But wait a second — what about STX’s Bad Moms? Wasn’t that also an R-rated raunchy, party movie? Many say that the key to that film’s success stems from being. Watch King Arthur: Legend of the Sword (2017) full movie online free, Watch King Arthur: Legend of the Sword (2017) online free, 123movies, King Arthur: Legend of the. While the idea of moving to Mars might not sound so terrible right about now, “The Space Between Us” is about a young man who’s spent all of his 16 years on the. The story centers on a 14-year-old girl who keeps a diary about the ups and downs of being a teenager, including the things she learns about kissing. MRQE.com is the Internet’s largest index of movie reviews. Find reviews for new and recent movies in theaters, DVD and Blu-ray releases, and film classics. But he has a long list of things he hates.

Amid the sea of beaten live-action franchises at the box office, Sony/Tri-Star has an original action heist movie with Baby Driver starring Ansel Elgort, Lily James. 2 Stars (out of 4) Buy the soundtrack at Amazon or iTunes. Viceroy’s House isn’t wholly successful, but maybe trying to depict the fraught months leading up to. HBO’s “Mommy Dead and Dearest,” premiering tonight, is constructed like a Russian nesting doll of horror, revealing something new and unexpected in the tragic.

That’s easy. But as far as comedies go, that’s hard. This weekend Will Ferrell and Amy Poehler hit career box office lows as New Line/Village Roadshow/Warner Bros’ $4. M- budgeted The Houseburned down with a $8. M opening (figures as of Monday morning). For Ferrell, House reps his lowest live- action comedy opening from a major studio, while for Poehler, it’s certainly her lowest three- day for any major studio release that has featured her as a marquee draw. Related. Are Comedies In Peril On The Big Screen & Headed To Streaming?

Paramount. It’s the fourth time this summer a comedy hasn’t worked at the domestic B. O. It’s been close to a year since any comedy has clicked past $1. M at the B. O.; the last live- action title to hit that mark was STX Entertainment’s Bad Moms, which minted a $5. M- plus profit off a $2. M production cost and near $1. M global tally. Last summer also touted Warner Bros./New Line/Universal’s Central Intelligence and Sony’s Ghostbusters among those titles cracking past $1.

In addition, Sony/Annapurna’s R- rated animated toon Sausage Party ($1. M global off a $1. M production cost) was a cash cow. While a pragmatic business prognostication might be that feature comedies are better suited for Netflix than the multiplex (case in point, former summer B. O. This occurs from time to time with the genre, and it just takes something new and fresh to jump- start the big- screen laughs again. The House’s failure comes as a shock. Exhibitors were in stitches over the clips Warner Bros.

Pairing the right stars is so vital when it comes to the genre, i. This makes The House’s misfortune all the more a head- scratcher. Saturday Night Live alums Ferrell and Poehler? Who wouldn’t want to watch that kind of crazy? Previously the two starred in 2. Blades of Glory ($3.

M opening, $1. 18. M) and saw better results. Century Fox. The real problem is the flooding of the marketplace with Bacchanalian comedies, and The House is opening two weekends after Sony’s raunchy female comedy bomb, Rough Night. Party- hardy comedies been tapped way too many times by the majors following the success of Todd Phillips’ The Hangover trilogy and Seth Rogen- Evan Goldberg’s produced This Is The End ($1. M global) and Neighbors ($2. M global). Audiences can smell these types of films from several miles away and are sending a clear message with their wallets that they’re flat- out rejecting them as marquee choices. In the wake of Neighbors, screenwriters Brendan O’Brien and Andrew Jay Cohen were a hot commodity, with New Line snapping up The House at auction (Cohen also directed the movie).

However, their raunchy humor has yielded depreciating results at the B. O., falling from Neighbors to Neighbors 2 ($2. M, $5. 5. 4. M), last summer’s Mike and Dave Need Wedding Dates ($1. M, $4. 6M domestic, $7.

M global) and now The House. STX Entertainment. But wait a second — what about STX’s Bad Moms?

Wasn’t that also an R- rated raunchy, party movie? Many say that the key to that film’s success stems from being a relatable comedy for the underserved older female crowd. Aside from serving as wish- fulfillment escapism for women over 2. And therein lies the trick to succeeding with a comedy in the current marketplace: Create stories that moviegoers can relate to. Sony“There’s such a high bar for comedies on the big screen, and to make them work theatrically boils down to the idea. The comedies that work are largely relateable and that credit goes to Judd Apatow for making that happen.

It’s not about blaming Will Ferrell in The House, but the idea. The whole concept of a guy and wife turning their house into a casino, and a bunch of girls going crazy and killing a stripper in Rough Night, these are Netflix movies and farcical jammed up ideas from the 1.

