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7 hours ago
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Final Destination: Bloodlines Slaughters The Box Office Competition, While Hurry Up Tomorrow Shows No Sense Of Urgency
When you buy through links on our articles, Future and its syndication partners may earn a commission. We've seen some truly wild Final Destination death scenes over the years, as the reaper comes to call on those who manage to (at least temporarily) evade tragedy. It also turns out that after 14 years without a fix, moviegoers were hungry for more. Final Destination: Bloodlines exceeded expectations with a franchise-high $51 million opening weekend domestically amid the 2025 movie calendar — a performance that was matched in international markets. It was a good weekend overall for Warner Bros., with Sinners and A Minecraft Movie still going strong, but the same can't be said for The Weeknd's Hurry Up Tomorrow, which underperformed to take sixth place. Take a look at the full Top 10 chart, as reported by The Numbers, and then we'll break it all down below. TITLE WEEKEND GROSS DOMESTIC GROSS LW THTRS 1. Final Destination: Bloodlines* $51,000,000 $51,000,000 N/A 3,523 2. Thunderbolts* $16,536,000 $155,427,643 1 3,960 3. Sinners $15,425,000 $240,796,000 2 3,518 4. A Minecraft Movie $5,870,000 $416,640,000 3 3,357 5. The Accountant 2 $4,959,111 $59,072,457 4 3,402 6. Hurry Up Tomorrow* $3,300,000 $3,300,000 N/A 2,020 7. Friendship $1,400,280 $2,043,436 13 60 8. Clown in a Cornfield $1,333,000 $6,329,779 5 2,277 9. Until Dawn $800,000 $19,623,031 8 1,706 10. The Amateur $712,000 $40,149,087 9 850 Death may come for us all, but there's plenty of life still left in the Final Destination franchise a quarter-century after Devon Sawa and his buds first disembarked their plane ahead of its fiery crash. Final Destination: Bloodlines opened to $51 million in domestic ticket sales and, strangely, $51 million internationally as well to earn a total of $102 million around the globe in its first three days in theaters. Given the fact that this film was made for just $50 million (before marketing costs), per Variety, and projected to earn about $40 million in its first three days, I'd say this is a big win for directors Zach Lipovsky and Adam Stein. Bloodlines' franchise-high opening easily beats the series' previous most successful chapter — the fourth movie, titled just The Final Destination — which opened in 2009 to $27.4 million in the U.S. and Canada before going on to earn a total of $66.5 million domestically and $187.4 million worldwide by the end of its theatrical run. With its $51 million, the 2025 horror movie has already beaten the entire North American run of its predecessor, 2011's Final Destination 5, which brought in $18 million on opening weekend and $42.6 million domestically overall ($155 million worldwide). Horror Fans Show Up For One Of Tony Todd's Final Roles There were reasons to believe Final Destination: Bloodlines would see some success. In addition to being the only movie in the franchise to be Certified Fresh on Rotten Tomatoes, our own Eric Eisenberg wrote in CinemaBlend's review of Bloodlines that this is the movie he's been waiting to see for 14 years. It's also likely that horror movie fans turned up to see one of Tony Todd's final roles. The actor — who often had foreboding warnings about death for the eventual victims as he portrayed the mysterious William Bludworth in several Final Destination movies — died in November 2024 at the age of 69. He is likely best known for his titular role in Candyman, one of the greatest horror movies of all time. It will be intriguing to see how Final Destination: Bloodlines continues to perform at the box office, with some big titles on the way. The competition will be strong, but horror fans have been feasting this year, and this latest offering is getting some great word-of-mouth advertising from stunts like its 4DX 'Death Chair' experience and how it set a morbidly impressive Guinness World Record during filming. Despite hopes of bringing in between $5 million and $7 million Friday through Sunday, Hurry Up Tomorrow earned just $3.3 million for an opening outside of the week's Top 5. The film is a companion piece to The Weeknd's new album of the same name and stars the four-time Grammy winner as a fictionalized version of himself on the verge of a breakdown. It's at that point that he gets pulled into