Watch The Hole Movie The Exception (2017)

Movies: 5. 0 Biggest Releases. With Hollywood and the film industry having lifted it’s game in the last few years, 2.

When Game of Thrones returns this Sunday, Cersei Lannister will be ruling Westeros from her ill-gotten place on the Iron Throne. But with well-armed enemies closing. Some people are fans of the Tampa Bay Bucs. But many, many more people are NOT fans of the Tampa Bay Bucs. This 2017 Deadspin NFL team preview is for those in the. Get the latest news on celebrity scandals, engagements, and divorces! Check out our breaking stories on Hollywood?s hottest stars!

Here, we’ve rounded up the 5. Aaahhh, 2. 01. 6: Disease, violence born out of our inability to tolerate difference and – as if that wasn’t enough – death upon death of revered icons of better times. In such circumstances, Leonard Cohen was always our go- to guy. But then, he shuffled off this mortal coil too – just after Donald Trump’s election win.

At last year’s lowest point, we decided to acknowledge that the best of times, worst of times thing depends heavily on what you’re looking at. At least on the film side of things, 2. Moonlight, Hidden Figures, and Fences sharing some of the limelight and doing good things for diversity in Hollywood. And, with the exception of Emojimovie: Express Yourself, 2.

So, with that in mind, here are 5. Upcoming Releases. The Dark Tower Director: Nikolaj Arcel.

Release Date: August 4. This nightmarish Stephen King adaptation throws together cowboys, post- apocalyptic mutants, demons and murderers. There are seven books in the original series, with an additional eighth, published in 2. More than 3. 0 million books in the series have been sold in 4. Danish director Arcel (whose last movie was period romance A Royal Affair) looks like a strange choice to tackle King material! If Idris Elba and Matthew Mc.

Conaughey are down, then so are we. Three Billboards Outside Ebbing, Missouri Director: Martin Mc.

Donagh. Release Date: August 4. In Bruges was a brilliant film that stands up on repeat watches (the first time around you’re too busy knowing whether or not to laugh). Seven Psychopaths wasn’t quite as groundbreaking, but was still surprisingly creative.

And that’s why we’re looking forward to Mc. Donagh’s new film, Three Billboards, which follows a grieving mother who comes face- to- face with the police in her hometown that murdered her daughter. Sam Rockwell, Woody Harrelson, Abbie Cornish, Peter Dinklage and Frances Mc. Dormand star. Detroit Director: Kathryn Bigelow. Release Date: August 4. The Hurt Locker and Zero Dark Thirty director Kathryn Bigelow takes on the the true story of the Detroit riot from July 1. United States. Lasting five days and serious enough that then president Lyndon B.

Johnson sent in federal troops to get things under control, the film comes at a pivotal time for America. Wind River Director: Taylor Sheridan. Release Date: August 4. Sheridan – who wrote Sicario – directs the story of an FBI agent who teams up with a local game tracker to investigate a killing at a Native American reservation. Avengers co- stars Elizabeth Olsen and Jeremy Renner star.

It’s a far cry from where we’re used to seeing these two but, if nothing else, it will be fun to watch them share the screen again. It. Director: Andr. Not only is King’s book one of the greatest horror novels written, but the original movie and Tim Curry’s perfectly horrifying portrayal of the titular clown is still engrained in our minds as one of our greatest fears from childhood. Add to that a lush visual update and newcomer Bill Skarsgard as Pennywise, and we’re sold. American Assassin Director: Michael Cuesta.

Release Date: September 1. With revenge deep- seeded in his heart due to his childhood upbringing and later the death of his fiancee, Dylan O’Brien’s Mitch Rapp is certainly a lost soul until he is given new direction for a specialized assignment within the CIA to top a mysterious operative who is intent on starting a world war in the Middle East. Blade Runner 2. 04.

Director: Denis Villeneuve. Release Date: October 6. In an age where studios rifle relentlessly through past films, searching pathetically for something to bring back, few sequels have caused as much excitement as Blade Runner 2. Three and a half decades after Ridley Scott’s original, Arrival director Villeneuve is presenting his take, which is set 3. Ryan Gosling as a new blade runner searching for a missing Rick Deckard (Harrison Ford).

If anyone is qualified to pull this off, then it’s Villeneuve, who also has Prisoners and Sicario under his belt. He’s a really good director and totally solid with sci- fi. He’s also supported by Scott as executive producer (phew!) and Roger Deakins as Director of Photography. Michael Fassbender is playing Harry Hole, the idiosyncratic detective, with Charlotte Gainsbourg and Rebecca Ferguson also starring. Justice League Director: Zack Snyder. Release Date: November 1.

