & Swedish House Mafia Billboard reached out to representatives for Madonna and Netflix for comment. The new project is apparently not related to a much-discussed and since-delayed feature film based on Madonna's life. The project, which was being developed by Universal Pictures and set to star Ozark and Inventing Anna actress Julia Garner as the pop superstar, was put on an indefinite hold in 2023 as Madonna embarked on her Celebration World Tour. In 2024, however, Madonna sparked rumors that the film might be back in the works, when she shared a since-deleted photo of herself sitting at a typewriter working on a screenplay titled Who's That Girl — an apparent nod to her 1987 film and song of the same name. Still, Madonna herself floated the idea of creating a TV series about her life in November of last year, claiming that a number of 'producers and agents' told her that she wouldn't be able to make her film the way she wanted to. 'Downsize-down scale-think smaller-they say—I realized that everything in my life is going to be challenged,' she wrote in a since-removed post, before asking her fans if they would prefer to see her story adapted into 'a series or a feature film.' Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
