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Ralph Breaks the Internet leads the lowest box office weekend of 2018

Ralph Breaks the Internet retained the #1 spot at the domestic box office for the third weekend in a row in what is the lowest weekend at the domestic box office for the entire year. The film took in another $16.1 million and added another $18 million internationally. Domestically the film sits at $140.9 million and $117.3 million internationally for a global total of $258.2 million. 2012’s Wreck-It Ralph ended its domestic run with $189.4 million, putting the sequel within spitting distance of matching the first movie.. Featuring the voices of John C. Reilly and Sarah Silverman, the sequel is directed by Rich Moore and Phil Johnston.

Also read : Spider Man Into Spider Verse Movie Review

Universal Pictures new animated version of Dr. Seuss’ The Grinch held onto the second place at the domestic box office and dropped just 15.4%, the film brought in $15.18 million. The animated feature now sits at $223.46 million domestically. Internationally the film has brought in $98.9 million for a Global total of $322.36 million.  Benedict Cumberbatch lends his voice as the title character of the animated film, it’s directed by Scott Mosier and Yarrow Cheney.

Creed II held onto third place adding another $10.3 million bringing its domestic total to $96.47 million. In that same time frame, the first Creed had brought in $79.32 million, all but assuring us that Adonis Creed will fight again in a few years. Steven Caple Jr. directed the sequel which once again stars Michael B. Jordan, Sylvester Stallone, and Tessa Thompson, plus Florian “The Big Nasty” Munteanu as Viktor Drago and Dolph Lundgren returning to the role of Ivan Drago.

Warner Bros.’ Fantastic Beasts: The Crimes of Grindelwald held onto the fourth place position adding another $6.8 million domestically for a total of $145.2 million in the US. Internationally the film has brought in $399.3 million, and the global tally is $544.5 million. The film is well behind every other movie in the Wizard World franchise with over $250 million separating it and the ninth lowest grossing entry in the series (2004’s Harry Potter and the Prisoner of Azkaban which brought in $796.7 million worldwide).

2016’s Fantastic Beasts and Where To Find Them even brought in $814 million worldwide. Directed once again by David Yates and from a script by JK Rowling, the film stars Eddie Redmayne as Newt Scamandar alongside returning stars Katherine Waterston, Dan Fogler, Alison Sudol, and Ezra Miller. They’re joined by Claudia Kim, Zoe Kravitz, Callum Turner, with Jude Law as Dumbledore and Johnny Depp as the titular Grindelwald.

20th Century Fox’s Bohemian Rhapsody brought in $6 million for a domestic total of $173 million. The film’s international haul now sits at $423 million, giving it a global total of $596 million. Directed by Bryan Singer the film stars Rami Malek, Gwilym Lee, Ben Hardy, and Joseph Mazzello. Also starring are Lucy Boynton, Aiden Gillen, Tom Hollander and Mike Myers.

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Ralph Breaks The Internet Leads The Lowest Box Office of 2018

Spider Man into Spider Verse Review

When Pixar released Toy Story in 1995, it probably didn’t realize that it was establishing a visual language for computer-animated feature films that would persist for the next two decades, more or less unchallenged. Innovations in texture and light and moisture rendering have cropped up since, character designs vary. More experimental works get views on Vimeo and occasionally Short Animation Oscars, but rarely perceptively filter their way into big-budget feature fare. There’s an overall sensibility and filmic language that we now take for granted as just the way computer animation looks, from The Incredibles to Ice Age.

Of course, the whole point of computer animation is that you can theoretically do anything with it. And it’s far from a radical leap, but Spider-Man: Into the Spider-Verse feels like the first major animated film in ages to actively try something stylistically new that didn’t involve proprietary Scandinavian building blocks. The film, produced by The Lego Movie’s Phil Lord and Christopher Miller, and co-written by Lord, borrow’s that film’s stop-motion-esque frame rate and shaggy irreverence, and tries for a whole new attempt at translating the experience of reading a comic book to the screen. It’s referential to 2-D drawing but still dimensional, a faint texture of crosshatching and Benday dots creeps in the corners and in the nooks and crannies of characters’ faces. It’s kinetic, often abstract, and relentlessly inventive.

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In the wake of the re-rebooted Spider-Man: Homecoming, it also feels like another strong case for the Spider-Man franchise as the most human superhero enterprise in town. Though Spider-Verse’s plot involves alternate dimensions and quantum colliders, it maintains the relatively modest, New York–size scale, and is driven by one-on-one confrontations. In this version of the story, Miles Morales (voiced by the boundlessly charismatic Shameik Moore) is a Brooklyn high schooler who is bitten by a genetically altered spider while exploring abandoned subway tunnels with his cool Uncle Aaron (Mahershala Ali). Peter Parker’s Spider-Man is already a well-known, long-standing local superhero, but when an interdimensional rift is opened in New York City, and Peter meets his untimely demise, a gaggle of alternate-universe Spider-Beings find themselves sharing a plane of reality alongside newly minted Spider-Man Miles.

All this business, you might think, would drown out the screen debut of Miles, but directors Bob Persichetti, Peter Ramsey, and Rodney Rothman are smart enough to slow down for Miles’s getting into the swing of things, while revving up the Spider-People high jinks and letting them ricochet by at a pleasurably disorienting pace. Much like the first Lego Movie, Spider-Verse feels like a bit of a conceptual dare, but it wins with its nano-second sharp timing, and percussive rat-a-tat-tatting of panels and split screens that make the action and visual gags feel jumpy and alive. The final set piece, a kaleidoscope of a Day-Glo quantum storm, is more or less impossible to follow visually, but we like Miles enough at that point, and the film knows we really just want to make sure he’s okay. And for the first time in a while for this old comic-book-movie grump, I found myself genuinely hoping he’d be back for another adventure.

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Spider-Man Into Spider Verse Review