an existential odyssey by a mysterious fan (Jenna Ortega in a seriously twisted performance). It looks like more bad news for the Wednesday star, whose March release, Death of a Unicorn, also failed to connect with audiences. Critics on Rotten Tomatoes panned Hurry Up Tomorrow to the tune of 13%; however, fans seemed to be much more in tune with The Weeknd's work, as the Popcornmeter had a rating of 70%. Meanwhile, Thunderbolts* and Sinners held strong in the second and third positions of this week's earnings, finishing approximately $1 million away from each other, according to estimates. Michael B. Jordan's vampire flick even crossed a big milestone this week, surpassing $300 million worldwide for a grand total so far of $308.7 million, where it remains at the sixth-most successful movie of the year globally, right behind Thunderbolts*. Domestically, Sinners sits in second place behind A Minecraft Movie as the top 2025 domestic offerings. They may not want to get too comfortable there, though. Next weekend sees both Mission: Impossible - The Final Reckoning and the Lilo & Stitch live-action remake hitting theaters. Will this mean the beginning of the end for Jack Black's video game-based movie? Possibly, though I can see multiple upcoming family friendly movies having simultaneous success, especially in the summer months with kids out of school. We'll have to see. Next week will also see Tim Robinson and Paul Rudd's Friendship getting its wide release. The new A24 flick managed to make an appearance on this week's chart despite being shown in just 60 theaters. As a fan of I Think You Should Leave, Detroiters and all things Paul Rudd, I'm excited to see how people respond to the gonzo levels of discomfort this movie surely brings. We'll be back next week to break down everything that happens, so be sure to check back to CinemaBlend.
CTV News
a day ago
- Business
- CTV News
Mod Club relaunching with help from Live Nation, Daniel Caesar
Daniel Caesar holds up his Juno award for R and B Soul Recording of the Year at the Juno Awards in Vancouver, Sunday, March, 25, 2018. THE CANADIAN PRESS/Darryl Dyck TORONTO — Daniel Caesar has been enlisted to help bring back the Mod Club. Live Nation says the singer will help celebrate a rebrand of the popular Toronto music venue, which closed amid pandemic restrictions in 2020 and returned the next year as The Axis Club. The Mod Club Theatre launched in 2002, co-founded by '80s pop star Mark Holmes of the band Platinum Blonde to celebrate '60s-era UK rock and funk. It built a devoted following with dance parties and live acts, hosting early performances by artists including Amy Winehouse and The Weeknd, who made his live debut there in 2011. Caesar took the same stage for his own concert debut in 2016. Live Nation says Caesar will hit the stage June 14 for a show billed as 'an intimate, acoustic performance.' 'I'm really glad to be coming back to The Mod Club to play after all these years,' Caesar said Wednesday in a release. 'That place will always have a special place in my heart.' This report by The Canadian Press was first published May 28, 2025. Cassandra Szklarski, The Canadian Press
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2 days ago
- Entertainment
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Janet Jackson, SZA, And More Highlights From 2025 American Music Awards
The 2025 American Music Awards, the 'largest fan-voted award show,' celebrated the most 'iconic' artists on Monday (May 26) live from the Fontainebleau Las Vegas. Hosted by Jennifer Lopez, the show included performances from Gloria Estefan, Renée Rapp, Becky G, and Janet Jackson. Winners were announced by Shaboozey, Jordan Chiles, Kai Cenat, Tiffany Haddish, Wayne Brady, and more. Jackson took home the coveted Icon Award and performed a medley of 'Someone To Call My Lover' and 'All For You.' Her dynamic set marked the singer's first live television performance in years. During her acceptance speech, she expressed how 'honored and grateful' she is especially since she doesn't consider herself to be an icon. 'My family, myself— our dream wasn't ever to be famous. We weren't raised like that. We always had a special love for music, dancing, and singing and fame came with the result of hard work and dedication,' Jackson continued. 