Is wrath of man on HBO Max?
HBO Max is streaming big-screen flicks like Mortal Kombat the same time they're in theaters this year. HBO Max no longer has a weeklong free trial. ... But don't get confused -- Max is only streaming new Warner Bros. movies, not any others from different studios. Wrath of Man, for example, isn't available on Max.) CNETHBO Max: Movie premieres, shows, watching 'free' and everything else to know
Saturday AM Update: By the calendar’s measure of recent box office years, it is the first weekend of summer. But because movie theaters are still closed in most of Europe and Brazil because of the pandemic, Disney decided to move Marvel’s Black Widow to July 9.
The good news is that we will finally have a semblance of a summer box office season, unlike last year, and United Artists Releasing is filling the vacancy left by Disney this weekend with the Miramax production of Guy Ritchie’s R-rated Jason Statham action title Wrath of Man, which had a solid Friday at the B.O. during the pandemic with $3M (including $500K Thursday previews) and an outlook of a $8M 3-day.
That’s a bit more than what Universal’s gritty R-rated Bob Odenkirk shoot-’em up scored over its first weekend, with $2.5M Friday and a 3-day of $6.8M (that movie now in its 7th weekend, bound to see its domestic cume at $24.6M by Sunday off an A- CinemaScore).
Next to the meat-and-potato action movies aimed at older guys during the pandemic since last August (we’re not counting videogame adaptation Mortal Kombat), Wrath of Man is set to outrank the debuts of Nobody, Unhinged ($4M), Honest Thief ($4.1M) and The Marksman ($3.1M).
Audience reaction for Wrath of Man was great, with Ritchie seeing an A-, which was better than the B+ earned by 2020’s The Gentleman, which repped a return to his kinetic, flashy action British capers. That movie, also a Miramax production, was released to 2,165 theaters by STX before Covid-19 hit in late January, and opened to $10.65M.
Screen Engine/Comscore PostTrak moviegoers also rated Wrath of Man well with a 77% overall positive and a 58% definite recommend. Guys at 60% made up the overall audience, with 71% over 25 and 45% over 35. Diversity demos were 42% Caucasian, 24% Black, 23% Hispanic, and 11% Asian/other. Wrath of Man was strong in the West and Southwest. PLF and Imax repped 34% of Friday’s ticket sales. Critics weren’t as high on Wrath of Man as The Gentlemen, 66% fresh to 75% certified fresh.
While an $8M opening is not what we’re used to in regards to opening summer, keep this in mind: We’re in much better shape and on a better path than we were a year ago. Currently, 63% of 5,8K theaters are operating. While that’s very good, the domestic marketplace isn’t at its full exhibition power. Over 1k theaters haven’t provided targeted reopening dates, No. 2 chain Regal only has 232 theaters of its 533 reopened, and three major provinces of Canada –Ontario, Manitoba, and Alberta are still closed.
There’s a chance that Cineplex, which only has 27 of its 162 theaters reopened, might open more in another week or two if local ordinances give the OK. But I’m hearing there’s a chance the two features which are firing up summer, Paramount’s A Quiet Place II and Disney’s Cruella, may not have the full power of Canada when they open over Memorial Day weekend, May 28-31. We will see.
Also, capacity restrictions remain in force across the nation, even in areas where the capacity limits might be at 100%. AMC reportedly is operating its whole chain at 50% levels and enforcing mask wearing, even in those communities where face coverings have been lifted.
For all the good news about the yellow tier moving LA theaters to 75% capacity, again, that’s for those attendees who show proof of vaccinations. Several sources tell me there’s no way exhibition can or will enforce its attendees to show proof of vaccination, and therefore will opt to operate at 50%. That said, I’m told exhibition overall isn’t fretting about this loophole. Talks with CDC and local health authorities in LA and San Francisco remain positive, and all eyes are on June 15, when California Gavin Newsom has announced the state will be fully opened. The hope per exhibition sources is that NYC will be at 50% capacity levels by Memorial Day weekend.
