Latest news with #Mission:Impossible--TheFinalReckoning
Korea Herald
2 days ago
- Entertainment
- Korea Herald
'Hi-Five' tops weekend box office, edging out 'Mission: Impossible 8'
South Korean action comedy "Hi-Five" seized the top spot at the local weekend box office, unseating the latest "Mission: Impossible" installment, data showed Monday. According to the Korean Film Council, the comedy movie, directed by Kang Hyeong-cheol, drew approximately 380,000 moviegoers from Friday to Sunday. Premiering Friday, the movie follows five ordinary people whose lives take a dramatic turn after receiving organ transplants. "Hi-Five" ended the reign of "Mission: Impossible -- The Final Reckoning," Tom Cruise's eighth installment of the popular action franchise, which had held the No. 1 position since its local theatrical debut May 17. It has attracted a cumulative audience of 2.47 million to date. During the weekend, the film attracted about 371,000 moviegoers. Coming in third was "Big Deal," starring Lee Je-hoon and Yoo Hae-jin, which sold 131,000 tickets over the weekend. Inspired by a real-life story, the film revolves around two men entangled in a merger case during the 1997-98 Asian financial crisis. (Yonhap)
Japan Today
2 days ago
- Entertainment
- Japan Today
'The Matrix is everywhere': Cinema bets on immersion
The LA-based Cosm theater has worked to create an environment in which the viewer feels like they are inside the film By Paula RAMON In a Los Angeles theater, a trench coat-wearing Neo bends backwards to dodge bullets that spiral over the viewer's head, as the sound of gunfire erupts from everywhere. This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences. Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a "shared reality" version of "The Matrix," the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction. "We believe the future will be more immersive and more experiential," said Cosm president Jeb Terry at a recent preview screening. "It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats." Cinema audiences were already dwindling when the COVID-19 pandemic broke out, shuttering theaters at a time when streaming was exploding. With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that movie buffs cannot get in their living room. Prestige projects like Tom Cruise's "Mission: Impossible -- The Final Reckoning" or Christopher Nolan's Oscar-winning "Oppenheimer" increasingly opt for the huge screens and superior film quality of IMAX. But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film. For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specializing in immersive experiences. "We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions... through light, through production design, through 3D environments," he said. The approach, he said, felt particularly well suited to "The Matrix," which he called "a masterpiece of cinema, but done as a rectangle." For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit. A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation. There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss. "The Matrix" in shared reality kicks off with a choice of cocktails -- blue or red, of course -- which are consumed as the audience sits surrounded by high-definition screens. Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril. "They're sometimes inside the character's head," said Rinsky. "The world changes as you look up and down for trucks coming at you." The result impressed those who were at the preview screening. "It just did feel like an experience," influencer Vince Rossi told AFP. "It felt like you're at a theme park for a movie almost." © 2025 AFP
UPI
2 days ago
- Entertainment
- UPI
'Lilo & Stitch' tops North American box office with $63M
Courtney B. Vance's "Lilo & Stitch" is No. 1 at the North American box office for a second weekend. File Photo by Chris Chew/UPI | License Photo June 1 (UPI) -- Lilo & Stitch is the No. 1 movie in North America, earning an additional $63 million in receipts this weekend, announced Sunday. It raked in $145.5 million the previous weekend when it first opened. Coming in at No. 2 this Friday through Sunday is Mission: Impossible -- The Final Reckoning with $27.3 million, followed by Karate Kid: Legends at No. 3 with $21 million, Final Destination: Bloodlines at No. 4 with $10.8 million and Bring Her Back at No. 5 with $7.1 million. Rounding out the top tier are Sinners at No. 6 with $5.2 million, Thunderbolts at No. 7 with $4.8 million, Friendship at No. 8 with $2.6 million, The Last Rodeo at No. 9 with $2.1 million and j-hope Tour Hope on the Stage in Japan at No. 10 with $940,000.
France 24
2 days ago
- Entertainment
- France 24
Disney's 'Lilo & Stitch' wins N.America box office for second week
So far, its worldwide take is at a whopping $610 million, Exhibitor Relations said. Maia Kealoha (as Lilo), Hannah Waddingham, Courtney B. Vance and Zach Galifianakis star, while Chris Sanders again provides the voice of the chaos-creating blue alien Stitch. "Mission: Impossible -- The Final Reckoning" -- the latest, and ostensibly last, in the hugely successful Tom Cruise spy thriller series based on a 1960s TV show -- took second place with $27.3 million in the United States and Canada. The Paramount film has made another $231 million overseas, which should help offset its massive production budget, reportedly at $400 million. Debuting in a disappointing third place was Sony's "Karate Kid: Legends," a sequel featuring Ralph Macchio -- the star of the original 1984 classic -- and action flick icon Jackie Chan, along with Ben Wang in the title role. It made $21 million at the domestic box office and another $26 million overseas. "'Legends' is trying to invigorate the story with a new Kid -- again -- but business is not strong," said David A. Gross of Franchise Entertainment Research. In fourth place was Warner Bros. and New Line's horror film "Final Destination: Bloodlines," at $10.8 million. And another horror film, "Bring Her Back," debuted in fifth place with $7.1 million. "This is a very good opening for an original horror movie that cost only $4.5 million to make," said Gross. Rounding out the top 10 were: "Sinners" ($5.2 million) "Thunderbolts" ($4.8 million) "Friendship" ($2.6 million) "The Last Rodeo" ($2.1 million) © 2025 AFP
France 24
3 days ago
- Entertainment
- France 24
'The Matrix is everywhere': cinema bets on immersion
This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences. Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a "shared reality" version of "The Matrix," the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction. "We believe the future will be more immersive and more experiential," said Cosm president Jeb Terry at a recent preview screening. "It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats." Cinema audiences were already dwindling when the Covid-19 pandemic broke out, shuttering theaters at a time when streaming was exploding. With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that movie buffs cannot get in their living room. Prestige projects like Tom Cruise's "Mission: Impossible -- The Final Reckoning" or Christopher Nolan's Oscar-winning "Oppenheimer" increasingly opt for the huge screens and superior film quality of IMAX. But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film. For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specializing in immersive experiences. "We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions... through light, through production design, through 3D environments," he said. The approach, he said, felt particularly well suited to "The Matrix," which he called "a masterpiece of cinema, but done as a rectangle." For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit. A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation. There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss. "The Matrix" in shared reality kicks off with a choice of cocktails -- blue or red, of course -- which are consumed as the audience sits surrounded by high-definition screens. Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril. "They're sometimes inside the character's head," said Rinsky. "The world changes as you look up and down for trucks coming at you." The result impressed those who were at the preview screening.