'My story, my family's story is truly an American's story. This would have only happened in America. The one thing that I hope for is that I've been an inspiration to others and artists to follow their dreams and succeed.' SZA snagged wins for Favorite Female R&B Artist and Favorite R&B Song. She shouted out Kai Cenat's Streamer University and praised her fans for their unwavering support. See the full list of 2025 American Music Awards winners below. ARTIST OF THE YEAR Billie Eilish NEW ARTIST OF THE YEAR Gracie Abrams ALBUM OF THE YEAR Billie Eilish – HIT ME HARD AND SOFT SONG OF THE YEAR Billie Eilish – 'Birds of a Feather' COLLABORATION OF THE YEAR Lady Gaga & Bruno Mars – 'Die With a Smile' SOCIAL SONG OF THE YEAR Doechii – 'Anxiety' FAVORITE TOURING ARTIST Billie Eilish FAVORITE MUSIC VIDEO Lady Gaga & Bruno Mars – 'Die With a Smile' FAVORITE MALE POP ARTIST Bruno Mars FAVORITE FEMALE POP ARTIST Billie Eilish FAVORITE POP ALBUM Billie Eilish – HIT ME HARD AND SOFT FAVORITE POP SONG Billie Eilish – 'Birds of a Feather' FAVORITE MALE COUNTRY ARTIST Post Malone FAVORITE FEMALE COUNTRY ARTIST Beyoncé FAVORITE COUNTRY DUO or GROUP Dan + Shay FAVORITE COUNTRY ALBUM Beyoncé – COWBOY CARTER FAVORITE COUNTRY SONG Post Malone featuring Morgan Wallen – 'I Had Some Help' FAVORITE MALE HIP-HOP ARTIST Eminem FAVORITE FEMALE HIP-HOP ARTIST Megan Thee Stallion FAVORITE HIP-HOP ALBUM Eminem – The Death Of Slim Shady (Coup De Grâce) FAVORITE HIP-HOP SONG Kendrick Lamar – 'Not Like Us' FAVORITE MALE R&B ARTIST The Weeknd FAVORITE FEMALE R&B ARTIST SZA FAVORITE R&B ALBUM The Weeknd – Hurry Up Tomorrow FAVORITE R&B SONG SZA – 'Saturn' FAVORITE MALE LATIN ARTIST Bad Bunny FAVORITE FEMALE LATIN ARTIST Becky G FAVORITE LATIN DUO or GROUP Julión Álvarez y su Norteño Banda FAVORITE LATIN ALBUM Bad Bunny – DeBÍ TiRAR MáS FOToS FAVORITE LATIN SONG Shakira – 'Soltera' FAVORITE ROCK ARTIST Twenty One Pilots FAVORITE ROCK ALBUM Twenty One Pilots – Clancy FAVORITE ROCK SONG Linkin Park – 'The Emptiness Machine' FAVORITE DANCE/ELECTRONIC ARTIST Lady Gaga FAVORITE SOUNDTRACK Arcane League of Legends: Season 2 FAVORITE AFROBEATS ARTIST Tyla FAVORITE K-POP ARTIST RM More from Jennifer Lopez Announces Upcoming Las Vegas Residency While Hosting 2025 AMAs Eminem Beats Out Kendrick Lamar For Hip-Hop Awards At 2025 AMAs, Social Media Reacts Kai Cenat Seemingly Hints At Amazon, Netflix Bids To Buy Streamer University
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2 days ago
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‘Hurry Up Tomorrow' Review: The Weeknd's Emotionally Threadbare Vanity Project Is All Skips, No Repeats
A man of many faces, from the digital mask of anonymity on his mixtape breakout 'House of Balloons' to the plastic surgery prosthetics circa 'After Hours,' Abel Tesfaye has announced he'll soon retire the one that made him famous, with his latest album 'Hurry Up Tomorrow' his last under The Weeknd moniker. The lyrics situate him at a clear turning point, professionally and personally; the title track, with the usual synths traded for singer/songwriter piano and the plainly stated confession that 'I want to change, I want the pain,' signals a transformation for an artist who's struggled against himself from the jump. The Weeknd discography plays like one big party with noxious vibes, thrown by a hedonist less interested in a good time than numbing the torment of an existence comprising coke-and-sizzurp binges, emotionless supermodel threeways, and morning-afters of bleak reflection. Tesfaye is now 35, an age at which a lot of people decide it's high time to get their shit together, and 'Hurry Up Tomorrow' (the song, that is) makes a resolution for lasting, meaningful growth through penance and redemption. To presume that this heralds a newfound maturity for the man who not so long ago pulled a 'triggered much??' on Rolling Stone would be a mistake, however. More from IndieWire Ari Aster's 'Eddington' Sharply Divides Cannes: Star Pedro Pascal Defends a Western About 'Our Worst Fears' Amid Lockdown 'Nouvelle Vague' Teaser: Richard Linklater Brings the French New Wave Back to Life The non-album plank of this grander creative project, a feature film also titled 'Hurry Up Tomorrow,' reiterates this career narrative by mapping it onto autofiction at greater length and with bludgeoning obviousness. A viewer may find themselves appreciating how the non-visual element of music allows figurative language to retain some wisp of mystery, whereas onscreen it's made to wear its significance in blatant, artless ways. A tortured genius wrestling with their demons, breaking themselves down to nothing, and building themselves back up in a nobler image — these are fine building blocks for drama. 