In the No. 2 spot is Funimatin/Aniplex’s Demon Slayer which in its 3rd Friday grossed $851K, -53%, at 2,088 theaters (+183) for a 3rd weekend of $3M. New Line/HBO Max’s Mortal Kombat at 2,973 locations (-141) did $700K yesterday (-62%) in its 3rd Friday in the No. 3 spot with a 3rd weekend of $2.3M (-63%). The pic in its first two weeks has grossed $36.2M. Fourth place is also owned by Warner Bros. with Legendary’s Godzilla v. Kong (which is in a window now of pure theatrical play, not on HBO Max). That pic’s 6th Friday made $505K (-32%) at 2,705 theaters (-48) for a 3-day of $1.9M (-33%) and a $92.9M running total by EOD Sunday. 5th place belongs to Disney’s Raya and the Last Dragon which grossed $420K in its 10th Friday at 2,315 theaters (+505) with an expected weekend of $1.7M (+24%) and a running total of $43.6M. The pic is also available on Disney+ Premier for the extra cost of $30. Open Road’s Separation grossed $315K (-54%) in its second Friday on its way to a $1.065M weekend at 1,911 (+160) sites for a 10-day of $3.3M
Sony and Stage 6 Film’s recent acquisition of Tiffany Haddish-Billy Crystal movie Here Today will be gone tomorrow. The studio doesn’t spend much to open these titles, and this is a moderate release booked at 1,200 locations. Friday per industry estimates is expected to be around $255K, with a 3-day opening of $783K in the No. 7 spot. Audience and critical reactions for this Crystal directed feature which he co-wrote with Alan Zweibel were low with a 52% Rotten Tomatoes rating and 65% overall positive from PostTrak and a 46% recommend. 57% females showed up with 57% over 25. Audience make-up was 62% Caucasian, 17% Hispanic, 17% Black, & 4% Asian/other. Sony doesn’t spend on these movies with iSpot showing the pic’s TV spot spend was a paltry $320K with ads that ran on 60 Minutes, Today, The Late Show With Stephen Colbert, SEAL Team and Haddish’s Kids Say the Darndest Things.
Here Today follows veteran comedy writer Charlie Burnz (Crystal), who is going through a tough time in his life. He meets New York singer Emma Payge (Haddish) and they form an unlikely yet hilarious and touching friendship that kicks the generation gap aside and redefines the meaning of love and trust.
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08 May, 2021 - 01:00pm
Have you seen Wrath of Man?
08 May, 2021 - 07:35am
Plenty of great side characters, but Guy Ritchie and Jason Statham are the names that matter most in this movie — obviously
Wrath of Man: a Jason Statham movie directed by Guy Ritchie. Check. A revenge thriller wearing the clothes of a heist thriller: a savory treat-within-a-treat, like a bacon-wrapped sausage. Check, check. The movie is more or less a remake of the 2004 French film Cash Truck (Le Convoyeur), and its cast is a dreamy assortment dependably engaging character stalwarts (Eddie Marsan, Holt McCallany, Andy García, Jeffrey Donovan) with a few against-type additions (Josh Hartnett, Raúl Castillo, comedian Rob Delaney), a worthwhile Scott Eastwood — and, yeah, even a little Post Malone (playing “Robber #6,” so don’t get your hopes up about an extensive cameo). The checks pile on.
Wrath of Man is a good showing from Ritchie, nevertheless. After the likes of Aladdin — an artistic disaster for not letting Ritchie loose, no matter how funny it is that the world was really blessed by a Disney movie directed by Guy Ritchie — I wasn’t exactly worried, but the disappointment was merited. Wrath of Man is a nice antidote to that. There’s a funny thread within, a nice tension, between protocol and what makes most sense for survival. Surprise, surprise: protocol — even Disney’s — gets you nowhere. The movie seems to have internalized this idea down to its very bones, ripping the linear thread of its story out of order, with chapter breaks and months or weeks-long flashes forward and back, as if to say that the cleanest path to the movie’s core is a path shaped around its star.
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07 May, 2021 - 06:30am
Ritchie's latest is a heist picture called Wrath of Man, and the best that can be said of it is that it stars Jason Statham. Ritchie and Statham both began their feature film careers with Ritchie's Lock, Stock and Two Smoking Barrels. Since then, Statham has gone on to become a stubbly, shiny-domed icon of action cinema, while Ritchie has gone on to continue being Guy Ritchie. (And he's very good at that—almost always delivering for his audience, which is large, and often scoring big at the box office.)
In this fourth Ritchie collaboration, Statham plays "H," a mystery man of very few words (maybe five or six in some scenes, if you count the grunts and snarls). This character's real name is Hill, so let's call him that. One day Hill walks into the office of an armored truck company called Fortico, which hauls multimillions of dollars from banks and high-volume retailers around Los Angeles every day. You can see where this is going.
Hill feigns meager skills in shooting and driving and running around at first, so you immediately know something is up, because…well, because Statham. Hill's fellow Fortico employees are initially surly, but after he single-handedly foils an attempted vehicular rip-off, we see them breaking into applause when he simply enters a room. This happens pretty early on in the picture, because Ritchie likes to move things along even if viewers haven't quite grasped what he's trying to communicate. (A problem compounded here by the muffled dialogue in scenes in which the characters are wearing masks or speaking Australian.)
