Latest news with #Mission:Impossible–TheFinalReckoning
News18
3 hours ago
- Entertainment
- News18
Tom Cruise's Mission: Impossible 8 Earns Over Rs 82 Crore By The End Of Week 2
Last Updated: The film could only earn almost half of its week 1 collection, grossing over Rs 26 crore in week 2. Tom Cruise's Mission: Impossible – The Final Reckoning was released in India on May 17, six days before it hit the theatres in the US. On Friday, May 30, the eighth and final instalment of the spy action franchise completed its two weeks in the cinemas. While the film opened strong at the Indian box office, raking in over Rs 33 crore during its opening weekend, its momentum has since slowed down. In its first week, The Final Reckoning earned around Rs 54.4 crore. But as the second week began, its collection slowed down. According to Sacnilk, the film could only earn almost half of its week 1 collection. It grossed around Rs 26.75 crore in week 2. On Day 14 alone, i.e., on its second Friday, Cruise's final appearance as the IMF agent Ethan Hunt could collect just Rs 1.75 crore (early estimates) across all languages, with an overall 16.50% English occupancy and 8.91% Hindi occupancy. By the end of week 2, the total earnings of The Final Reckoning in India have reached about Rs 82.90 crore. Directed by Christopher McQuarrie, the latest spy action thriller continues the story from Dead Reckoning Part One, which was released in 2023. Mission: Impossible – The Final Reckoning also features Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny and Angela Bassett, among others. Before the film's release in India, Cruise and his team attended the Cannes Film Festival for its premiere. At the 78th edition of the festival, the spy actioner received a five-minute-long standing ovation from the Cannes crowd. Recently, the 62-year-old actor took to his Instagram account to talk about his experience of working on the Mission: Impossible films for three decades now. He shared a series of throwback behind-the-scenes photos from each of the Mission: Impossible films. The collection featured some group pictures with his co-stars and him performing his iconic death-defying stunts. In the caption, he wrote, 'Over 30 years ago, I began the journey of producing my first film, Mission: Impossible. Since then, these eight films have taken me on the adventure of a lifetime. To the incredible directors, actors, artists, and crews across the globe that have helped bring these stories to life, I thank you. It has been a privilege to work alongside you all." View this post on Instagram A post shared by Tom Cruise (@tomcruise) Cruise further thanked his fans, saying, 'Most importantly, I want to thank the audience, for whom it is our great pleasure to create these films, and for whom we all serve. We're thrilled to share The Final Reckoning with you." First Published: May 31, 2025, 09:13 IST
Yahoo
9 hours ago
- Entertainment
- Yahoo
Friendship Review: Flat Character Study Sinks Cringe Comedy
HENDERSON, Ky. (WEHT) – Friendship is a cringe comedy from A24 that is deeply unpleasant to watch, and even though that is intentional, its flat character arc and poor character study make it even more difficult to enjoy. Written and directed by Andrew DeYoung, Friendship stars Tim Robinson, Paul Rudd, and Kate Mara. Robinson plays Craig, a suburban dad who attempts to make friends with a charismatic weatherman (Rudd), but jealousy and total social awkwardness lead to increasing desperation until the friendship essentially poisons the protagonist's life. Last week: Mission: Impossible – The Final Reckoning Review Robinson plays awkward and social ineptitude quite well, and to the degree that the humor works, it's because Robinson is not afraid to look ridiculous. Some of the loud line deliveries are funny, but most turn cringe comedy into just plain cringe. A scene in which Craig puts soap in his mouth and says he's been a 'bad boy' just feels uncomfortable, but when he's playing off repeatedly breaking a sliding glass door, it works well. Comedy is one of the more