'Hurry Up Tomorrow' (again, the song) works well enough along these lines. But when we're made to watch Tesfaye sing it in its entirety in an unbroken close-up while crying at the beauty of his own music, the introspection turns to simple self-involvement. It would appear he's trading drugs and alcohol for a form of indulgence less materially harmful to himself, but more so to us. Tesfaye has found a felicitous collaborator in director Trey Edward Shults, 'Hurry Up Tomorrow' (the movie, from here on out) being largely a composite of their past work: the furtive ingesting and narcotized intensity of Shults' debut 'Krisha,' the rage-to-contrition arc and whirling cinematography of his polarizing 'Waves,' the volatile maestro/muse dynamic of Tesfaye's even-more-polarizing HBO series 'The Idol.' The threadbare plot is set in motion when Tesfaye's screen-self (henceforth referred to as Abel) loses his voice while touring, a real-life incident forced here into heavy-handed metaphor as an existential ailment symptomatic of his deeper issues with himself and women. (Tellingly, Riley Keough plays both his absent mother and the ex-girlfriend he keeps screaming at on the phone.) Just as his deteriorating health and pressure from his pal-turned-manager (Barry Keoghan) push him to the verge of collapse, he finds hope of salvation in the same place as many misogynists, with a woman who has not yet started to annoy him. Brief eye contact and about a dozen words are all Abel and the enigmatic Anima (Jenna Ortega) need to establish a connection closer than garden-variety groupie-ism. Until, of course, the morning after, when she starts up with her talk about joining him on tour and inserting herself into his life. The ensuing conflict between them takes an abrupt turn into a hotel-room two-hander as Anima fastens Abel to a bed and coerces him into confronting his feelings by playing his own music to him and dispensing shallow insights about how his songs' upbeat melodies belie their cry-for-help content. While her wiggly dancing and superficial pop-crit commentary nod to 'American Psycho,' this final stretch reckoning with Abel's toxicity and death drives could be compared unfavorably to anything from early Almodóvar to 'Phantom Thread,' dulling the provocative edges on a long and august tradition of psychosexual pas de deux. Neither its methods nor conclusions feel subversive; the conceptual thinness of the specter-like Anima and the role she plays in Abel's evolution both amend his admission of guilt with the concession that women are indeed exacting, unreliable, and/or psychotic. If all this — or the brief dream sequence visited by an Inuit child, or the drug-fueled freakout in front of a projection of Lotte Reiniger's proto-animation landmark 'The Adventures of Prince Achmed' — piques curiosity on paper, that's only because reading a review of a film doesn't occupy nearly as much time as watching it. The minutes drag, and not just when Shults holds on interminable long takes giving actors in need of guardrails far too much room to fail. Tesfaye and Ortega model two opposing modes of imitative, hollow performance, like a bad actor's varying notions of good acting. A devout student of the European classics (she took this role in part for a 'Possession' homage sequence all but excised in the final cut), Ortega knows that great thespians are stoic and inexpressive, but doesn't understand how or why. Constantly pumping himself up with shadowboxing and yelling at women, Tesfaye is doing De Niro in 'Raging Bull,' just without the Method behind his mannerisms. Meanwhile, the avant-garde-101 padding makes lemons from the flights of expressionistic fancy in 'Lemonade,' while the musical sequences clarify that this is no mere album accessory by being repetitive, unimaginative, and scant. The thing about vanity projects this narcissistic is at the very least, even in calamity, they're supposed to be interesting. Tesfaye has the makings of a fascinating yet flawed figure, equal parts egotistical and insecure, self-aggrandizing and self-effacing, at once a mad king and wounded child. Since the days of sampling Cocteau Twins, Siouxsie and the Banshees, and Beach House, he's been forthcoming about his eclectic, well-curated tastes. But for a personal statement uncompromised