Billy Bob Thornton knows that his latest movie, “Jayne Mansfield’s Car,” probably faces long odds in today’s movie marketplace.
Movies
“Fast & Furious 6” is revving past “The Hangover Part III” in the No. 1 position at the Memorial Day weekend box office. Universal Pictures’ sixth installment of its muscle car franchise featuring Vin Diesel and Paul Walker debuted with $98.5 million domestically from Friday to Sunday, according to studio estimates Sunday.
The tender, sensual lesbian romance “Blue is the Warmest Color: The Life of Adele” won the hearts of the 66th Cannes Film Festival, taking its top honor, the Palme d’Or.
An autobiographical French-Cambodian film, “The Missing Picture,” which explores the bloody history of Pol Pot’s dictatorship in late 1970s Cambodia, has won the “Un Certain Regard” prize at the Cannes Film Festival.
At this point, it’s like being reunited with old friends. Old friends around whom you should never, under any circumstances, consume Jagermeister. Or marshmallows. Or pretty much any substance that could mask a powerful sedative.
They came to Las Vegas as a minor character on “The Office,” the other guy from “Alias” and that off-the-wall bearded dude who interviewed celebrities seated between house plants.
“Did Caesar live here?”
Those four words, uttered by Zach Galifianakis’ Alan upon arriving at Caesars Palace in 2009’s “The Hangover,” have helped redefine the hotel.
“Star Trek: Into Darkness” has warped its way to a $70.6 million domestic launch from Friday to Sunday, though it’s not setting any light-speed records with a debut that’s lower than the studio’s expectations.
“Star Trek Into Darkness” is like fan-boy fiction on a $185 million budget. It’s reverential, it’s faithful, it’s steeped in “Trek” mythology.
“Cloud Atlas,” starring Tom Hanks, Halle Berry and Hugh Grant leads the offerings this week in DVD releases. If that’s not to your taste, there’s “Texas Chainsaw.” Dan Brown’s “Inferno” hits the bookshelves.
Gatsby looks almost as great as a superhero at the weekend box office. Leonard DiCaprio’s “The Great Gatsby” partied like it was the Roaring ‘20s with a $51.1 million debut that made it a surprisingly strong runner-up to comic-book blockbuster “Iron Man 3.”
After some exhilarating, genre-melting moments in director Baz Luhrmann’s wildly anachronistic take on “The Great Gatsby,” things settle down and more closely resemble F. Scott Fitzgerald’s classic tale of love and loss amid the opulence of the roaring ’20s.