subjective art forms, so audiences' mileage will vary, but for me, most of Friendship's attempts at comedy did not work. Cringe comedy as a genre is closely related to comedies of manners, and the points of those good comedies of manners are to either lampoon or reinforce social niceties. Friendship reinforces basic social dynamics, but it's a shallow depiction, and nothing about what Craig does is particularly clever or insightful. The good comedies can work as dramas or compelling character studies. Friendship tries to be a character study, but the character is inconsistent. Craig, as we get to know him, is so abrasive and socially inept that it makes no sense that he has a wife and a seemingly successful career. Craig within the A to B of Friendship's story does not fit with the Craig who has accomplished what he has before the story begins. And Craig's arc in Friendship is rather flat. He begins the film as a put-upon doofus who seeks approval from people who will never grant it, and he essentially ends the film still seeking that approval – though, in fairness, the lengths that he goes to in order to gain that approval escalate dramatically. Friendship implies that everybody is just as insecure as Craig. Paul Rudd brilliantly plays a moment in which his character's insecurity is briefly revealed, but the film doesn't develop that theme beyond an initial reveal and brief callback. Ultimately, most audiences' enjoyment of Friendship will depend upon their patience with cringe comedy. If it generally works for you, then you might find more to enjoy about Friendship than I did. But doubtlessly, it's not a particularly deep or compelling film, and without a good dramatic arc, any thoughts about Friendship do not last long. Eyewitness News. Everywhere you are. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Pink Villa
14 hours ago
- Entertainment
- Pink Villa
Mission Impossible The Final Reckoning Day 14 India Box Office: Tom Cruise's action-espionage sequel adds Rs 1.75 crore ahead of third weekend
Mission: Impossible – The Final Reckoning continues its theatrical run in India with a steady pace. On Day 14, the Tom Cruise-led action spectacle earned Rs 1.75 crore, pushing its two-week total to Rs 79.40 crore nett. While the film has slowed down compared to its opening weekend, it is trying its best to hold its ground with consistent weekday numbers. After a respectable start that saw back-to-back Rs 15 crore days, the film stabilized into a more modest range from Day 4 onwards. Week 2 opened on another high note with a Rs 7 crore Saturday and Sunday, but the viewership dropped again. Although daily earnings have unfavorably declined over the past few days, it will hope to draw major action lovers to cinemas in its third weekend. The Final Reckoning's day-wise India box office breakdown: Day Collection (Rs net) Day 1 Rs 15.50 crore Day 2 Rs 15.75 crore Day 3 Rs 5.75 crore Day 4 Rs 5.50 crore Day 5 Rs 4.00 crore Day 6 Rs 4.00 crore Day 7 Rs 4.00 crore Day 8 Rs 7.00 crore Day 9 Rs 7.00 crore Day 10 Rs 2.50 crore Day 11 Rs 2.50 crore Day 12 Rs 2.15 crore Day 13 Rs 2.00 crore Day 14 Rs 1.75 crore Total Rs 79.40 crore Directed by Christopher McQuarrie, The Final Reckoning is the 8th and final film in the Mission: Impossible franchise. It sees Ethan Hunt and his IMF team face off against the Entity, a rogue AI threatening global chaos. The film stars Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny, and Angela Bassett alongside Cruise. With a massive budget ranging between USD 300 to 400 million, the film is among the most expensive productions in cinema history. Despite delays due to the 2023 SAG-AFTRA strike, the film made a high-profile debut with a world premiere in Tokyo and a special screening at the 78th Cannes Film Festival. Having grossed USD 227.1 million globally so far, The Final Reckoning is the eighth highest-grossing film of 2025 and holds the record for the biggest opening weekend in franchise history. Its performance in India adds a significant contribution to its international success.