Batman v Superman: Dawn of Justice was remarkably dull and the movie’s reception was borderline catastrophic: We’re awaiting this sequel with baited breath, just to see if Snyder can do any better. This outing will see some of the more enjoyable characters from the first flick – like Aquaman and the Flash – team up with Batfleck and Superman to defeat a different brand of evil. We really want this one to succeed, so let’s hope the stops are well and truly pulled out. Star Wars: Episode VIII Director: Rian Johnson. Release Date: December 1. With Rogue One massively winning the Christmas movies race in ways we never thought possible, signs are strong that Johnson’s latest installment in the central Skywalker saga will overshadow every other movie off the box office this year.

May the Force be with them. Logan Lucky Director: Steven Soderbergh. Release Date: October 1. This heist movie, starring Channing Tatum, follows two brothers attempting to pull off their capers during a NASCAR race in North Carolina. We’re imagining an Ocean’s Eleven- esque heist, since Soderbergh also directed that film. In addition to Tatum, other stars include Daniel Craig, Katie Holmes, Seth Mac.

Farlane, Hilary Swank, Katherine Heigl, Adam Driver, and Riley Keough. The Killing of a Sacred Deer Director: Yorgos Lanthimos. Release Date: November 3. The Lobster might not have gotten the recognition it deserved, but Colin Farrell got nominated for Best Actor in the Golden Globes’ “Motion Picture Musical or Comedy” category for his turn in the flick – and that has certainly upped Lanthimos’ profile in the States.

Hopefully that bodes well for his next, even bleaker flick, The Killing of a Sacred Deer. Inspired by a Euripides tragedy, it centers on a surgeon and a teenage boy who tries to integrate himself into the surgeon’s messed- up family. When the boy’s actions become increasingly sinister, the surgeon is forced to make a grim sacrifice. Farrell stars again, accompanied by Nicole Kidman and – amazingly – Alicia Silverstone.

Murder on the Orient Express Director: Kenneth Branagh. Release Date: November 2. The last time this Agatha Christie mystery was en vogue was 1. Sidney Lumet made the classical whodunit feat. This time Branagh directs himself as the Belgian detective Hercule Poirot, and is joined by a whole host of A- list pedigree including Penelope Cruz, Michael Pe.

That’s why we’re stoked to see him take the lead in genius auteur del Toro’s latest, an otherworldly story set against the backdrop of Cold War- era America circa 1. The rest of the film’s cast is insanely great, too – many of them Oscar nominees. And, as much as we enjoyed Pacific Rim, we’re excited to see del Toro return to smaller more personal stories of horror like this one. Mary Magdalene Director: Garth Davis. Release Date: November 2. Mary Magdalene was a follower of Christ who, in the Bible, witnesses his crucifixion and resurrection.

A film about her is now being helmed by Davis, director of Lion – which is currently getting awards- season play – and New Zealand TV show Top of the Lake. Rooney Mara plays the biblical figure, opposite Joaquin Phoenix’s Jesus.

Led by Elle Fanning and Alex Sharp, the cast also includes Nicole Kidman, Ruth Wilson and Matt Lucas. Terminal. Director: Vaughn Stein. Starring an unusual but intriguing mishmash of actors in Margot Robbie, Mike Myers, and Simon Pegg, Terminal follows two assassins with a sinister mission, a fatally ill teacher, an enigmatic janitor and a waitress with a double life.

Movie Business Scrambles to Adapt to Changing Consumer Demand. Anyone in the movie business who tells you they’re not scared stiff about the future is probably lying. This story first appeared in the March 2. Variety. Subscribe today.

See more. There’s ample reason to be fearful. It’s been 1. 28 years since Thomas Edison first helped usher in theatrical exhibition with the creation of the Kinetoscope, an early motion picture viewing device. In the ensuing century, cinema has given audiences Garbo and Rin Tin Tin, introduced “May the force be with you” into the cultural lexicon, and dazzled crowds with man- eating sharks and dinosaurs so massive and menacing they could barely be contained on even the most cavernous of screens.

Despite that history, there is mounting anxiety among theater owners, studio executives, filmmakers, and cinephiles that the lights may be starting to flicker. As consumer tastes and demands change, Hollywood is scrambling to adapt. Instead of surrendering to existential dread, studio chiefs and exhibitors are showing a greater willingness to experiment, particularly when it comes to releasing movies in the home within weeks of their theatrical debut for between $3. If that comes to pass, it would represent the biggest distribution and exhibition shakeup since the introduction of the DVD created a home- entertainment windfall in the late 1. Some industry veterans are unconvinced that the business can pull it off.

Structurally, these studios and the agencies and exhibitors that orbit them are too sprawling, too slow- moving, and too entangled in a dizzying web of antiquated business practices and associations to respond effectively to the digital era.“The major studios have not been choreographed or run to be entrepreneurial,” says Amir Malin, managing principal and co- founder of Qualia Capital, and former CEO of Artisan Entertainment. Simply put, it’s a defective system, and when a business paradigm is defective, very good people start doing things that are counterproductive.”There are two major problems gripping the industry. Younger audiences are becoming more interested in streamable content that is accessible on their i. Phones or tablets.

