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Marvel's 'Thunderbolts' kicks off summer box office with a solid $76 million

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Marvel's 'Thunderbolts' kicks off summer box office with a solid  million

They may not be the Avengers, but the motley crew of Marvel Studios’ “Thunderbolts” punched their way to the top of the box office this weekend, continuing a strong season for theaters as Hollywood’s summer movie season gets underway.

The movie, which stars Florence Pugh and Sebastian Stan as part of an antihero ensemble, opened in the U.S. and Canada to $76 million in ticket sales, according to studio estimates. Globally, “Thunderbolts” debuted with $162 million, including $86 million from outside the U.S. and Canada.

Before its release, “Thunderbolts” was expected to bring in about $70 million in its opening weekend, though some projections had pegged $80 million as the high end of its earning potential, according to analyst estimates.

The film’s reported budget is $180 million.

The opening weekend performance for “Thunderbolts” is in line with Marvel films such as 2021’s “Eternals,” which brought in $71 million, and “Shang-Chi and the Legend of the Ten Rings,” which made $75 million. The most recent Marvel film, “Captain America: Brave New World,” hauled in $89 million in its opening weekend in February.

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Marvel’s past box office success raised the bar for the franchise, which has been difficult for every film to meet, especially given the pandemic and the dual writers and actors strikes in 2023, said Shawn Robbins, founder of film business analysis site Box Office Theory and director of analytics at Fandango.

After the 2019 blockbuster “Avengers: Endgame,” Walt Disney Co.-owned Marvel often seemed to struggle to find its footing, losing its consistency at the box office and with critics. “The Marvels” was a misfire, and movies including “Ant-Man and the Wasp: Quantumania” appeared to signal a drop-off in quality.

But the largely positive reviews for “Thunderbolts” could provide momentum for Marvel’s summer release,”The Fantastic Four: First Steps.”

“In any franchise, the next film performs as well as the previous film was treated by audiences,” Robbins said.

After a sluggish first quarter at the box office, theaters have seen a complete turnaround this spring. Warner Bros. Pictures’ “A Minecraft Movie” provided the first jolt in early April with a massive $157-million domestic opening weekend.

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Then Ryan Coogler’s R-rated “Sinners” took a bite of the box office over the Easter weekend with a $48-million opening, and has continued to draw crowds.

“Sinners” came in second at the box office this weekend with $33 million domestically, down just 28% from the prior week. The acclaimed original period vampire movie has collected $180 million domestically so far, in a much-needed win for movie studio Warner Bros.

Video game-based blockbuster “A Minecraft Movie,” Ben Affleck’s “The Accountant 2” and Sony’s horror movie “Until Dawn” rounded out the top five.

The U.S.-Canada box office is now up 16% compared with the same time in 2024, a substantial improvement from earlier in the year when Hollywood fielded a number of flops.

This season’s diverse lineup, which includes family movies, R-rated horror films and now, a PG-13 superhero flick, gives audiences more reason to flock to theaters, Robbins said.

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“It feels a little bit like the before times,” he said. “The fact that it’s been happening in April is a really encouraging sign going into the summer.”

Movie Reviews

Movie Review – Desert Warrior (2026)

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Movie Review – Desert Warrior (2026)

Desert Warrior, 2026.

Directed by Rupert Wyatt.
Starring Anthony Mackie, Aiysha Hart, Ben Kingsley, Ghassan Massoud, Sharlto Copley, Sami Bouajila, Lamis Ammar, Géza Röhrig, Numan Acar, Nabil Elouahabi, Hakeem Jomah, Ramsey Faragallah, Saïd Boumazoughe, and Soheil Bostani.

SYNOPSIS:

An honorable and mysterious rogue, known as Hanzala, makes himself an enemy of the Emperor Kisra after he helps a fugitive king and princess in the desert.

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With aspirations of being a historical epic harkening back to the sword and sandal blockbusters of yesteryear, Rupert Wyatt’s seventeenth-century Arabia tale is about as generic and epically dull as one would expect from a film plainly titled Desert Warrior. Yes, there appear to be real locations here, and there are some admittedly sweeping shots of various tribes storming into battle on horseback and camels, but it’s all in service of a mess that is both miscast and questionable as the work of a filmmaking team of mostly white creatives.

The story of Emperor Kisraa (Ben Kingsley, a distracting presence even with only one or two scenes) rounding up women from other tribes to be his concubines, which inevitably became the catalyst for a revolution led by Princess Hind (Aiysha Hart), uniting all the divided clans and strategizing battle plans for flanking and poisoning, is undeniably ripe for cinematic treatment. The problem is that what’s here from Rupert Wyatt (and screenwriters Erica Beeney, Gary Ross, and David Self) is less than nothing in the primary creative process; no one seems to have a connection to Arabic heritage or culture, but they have made a flat-out boring film that is often narratively incoherent.