The plot, which is inherited from a 2004 French film by writer-director Nicolas Boukhrief, has Fortico in the crosshairs of two violent criminal outfits. One is composed of highly trained veterans of the never-ending US war in Afghanistan; the other is just a bunch of really, really bad guys. Statham naturally succeeds in taking down many of these goons, but not in any especially memorable ways. (In his devotion to undifferentiated blam-blam-blam, Ritchie can be a master of monotony.)
Eventually we learn why Statham's character is such an angry guy, and we sympathize. Then we wonder about another Jason Statham we once knew—the one who displayed such a roaring flair for comedy in the 2015 Melissa McCarthy movie Spy. What ever happened to that guy? Is he locked up in Guy Ritchie's basement? Please set him free.
Femke Boot (Katja Herbers of Westworld) is a columnist at an Amsterdam newspaper. Like many people, she spends way too much time online, usually reading over her latest columns—a mix of earnest political observations and wryly sketched personal anecdotes—on the paper's website. Femke may tell herself she's just checking for typos or other technical flaws, but in reality she's breaking the first rule of online life: Never Read the Comments.
But she can't avert her eyes:
Who are these people, and why are they consumed with such frothing hatred? Is it really because she's "gotten fat"? Really?
"I hope they rough up your daughter."
Femke tells a friend about this ongoing assault but gets no sympathy. Since she never went to the police about it, the friend says, "it's obviously not that bad."
So she does go to the police, but they can't figure out what sort of complaint she could file. "It's just the internet," says one cop. "It's not real."
So she decides to take the situation in hand herself. Discovering the identity of one of her tormenters, she pays him a visit—and on a whim pushes him off a roof, to his death. A quiet smile of satisfaction brightens Femke's face, illuminating a way forward.
The Columnist takes aim at an important subject—the vicious online harassment of women and what should be done about it. But despite a sharply satirical performance by Herbers, it never quite comes together—there's too much unnecessary other stuff going on. A subplot about a free speech campaign being waged by Femke's teenage daughter Anna (Claire Porro) never lines up with the main story. Neither do some of the too obvious symbols—a spider in a web, an old-time newsroom copy spike—that director Ivo van Aart has tucked in around the edges of the plot. And the picture's bloody ending hasn't been shaped for maximum impact—it's a little limp.
But one of the characters—a horror author who calls himself "Steven Death" (Bram van der Kelen)—scores a solid hit on the fame industry. For public appearances, Death turns out in sinister eyeliner, with exotic rings on every finger, and an unnecessarily complex ascot. After they appear together on a TV talk show, the veteran fright master tells Femke that lightening up a little could boost her brand. "You were there because you want to change the world," he says. "I was there to sell my new book."
As the movie zips along (it's only 86 minutes long), Herbers deftly makes us see that Femke is falling apart—that she may in fact have lost her mind. After all, killing people—even odious online troglodytes—would be wrong, right?
is a New York writer who also hosts the SiriusXM interview show True Stories.
Editor's Note: We invite comments and request that they be civil and on-topic. We do not moderate or assume any responsibility for comments, which are owned by the readers who post them. Comments do not represent the views of Reason.com or Reason Foundation. We reserve the right to delete any comment for any reason at any time. Report abuses.
Let me just take the opportunity to say that all the Reason writers are insightful, chock full of expertise, and funny. And their personal hygiene is totally above reproach.
Read the comments, who does that. Fire and forget. Oh right it’s the leftists who think the internet is reality and comments matter.
But also, silence is violence. They get you coming and going.
This couldn’t be more ‘wet roads cause rain’. I’m no Guy Ritchie fanboy, it’s been 20 yrs. since I’ve seen Lock, Stock, but the story about Hatchet Harry beating a guy to death with a dildo is more memorable than anything the Russian mobster whose-name-I-can’t-remember, did.
Barry the Baptist >> whatever Ruby Rose’s character’s name was.
I think Lock, Stock and Two Smoking Barrels and Snatch are both pretty damn funny in their own way, and definitely two solid movies worth watching.
It’s just absolutely backwards. I will absolutely agree that John Wick is a better film than RocknRolla, but to say that John Wick is better because it has more personality and humor is like saying Lebron James is a better basketball player than Steph Curry because of James’ ability to hit 3 pointers.
This seems familiar. I think the character in this movie may have been lifted from the pages of Reason…
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"It feels like we've gone from tragedy to farce."
A Messina, New York, police officer is under investigation after video showed him intentionally slamming a door into a car several times.
The new framework aims to keep everyone learning at the same level for as long as possible.
"I do not hold any bitterness toward anybody."
The boy was sentenced to 25 years' imprisonment.