They’ll still turn up at the multiplexes to see the Avengers save the world or watch Han Solo slide behind the wheel of the Millennium Falcon, but despite a few massive blockbusters, the zeitgeist continues to shift from the big to the small screen.“I think the proof is right in front of us with what’s happening in cable and streaming services,” said Lorenzo di Bonaventura, producer of the Transformers films. Watch Trainwreck (2015). That’s where the chances are being taken. That’s where the action is now.”The other problem is that the financial underpinnings of the business are showing signs of strain. Nowhere is this clearer than the barriers that are springing up between Hollywood and its most reliable sources of capital.

The smart money left the business years ago, partly because of Silicon Valley’s promise of fortune, but also because investors were put off by creative studio accounting that turned hits into financial losers. Now new money — particularly that which has been pouring in from China — appears to be drying up.

Chinese authorities are putting tight restrictions on foreign investment, limiting the flow of capital into the entertainment industry. That resulted in a failed $1 billion sale of Dick Clark Productions to Dalian Wanda, and the potential collapse of another $1 billion slate- financing pact between Paramount and two Chinese players, Huahua Media and Shanghai Film Group.“They think Chinese companies are overpaying for Hollywood and they’re slowing it down,” says entertainment attorney Schuyler Moore, a partner at Stroock who has been involved in arranging slate- financing deals for the likes of Dream.

Works and Warner Bros. Moore thinks that Chinese investment may be gone for good, and that other forms of venture capital will transition away from film to emerging forms of popular entertainment such as virtual reality.

The domestic box office hit a record $1. Three months in, 2. Beauty and the Beast” and “Logan.” But that growth is being driven by higher ticket prices and inflation. Simply put, fewer people are going to the movies. Today, studios are a small piece of sprawling media and technology empires. Most of the movies are made far away from Los Angeles, in cities like Atlanta or New Orleans where tax credits are the most generous.

All of the studio executives who make greenlighting decisions have bosses higher up the corporate ladder, and the films they produce are becoming less and less integral to the bottom line. The Comcasts and Disneys of the world make more money from their cable or consumer product lines than from movie ticket sales. Perhaps it’s the mounting fear that an iceberg is approaching, but studios and exhibitors do seem closer to signing that grand bargain which would enable films to get early home entertainment releases for a higher price. As an enticement, distributors are willing to cut theaters in on a percentage of their digital sales.

Six of the seven biggest studios — a group that includes Fox, Paramount, Lionsgate, Sony, Warner Bros., and Universal — are having unilateral discussions with major theater chains like Regal and AMC. Currently, big theatrical releases are supposed to wait roughly 9. But studios argue that’s too long, and they want to shrink the window in which theaters have exclusive access to their films. With the DVD market fading fast, they need to find a way to prop up home- entertainment revenue. There is a belief, accepted as dogma in some studio boardrooms, that streaming services like Netflix have conditioned consumers to access content whenever and wherever they would like it.“It’s just such an obvious thing that has to happen,” says Jessica Reif Cohen, an entertainment and media analyst with Bank of America, adding that she thinks offering films earlier in the home may be attractive for people with young children.“It may be an impulse buy, or they don’t have a babysitter, or have other reasons for why somebody doesn’t go,” she says.

At the very least the two sides are talking. In the past, exhibitors have been hostile when studios have tinkered with release windows.

They’ve long believed that if movies are made available to rent or buy within weeks of their release, then customers might steer clear of multiplexes. Not wishing to become handmaidens to their own destruction, theater operators have warned of cannibalistic consequences, ready to man the barricades at any incursion. A plan by Universal to release 2. Tower Heist” two weeks after it premiered in theaters, for instance, was kiboshed after theater owners threatened to boycott the comedy.

Paramount waded into the issue again in 2. AMC and others to allow them to release “Paranormal Activity: The Ghost Dimension” and “Scout’s Guide to the Zombie Apocalypse” as soon as they stopped being shown on a certain number of screens. Chains like Regal refused to show the film.“A lot of the problem has to do with the unknown factor of consumer behavior,” says Eric Wold, an analyst at B.

Riley & Co. It’s going to be tough to come to something everyone agrees on.”The talks have proven to be unusually complex. Because of antitrust laws, each studio must negotiate with every exhibition chain on an independent basis, making it difficult to establish an industry- wide model.

Both sides have invested millions of dollars researching at what price and after how many weeks a film is released in the home will consumers begin abandoning the cinema for the pleasures of the couch. Among the entertainment companies, Universal and its filmed entertainment group chairman Jeff Shell and Warner Bros. Shell and Universal believe that $5. The studio would like all of the films it makes to come out on premium video- on- demand at a set time, likely in the range of between 2.