Following the death of her father and escaping the clutches of oppression, the honorable Princess Hind joins forces with a troubled, nameless bandit played by Anthony Mackie (he totally belongs here…), who seems to be here solely to give the movie some star power boost without running the risk of white savior accusations. Whatever the case may be, it’s jarring, but not quite as disorienting as how little screen time he has despite being billed as the lead and how little characterization he has. It is, however, equally disorienting as some of the other names that show up along the way.

As for the other factions, Princess Hind talks to them one by one, giving the film an adventure feel that fails to capitalize on using beautiful scenery in striking or visually poignant ways at almost every turn; the leaders of these tribes also often have no character. There also isn’t much of an understanding of why these tribes are at odds with one another. This movie is filled with dialogue that consistently and shockingly amounts to vague nothingness. Nevertheless, each tribe doesn’t take much convincing to begin with, meaning that not only is the film repetitive, but it’s also lifeless when characters are in conversation.

That Desert Warrior does occasionally spring to life, and a bloated 2+ running time is a small miracle. This is typically accomplished through the occasional fight scene between factions that also serves to demonstrate Princess Hind coming into her own as a warrior. When the tribes are united in a massive-scale battle, and that plan is unfolding step by step, one certainly sees why someone would want to tell this story and pull it off with such spectacle. However, this film is as dry as the desert itself.

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Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder

https://www.youtube.com/watch?v=embed/playlist

 

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Eddie Murphy’s son and Martin Lawrence’s daughter welcome first child: ‘That baby gonna be funny!’

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Eddie Murphy’s son and Martin Lawrence’s daughter welcome first child: ‘That baby gonna be funny!’

Eddie Murphy is celebrating not just his lifetime achievement award, but also the arrival of his third granddaughter, perhaps the funniest baby alive.

Murphy’s son Eric and Martin Lawrence’s daughter Jasmin have welcomed their first child together, baby Ari Skye.

On Saturday, Murphy was honored with the 51st AFI Life Achievement Award at a gala in Hollywood and told reporters that he had recently celebrated back-to-back milestones.

“I just had my first grandson two months ago, and I had my third granddaughter two weeks ago. And I turned 65 a month ago,” he told “Entertainment Tonight” ahead of the gala. “It’s raining blessings on me.”

The ceremony celebrated his storied career across comedy and film, and featured tributes from fellow funnyman Dave Chappelle and “Shrek” co-star Mike Myers. The special will premiere May 31 on Netflix.

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The “Dr. Dolittle” star also gushed about his new grandbaby to E! News, and told the outlet that being honored for his work was “a wonderful thing” but that his legacy wasn’t his work.

“My legacy to me is my children,” he said.

Asked whether he or Lawrence offered their kids any parenting advice as they prepared to welcome Ari Skye, Murphy said he’s more of a lead-by-example kind of dad.

“You don’t give advice like that,” he told the outlet. “Your kids don’t go by your advice. Your kids go by the example you set. They watch you. Stuff you be saying, they don’t even pay that no mind. They watch and see what you do.”

In March, Jasmin and Eric posted photos from their lavish baby shower on social media. The shindig included a three-tiered pink cake, pink cocktails garnished with meringue that looked like clouds and balloons galore. “The most beautiful and special celebration for our baby girl,” the couple captioned the post. “Thank you to our parents and everyone that made this day so magical! Ari Skye Murphy, you are SO loved already!!”

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Excitement around Ari Skye’s arrival had been brewing in the media long before the couple even announced they were expecting. Murphy joked about a potential grandbaby when Jasmin and Eric were dating back in 2024, during an interview with Gayle King.

“They’re both beautiful,” he said. “They look amazing together. And it’s funny — everybody’s like, ‘That baby gonna be funny!’ Like our gene pool is just going to make this funny baby.”

Murphy agreed, saying: “If they ever get married and have a child, I’m expecting the child to be funny.”

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Movie Reviews

Movie Review: ‘Agon’ is a Somber Meditation on the Athletic Grind

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Movie Review: ‘Agon’ is a Somber Meditation on the Athletic Grind
Director: Giulio BertelliWriters: Giulio Bertelli, Pietro Caracciolo, Pietro CaraccioloStars: Yile Vianello, Alice Bellandi, Michela Cescon Synopsis: As the fictional Olympic Games of Ludoj 2024 approaches, Agon shows the stories of three athletes as they prepare and then compete in rifle shooting, fencing and judo. In his contemplative and visually rigorous film Agon, director Giulio Bertelli
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