Movie Reviews
‘Melania’ doc beats box office expectations despite criticism, poor reviews
“Melania: Twenty Days to History” won over fans of the first lady at the box office this weekend, surpassing the initial opening weekend expectations to generate $7 million.
The Amazon MGM Studios film, which rolled out in over 1,500 theaters in North America, was estimated to make $5 million, which would have made it a relatively solid opening by documentary standards. But after beating expectations, it’s now the strongest start for a nonmusic documentary in over a decade, according to box office analysts.
It took the No. 3 overall spot for the weekend, following YouTuber Markiplier’s self-financed film “Iron Lung” and Sam Raimi’s “Send Help.”
While Kevin Wilson, Amazon MGM Studios’ head of domestic theatrical distribution, lauded the documentary’s “strong start,” it is still too early to call it a big win for Amazon.
The studio paid a whopping $40 million to acquire the project, which was helmed by filmmaker Brett Ratner. The studio also spent roughly $35 million on the marketing campaign, an eye-popping sum for a political documentary. Promotion for the film included projecting its trailer on the Las Vegas Sphere and designing a commemorative popcorn bucket.
The larger-than-expected haul comes despite reviewers on Letterboxd trashing the film (before seeing it), and others online sharing screenshots of theaters full of unsold tickets in cities. Critics have also largely panned the film, with outlets like The Hollywood Reporter calling it an “expensive propaganda doc” offering an “up-close and not-so-personal portrait” of the first lady.
Still, moviegoers gave the film, which was backed by the White House, a generous A when polled by CinemaScore and a 99% audience score on Rotten Tomatoes.
The top-performing markets for “Melania” included Dallas, Orlando, Tampa, Phoenix, Houston, Atlanta and West Palm Beach, according to box office analysts who shared audience metrics with NBC News. Donald Trump won Texas, Arizona and Florida in the 2024 presidential election. The documentary also mostly attracted female moviegoers, who made up about 70% of audiences.
An estimated 600,000 moviegoers saw the film over the weekend, according to EntTelligence data provided to CNBC.
In January of last year, when Amazon licensed the film, the studio said it picked up the documentary as well as a subsequent docuseries for the streaming service, “for one reason and one reason only — because we think customers are going to love it.” The deal occurred shortly after Amazon founder Jeff Bezos dined with Donald Trump at Mar-a-Lago.
“This momentum is an important first step in what we see as a long-tail lifecycle for both the film and the forthcoming docu-series, extending well beyond the theatrical window and into what we believe will be a significant run for both on our service,” Wilson said in a statement Sunday.
Last weekend, the White House held a private early screening of the film for guests before Amazon rolled out the black carpet for the documentary’s Washington, D.C., premiere at the Kennedy Center on Thursday.
When asked by NBC News about who the film was for, the first lady said, “Everybody will connect on a certain level. Teenagers can go to see, young women can go to see and be inspired that they could have a family and business, as well.”
The premiere was attended by friends of the Trump family, members of the Trump administration and those involved with the film, including Ratner and Marc Beckman, a senior adviser to the first lady and the husband of Melania Trump’s friend Alice Roi.
Ratner was accused of sexual misconduct by multiple women in 2017 but has denied the allegations and was never charged. The director has become a fixture in Trump’s circle and spent a significant amount of time living at Mar-a-Lago while shooting the film, according to a source close to the first lady.
In November, Semafor reported that a push from the president led Paramount Skydance to agree to distribute Ratner’s “Rush Hour 4.” The president’s involvement was not confirmed by NBC News.
In his Instagram stories over the weekend, Ratner reshared a post from the X account End Wokeness that read, “This is why nobody trusts ‘the critics.’” A screenshot of the Rotten Tomatoes scores was attached.
Movie Reviews
Movie Review: THE YETI
Movie Reviews
Movie Review – Modern Whore (2025)
Modern Whore, 2025.
Directed by Nicole Bazuin.
Starring Andrea Werhun.
SYNOPSIS:
Modern Whore follows Andrea Werhun as she portrays her past roles as escort Mary Ann, stripper Sophia, and her OnlyFans presence – all part of her Toronto sex work journey.
Writer/director Nicole Bazuin makes her feature debut with Modern Whore, a hybrid documentary detailing the experiences of Andrea Werhun based on her memoir of the same name. Bazuin and Werhun make an insightful and funny adaptation of Werhun’s life as a former sex worker in Toronto, examining the hows and whys of the industry and her participation in it.