Chicago Tribune
21 hours ago
- Entertainment
- Chicago Tribune
Going high or low? Film festivals ‘Summer Camp' and ‘Bleak Week' open on Sunday
Right now at the movies, Tom Cruise, a Hawaiian island dweller and a genetic lab experiment from space are simultaneously agitating and reassuring millions with tales of apocalypse-thwarting derring-do ('Mission: Impossible – The Final Reckoning') and a loving family in challenging circumstances ('Lilo & Stitch'). It's good news for theater owners, and the perpetually challenged moviegoing tradition. This is good news, too: We have a couple of eccentric film festivals opening this week in Chicago, designed to broaden our options and reexamine some movies past, launching the new month in this nervous breakdown of a year with some striking emotional/visual extremes, careening from darkness to giddy intensity in multiple genres. 'Summer Camp' is what the Siskel Film Center calls its 10-film mini-festival of 'extra-ness,' that adjective courtesy of director of programming Rebecca Fons. The series opens at 1:30 p.m., June 1 with 'Written on the Wind,' director Douglas Sirk's feverish Texas hotbed of repression and psychosexual yearning. A huge hit in 1956, coming off Sirk's previous examples of brilliantly skeptical romantic artifice, this is a melodrama that turns 'mambo' into a verb. Oscar winner Dorothy Malone, as the rabidly carnal oil heiress, not just figuratively but literally mambos her disapproving father into a fatal heart attack. It's a great scene in a dozen ripe, contradictory ways. And that, for many, exemplifies the power of camp in the right filmmakers' hands. From there, the festival struts from a Bette Davis/Joan Crawford smackdown ('Whatever Happened to Baby Jane?' from 1962, directed by Robert Aldrich) to John Waters ('Female Trouble,' 1974, with Divine, of course) to a clever variety of titles ranging from 1933's 'King Kong' and '42nd Street' to the uniquely unhinged 'Boom!' from 1968 and director Joseph Losey. 'Boom!' may star Elizabeth Taylor and Richard Burton, but the real star, in my view, is the Tiziani label of Rome, whose wardrobe for Taylor is the stuff of waking nightmares. The range of work on screen in 'Summer Camp,' Fons hopes, supports the notion that camp has no fixed definition, only an appetite for life. She says she revisited Susan Sontag's 1964 essay 'Notes on Camp,' which she first devoured in college, for curation tips and as a historical sounding board for her own ideas about cinematic extra-ness. 'I'm always thinking about how movie audiences interact with what's in front of them,' she says. 'For me, camp means a celebration of self, of the extravagance of self. It can be expressed through fashion or just the outward expression of pure emotion, with no shame.' Though it predates the Victorian era by centuries, 'camp' as we now know it, though its definition remains an argument every time, has its roots in the queer Victorian usage of the word. (There's a really good feature on this posted on the United Kingdom National Archive website.) In her essay, Sontag consciously downplayed camp's political and queer aspects, and its sly revolt against the establishment. Its gradual mainstreaming meant something; it was serious business, in the spirit of outré flamboyance. She defined camp as 'playful, anti-serious,' expressing a fundamentally comic or ironic worldview and 'artifice as an ideal.' Also starting June 1, 'Bleak Week' at the Music Box Theatre takes things down a notch, while somehow taking it up, too. The festival moniker comes from the American Cinematheque in Hollywood, which has presented 'Bleak Week' in a big, bittersweet way for four years running. This year, several other art-house and repertory film organizations around the country are getting in on the downbeat, among them the Paris Theater in New York City and the Music Box in Chicago. The 12-film series took a couple of titles from the American Cinematheque's past calendars, while programming the rest with the Cinematheque's blessing. The result is a vivid, surprisingly varied range of bummers, both domestic and foreign, many of them exquisite in their stoic but not heartless dramatizations of a world out to get you, somehow, with forces of doom snaking through the narratives. Some are Hollywood studio classics of the 1970s, such as director Roman Polanski's 'Chinatown' (1974) or, lesser-known but extraordinarily affecting, Jerry Schatzberg's plaintive road movie 'Scarecrow' (1973), pairing Gene Hackman with Al Pacino in a simple story of drifters with an idea to open a car wash. Simple idea, complex and remarkable performance detail: The film was shot in sequence, allowing Hackman and Pacino, actors and recently anointed stars, the time and rhythm to accommodate, however warily, each other's working methods. It wasn't a hit, but 'Scarecrow' knew the score. The late Hackman frequently cited it as his most gratifying film experience. Despair can be really funny, too, and the Coen brothers' 'A Serious Man' (2009) piles misfortune atop misfortune for a University of Minnesota mathematics professor (Michael Stuhlbarg), cuckolding him (Fred Melamed's Sy Abelman is the most soothing bastard in modern American cinema) and eventually forcing him into a stern ethical dilemma around grading time, among other catastrophes. It's the Coens' best film, and yes, I'm not forgetting 'No Country for Old Men,' the one everybody admires more because serial killer movies are easier than mordant comedies of unease. 