Box Office: ‘Saw X’ Makes $2 Million in Previews, ‘The Creator’ Follows With $1.6 Million

Merrily We Roll Along, the Sondheim revival starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, cemented its place among Broadway’s top earners during its opening week, grossing $1,706,962, filling all seats at the Hudson and securing the highest average ticket price with $220.88.

Rebecca Rubin Film and Media Reporter Taylor Swift‘s “The Eras Tour” concert film officially opened to $92.8 million in North America and $30.7 million internationally, bringing its first weekend tally to a massive $123.5 million globally. These ticket sales are slightly below Sunday’s estimates of $95 million to $97 million domestically and $126 million to $130 million worldwide, but wildly impressive nonetheless. At the domestic box office, it’s the second-biggest October debut of all time, trailing only 2019’s “Joker” with $96 million.

J. Kim Murphy “Taylor Swift: The Eras Tour” is doing all too well in theaters. The concert film made a cool sum of $39 million on its opening day from 3,855 North American locations, a figure that includes $2.8 million in Thursday previews.

Taylor Swift seems set to do for the UK cinema industry what she has pulled off for the live entertainment industry, ie provide a much-needed cash injection.

Taylor Swift’s upcoming new ‘Eras’ tour film has broken more box office records this week.The upcoming film will play at ODEON and Vue cinemas across the UK and Europe starting October 13, the same day it is released in US cinemas via AMC. The concert film is expected to be available in more than 100 countries worldwide.Directed by Sam Wrench, the upcoming film is described as a “breathtaking, cinematic view” of Swift’s latest tour, which runs through her biggest hits and rarities across all ten of her studio albums.It’s now been revealed that the film has has already surpassed $100m (£82m) globally in advance ticket sales, with more than a week to go before it hits cinema screens across the world.According to the film’s official distributor, AMC Theatres, this total reflects all showtimes, locations and circuits that will be showing the movie, not just AMC (via The Independent).

Jordan Moreau In the horror genre, nothing really ever stays dead. Universal and Blumhouse’s sequel, “The Exorcist: Believer,” is launching at the box office this weekend, and it’s made $2.85 million in Thursday previews so far. The R-rated movie is expected to make between $30 million and $36 million in its opening, which will mark the best launch of the horror franchise ever.

EXCLUSIVE: Universal Pictures is gearing up to tell a definitive cinematic biopic about the life of Martin Luther King Jr. The studio has optioned the rights to adapt Jonathan Eig’s critically acclaimed biography King: A Life. Chris Rock is in final talks to direct and produce, and Steven Spielberg will be executive producer.

Jazz Tangcay Artisans Editor Gareth Edwards’ “The Creator” was a resourceful sci-fi endeavor with an $80 million production budget, but its visuals are on par with epic blockbusters that cost three times that amount. Rather than shoot on a studio backlot, the filmmaker behind “Godzilla” and “Rogue One: A Star Wars Story” opted to shoot in eight different countries, including Nepal, Thailand, Vietnam, Cambodia, Indonesia and Japan. For an all-out climatic action sequence set in Thailand, a village comes under attack by the U.S.

Angelique Jackson SPOILER ALERT: This interview contains spoilers from “The Blackening,” now streaming on Starz and available on VOD. Tracy Oliver is best-known as the co-writer of “Girls Trip” and the creator of “Harlem” and “First Wives Club,” but she’s also quite proficient with numbers. And in terms of the success of her latest film, “The Blackening,” the numbers tell an important tale.

Broadway‘s starry Merrily We Roll Along revival had another strong run of previews last week, grossing a hefty $1,471,644 and setting another house record at the Hudson Theatre.

With a budget of $80 million—a pittance compared to the budgets of most modern blockbusters— Gareth Edwards has made his long-awaited return to science-fiction on the big screen with “The Creator,” a provocative sci-fi adventure set roughly 50 years in the future, where Western society is devastated by and at war with artificial intelligence (read our review). Whereas the East, having not undergone a similar tragedy, has embraced and fostered the technology.

Michaela Zee “Rogue One: A Star Wars Story” director Gareth Edwards is once again addressing the multiple reports about the 2016 film requiring extensive reshoots overseen by Tony Gilroy (the eventual “Andor” creator was hired by Lucasfilm to join the “Rogue One” team in June 2016). On a recent episode of KCRW’s “The Business” podcast, Edwards claimed “there is so much inaccuracy” surrounding the making of the “Star Wars” prequel.

Refresh for latest…: Here we are with a sort of hybrid weekend at the international box office: there were fresh entries from the Hollywood studios, as well as major new titles timed to holiday play in local markets, and a holdover that’s continuing to rack up records.

Rebecca Rubin Film and Media Reporter Paramount’s animated sequel “PAW Patrol: The Mighty Movie” topped the box office in its debut, earning a solid $23 million from 3,989 North American locations over the weekend. Those ticket sales were more than enough to rule over the three other new nationwide releases, which could be categorized as the good (Lionsgate’s gruesome “Saw X“), the meh (Disney and New Regency’s sci-fi thriller “The Creator“) and the ugly (Sony’s Game Stop stock-inspired “Dumb Money“). “Saw X” took second place with $18 million, an impressive start for the 10th entry in the long-running horror series.

Rogue One director Gareth Edwards‘ new movie The Creator is now in theaters and it’s an epic sci-fi action thriller that will definitely have audiences excited!

So, filmmaker Gareth Edwards is doing the interview round for his latest sci-fi extravaganza, “The Creator,” starring John David Washington. It’s a movie heavily indebted to “Blade Runner,” “Apocalypse Now,” and even “Star Wars” (read our review here).

A familiar mélange and pastiche of sci-fi-tropes you’ve seen and felt before, filmmaker Gareth Edwards’ science-fiction drama, “The Creator,” is recognizable but, nonetheless, largely compelling— skillfully understanding the crucial balance of blockbuster scale and grounding character intimacy. Its intriguing examination of what constitutes a sentient being—coupled with its aesthetic mix of lo-fi, gritty, and grimy tech blended with sleeker, cleaner, and austerely traditional visual references to the future— makes for an engaging experience clearly designed for the big screen.

Peter Debruge Chief Film Critic The creator of “The Creator,” Gareth Edwards, started his filmmaking career teaching himself VFX at home. He’s an innovator on that front, devising ways to generate creepy CG monsters for “Monsters” more than a dozen years ago, then overseeing deceptively massive blockbusters, like “Godzilla,” ever since (deceptive because much of that stunning scale comes from virtual detail added in post).

Director, Producer, and Co-Writer (with Chris Weitz) Gareth Edwards (Monsters, Godzilla, Rogue One: A Star Wars Story) has been working on his idea for an original science fiction tale involving human interaction with advanced AI childfor many years. Now that The Creator is finally reaching the screen I would say it is more like science fact, or at least a plausible facsimile. With recent warnings from Silcon Valley leaders about imminent dangers with the alarming speed of AI progress, and all the talk (especially with the guild strikes) about the threat of AI technology invading and possibly even shifting out of our control in frightening ways, Edwards has cooked up a hell of a story in which AI just might be the good guys – or robots as it were – in a world where humans could be losing the upper hand.

Naman Ramachandran Disney’s Agatha Christie adaptation “A Haunting in Venice” stayed atop the U.K. and Ireland box office for the second successive weekend with £1.4 million ($1.8 million), per numbers from Comscore. The film, directed by Kenneth Branagh, where he plays detective Hercule Poirot, now has a total of £4.9 million after two weekends in release.