Modern Whore takes an interesting approach to the way it tells Werhun’s story as half of it is a documentary of Werhun relaying her experiences and speaking with family, friends and colleagues while the other half is scripted with Werhun and others acting out the stories. It is unconventional, but its uniqueness makes Werhun’s story entertaining with a tight and witty script by her and Bazuin.
The scripted portions display Werhun’s fun personality with the cast and material – after all, literally telling and acting in her own story makes for a great performance as she opens herself up to some of her most vulnerable moments knowing the stigma against sex workers whether they are/were escorts or OnlyFans creators. There’s plenty of light self-awareness along with quirky fourth-wall breaking humour as she recounts her stories or that of her clients skewed perspectives of their interactions. It is also not afraid to shy away from the more difficult subject matter of being a sex worker like meeting with really sketchy clients or some taking it too far, looking at the impact it has and the little support system in place.
The switches from the scripted scenes to the talking heads or interviews is well paced with the formats complimenting each other. The interviews are interesting and insightful, digging into why someone chooses to enter sex work and the stigma they feel from family or friends. Werhun digs into the different personas she put on, how some were closer to her real self than others, and the necessity for those identities in her work. Much of the conversations revolve around the taboo of sex work and how the discussions are slowly shifting so it is less shameful, but still plenty of work needed to be done towards that front.
Modern Whore showcases great writing from Werhun and Bazuin with plenty of entertaining sequences, not to mention Werhun’s performance. It is insightful, funny and creative with its hybrid format, making it very memorable in several aspects.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Ricky Church – Follow me on Bluesky for more movie news and nerd talk.
Movie Reviews
Little Amélie or the Character of Rain Movie Review: A quiet story that speaks louder than most
The Times of India
Apr 04, 2026, 1:12 PM IST
4.0
Story: A quiet child named Amélie grows up in Japan, barely reacting to the world until a small moment begins to pull her into it. As she slowly becomes aware of people and emotions, she starts to understand life through experiences.Review: Oscar-nominated in the Best Animated Feature category, ‘Little Amélie or The Character of Rain’ is a gentle film that draws you in with its simplicity and honesty. It does not rely on tricks or dramatic moments to grab your attention. The story trusts itself completely and moves at its own pace with quiet confidence. The film feels calm and still, giving each scene time instead of rushing ahead. At times, it may seem like very little is happening, but that is when you realise it wants you to slow down and stay in the moment. Set in Japan, it follows a French family from Belgium with a sense of warmth and care. There are moments when it may feel like the film is holding back, but there is also something real in the way it avoids rushing or explaining everything. Beneath its soft surface, there is a deeply philosophical and thoughtful layer that reflects on life in a simple and honest way.The story follows Amélie (voiced by Loise Charpentier), a young Belgian child growing up in Japan, who spends the early part of her life in a strange, distant state. She barely reacts to the world around her and seems lost in her own space. Her parents, especially her mother, try to reach out to her in simple ways, hoping to see some response. Things begin to change when her grandmother arrives from Belgium and tries to bond with baby Amélie, and the offering of a piece of white Belgian chocolate makes all the difference. Around the same time, we meet Nishio San, the gentle caregiver, who becomes an important part of her daily life. The white Belgian chocolate becomes a turning point in the film, and from that moment, Amélie begins to respond to people and her surroundings, as if she is discovering everything for the first time.The way the film opts to showcase Amélie’s inner world stays with you. It does not explain her thoughts in a clear or direct way. Instead, it lets you sit inside her perspective, even when it feels distant or hard to read. The animation plays a big role here. It has a soft, almost calming quality, like a memory that keeps changing shape. Some moments feel very personal, while there are also sequences that may test your patience. There are stretches where the film stays on a plot point a little longer than expected, and you might find your attention slipping. At the same time, when it works, it really works. It brilliantly captures small feelings that are tough to put into words, and that is not something many films manage to do.The voice performances match this tone well. The actor voicing Amélie keeps things very minimal, which suits the character. There is very little need for long dialogue in this film, as the performance is carried more through tone and the way the moments play out. The voices of her parents and Nishio San bring warmth into the film and give it some emotional grounding. They feel natural, like people you might actually know, rather than characters trying to make a strong impression. Absolutely nothing feels forced in the film, and that helps the film stay believable even when it moves into more abstract spaces.‘Little Amélie or The Character of Rain’ leaves an impression in a quiet and unexpected way. It is thoughtful and gentle, though there are moments where it may feel a bit too soft or even repetitive. The mixed reactions around it make sense because it speaks in a very specific tone and sticks to it. It asks you to meet it halfway, to be patient and open to its rhythm. That may not work for everyone, but if you do connect with it, the film stays with you as a simple and sincere look at how a person slowly begins to understand the world.
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