'Bleak Week' spans the globe, with the infamously grotty late-night dare 'In a Glass Cage' (1986) from Spain's Agusti Villaronga and, from Japan, Akihiro Suzuki's newly restored 1999 sexual odyssey 'Looking for an Angel.' Greece's Yorgos Lanthimos and his black-comic penchant for totalitarian nightmares are represented by 'Dogtooth' (2009). The rest of the offerings fill out the slate's idea of what bleak means to this director, and that one, and why despair comes in more than one shade of grey. The Music Box has big expansion plans, recently announced, thanks to a $1.2 million community development grant from the City of Chicago. The Southport Avenue landmark is adding a 100-seat theater to complement its existing 700-seat auditorium and the 60-seater built a few years ago, located across from the concession counter. The third theater will replace two storefront units immediately south of the Music Box main entrance. Managing director Ryan Oestreich says it'll be a $2.6 million project overall, as the theater renovates its restrooms to double the capacity. Target completion date is summer 2026. 'We're future-proofing ourselves,' he says, 'because our audience is growing. The new screen will allow us to better juggle the two sides of our programming, the repertory side and the new releases.' 'Bleak Week,' he says, is 'an experiment. But if you play the same hand over and over again, does that help the cinema experience in Chicago? It does not.'
Perth Now
a day ago
- Entertainment
- Perth Now
Mission: Impossible has been the adventure of a lifetime, says Tom Cruise
Tom Cruise's 'Mission: Impossible' experience has been "the adventure of a lifetime". The 62-year-old actor has played fictional agent Ethan Hunt in eight 'Mission: Impossible' films since 1996, and Tom has now taken to social media to reflect on his experience with the money-spinning movie franchise. The Hollywood star - who has been busily promoting 'Mission: Impossible – The Final Reckoning' in recent weeks - wrote on Instagram: "Over 30 years ago, I began the journey of producing my first film, Mission: Impossible. Since then, these eight films have taken me on the adventure of a lifetime." Tom's social media post features an array of throwback, behind-the-scenes photos from each of the 'Mission: Impossible' films. And Tom has thanked all of his 'Mission: Impossible' colleagues - including directors, actors, artists, and crews - who have played a role in the success of the film franchise. He wrote on the photo-sharing platform: "To the incredible directors, actors, artists, and crews across the globe that have helped bring these stories to life, I thank you. It has been a privilege to work alongside you all." Tom also expressed his thanks to fans of the 'Mission: Impossible' franchise. The movie star continued: "Most importantly, I want to thank the audience, for whom it is our great pleasure to create these films, and for whom we all serve. We're thrilled to share The Final Reckoning with you." Meanwhile, Tom previously confessed to going "too far" with his action stunts. The 'Mission: Impossible – The Final Reckoning' star admitted to taking things to the extreme for his action scenes. Speaking to 'Extra', Tom confessed: "I always go too far, but I don't mind it. I always go too far." Tom is always willing to put his body on the line in order to make the best 'Mission: Impossible' movie The actor - who has suffered various injuries during his career, including a broken ankle while shooting 2018's 'Mission: Impossible - Fallout' - explained: "I fly aerobatic airplanes, I fly jets, I fly helicopters, and this took all of our ability and all of our skill to be able find the camera angles to tell this story." Tom has needed to be in tip-top physical shape to shoot all of the 'Mission: Impossible' movies. And the veteran film star suggested that the latest movie will surpass fan expectations. Tom - who remains one of the most bankable stars in Hollywood - said: "Physically, what I had to do to prepare for this thing was quite extreme, and I can tell you this - whatever people see in the trailer or on TV, it is not even a taste of what they have in store for them when they see this film."