by commercial purpose, it's bland and indistinct, and for a howl from the depths of a soul in agony, there's very little at risk in its vague baring of sin or broad overtures to rebirth. One yearns for idiosyncrasy, a stroke of the unknowable, some transmission from a plane of inspiration inaccessible to ordinary mortals. If the unbearable weight of massive talent is really so crazy-making, that unwieldy creativity should be set free, however messy. Or, if I can just say what I mean: making audiences feel nostalgic about Kanye West? In this cultural economy? Lionsgate will release 'Hurry Up Tomorrow' in theaters on Friday, May 16. Want to stay up to date on IndieWire's film and critical thoughts? to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
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2 days ago
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Aronofsky and Soderbergh Collaborator Eddie Alcazar Debuts Surreal Animated Pilot Inspired by '90s Golden Age of Cartoons — Watch the Trailer
Eddie Alcazar is the under-the-radar, up-and-coming visionary filmmaker who's collaborated with everyone from Steven Soderbergh to Darren Aronofsky and The Weeknd. Soderbergh executive-produced Alcazar's 2018 sci-fi debut 'Perfect' before teaming up with the filmmaker again for his 2023 black-and-white Sundance premiere 'Divinity,' which IndieWire deemed one of that year's 'best-looking movies.' Aronofsky, meanwhile, executive-produced Alcazar's short film 'The Vandal,' released by New Yorker Studios in 2021. And filmmaker Alcazar, who also works as a writer and game developer, also wrote and directed The Weeknd's stop-motion music video 'Red Terror' earlier this year. More from IndieWire 'Emmanuelle' Trailer: Noémie Merlant Is Intoxicated by Will Sharpe in Audrey Diwan's Erotic Novel Adaptation Jenna Ortega Says Her 'Wednesday' Character Would 'Hate' the Commercialization of the Series But Alcazar's next project is 'Bullet Time,' a hand-drawn TV pilot, fours years in the making, that he created and directed that tributes the Golden Age of '90s animation (think 'The Ren & Stimpy Show,' which immediately comes to mind when you see the surreal trailer below). Alcazar hopes the DIY, tactile approach to the storytelling will be an antidote to AI-driven times. Danny Elfman also composed the music. IndieWire debuts a first look at the project before it heads to the Fantasia genre film festival this summer. Watch below. Here's a synopsis: 'In a surreal world fueled by retro gaming nostalgia and Saturday morning cartoon mayhem, Bullet Time follows Bullet — an emotionally unstable bull terrier — as he battles his way through a bizarre digital gaming universe. Fueled by frenetic action, heart, and absurd humor, 'Bullet Time' delivers a visually explosive ride that blends '90s cartoon weirdness with cutting-edge animation and a pulse-pounding original score.' Alcazar produces the project with Javier Lovato. Bob Jaques ('Ren and Stimpy,' 'SpongeBob SquarePants') serves as animation director, while voice actors include Eric Bauza, Luis Bordonada, David Firth, and Uly. 'Happy to finally share a project that holds a lot of meaning to me,' Alcazar said in a statement. 'Four years ago, this film was started, and at the same time, I lost my dog Bullet, who I still think about everyday. His memory kept me going as I made this animation. This experience instilled a stronger appreciation to all the talent and detail that goes into the cartoons we all grew to love.' He added, 'The '90s seemed like a golden era of cartoon inspiration, innovation, and love, and I wanted to go back to that feeling. The team behind this project are a mix of experienced talent from classics like 'Ren & Stimpy,' 'Pee Wee's Playhouse' and 'Big Adventure,' and 'Gumby' to name a few. Plus, a combination of fresh new artists who were also inspired by the houses they built. Finishing this all completely hand drawn animation TV pilot as we turn towards the AI age feels a bit bitter sweet. Times do change but I hope the appreciation of hard work and passion doesn't and that we will always find value in creation from skills and experience. Without it we are lost. … Without it things will lose all meaning.' The full Fantasia Festival lineup will be announced soon, with the event running July 18 to August 4. But we can confirm 'Bullet Time' will be featured. Watch the trailer below. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