Comedy has moved on,” asserts one studio chief. Also, post Bad Moms and Sausage Party, it hasn’t just been raunchy comedies biting the dust. The genre, from raunchy to dumb to satire, has been historically critic proof, but in the social media era where aggregate RT ratings are swapped around, that’s not the case. When we asked Ben Stiller at the Cannes Film Festival about the whole downturn in the funny business on the big screen, he acknowledged that “the movies and the general landscape have changed” from the days when he churned out comedies during the 1. A movie such as his 2. Tropic Thunder ($1. M global B. O., $9.

M) would be difficult to get off the ground in today’s climate, given the film’s budget.“. Ghostbusters opened to $4. M and finaled at $1. The Teacher (2017) Movie Trailers.

M stateside, but that film was a feathered fish and hardly a success. At $1. 44. M before P& A, the movie was overpriced, lacked overseas appeal and was plagued by the controversy of its gender role reversal in rebooting a classic comedy. Warner Bros Pictures. That said, comedy isn’t dead. Major studio releases on the horizon include Universal’s female African- American comedy Girls Trip on July 2.

Lionsgate’s The Hitman’s Bodyguard with Ryan Reynolds and Samuel L. Jackson, Tyler Perry’s Boo 2! A Madea Halloween (October 2. STX’s A Bad Moms Christmas (November 3), Paramount’s Daddy’s Home 2 and Warner Bros.’s Ed Helms- Owen Wilson comedy Bastards.

That movie finished shooting back in December and is hoping to reap a holiday multiple as alternative programming on December 2. WB moved the pic around the 2. Do I Sound Gay? (2015) The Movie High Quality. Also next year, there’s New Line’s Game Night with Jason Bateman and Rachel Mc. Adams, as well as NL’s Melissa Mc.

Carthy feature Life of the Party on May 1. Sony’s Ferrell and John C.

Reilly’s Holmes and Watson on August 3 to name a few. But more than anything with comedy, it all comes down to timing. And studio executives believe that what Americans find funny now in the Trump era is quite different from what was hysterical during the Obama days. Observes one distribution sage, “Ya know, by the time these movies are greenlit two years out, a lot can change in regards to the nation’s sense of humor by the time of release. And you can definitely say that plenty has changed in America in recent months.”.

Mommy Dead and Dearest Movie Review (2. HBO’s “Mommy Dead and Dearest,” premiering tonight, is constructed like a Russian nesting doll of horror, revealing something new and unexpected in the tragic life of Gypsy Rose Blanchard and mother Dee Dee every few minutes. Just when you think this expertly- crafted true crime documentary has reached peak shock status, there’s another development that forces you to reconsider elements of the life of Gypsy Rose and the murder of her mother Dee Dee.

There’s no doubt that Gypsy Rose was responsible for the death of Dee Dee, but when even Dee Dee’s parents are saying their daughter was so horrendous that they flushed her ashes down the toilet one has to wonder if she didn’t deserve it. Advertisement. Dee Dee and her incredibly ill daughter Gypsy Rose moved to Springfield, MO after Hurricane Katrina, and Gypsy became something of a viral celebrity.

She was an adorable little girl who had overcome a short life of horrendous pain and constant medication due to leukemia, muscular dystrophy, seizures, and slow brain development that made her act much younger than her age. She shouldn’t even have been alive, but she fought the diseases trying to kill her, and she became an inspiration for many, getting so much attention that organizations would give Dee Dee and Gypsy Rose trips to Disney World, and Habitat For Humanity even built the pair a new home.

In 2. 01. 5, the world would learn so many shocking truths about the Blanchards, but here’s the one on which most of them hinge: Gypsy Rose Blanchard wasn’t sick. Sure, her mother told her she was sick, and convinced a shocking number of doctors to go along with the home diagnoses.

Dee Dee Blanchard essentially kept Gypsy a prisoner, injecting dozens of medications through a feeding tube and telling her she was sick enough that the girl believed it. Of course, she also told her not to move the legs that shouldn’t work in front of strangers and would hold her hands in interviews, squeezing if Gypsy started talking about something she shouldn’t. She would shave her head because her “hair was just going to fall out anyway.” And she would make sure to get copies of all medical records, so they could move to another hospital if a doctor started to figure out the ruse.

Oh, and Gypsy Rose wasn’t even a child—she was in her 2. And then Gypsy Rose met a boy online. In June 2. 01. 5, Dee Dee Blanchard was found murdered in her home and her daughter was gone. Not long after, Gypsy Rose posted “That Bitch is Dead” on her Facebook page and the whole thing unraveled.

Gypsy Rose was a victim of the confounding Munchausen by Proxy syndrome, in which parents essentially keep their children medical victims, brainwashing them and even poisoning them. It totally warped Gypsy Rose, and when she met a boy named Nick online, he was like a match thrown into a barn filled with lighter fluid.

Advertisement. Director Erin Lee Carr has an incredible ability to answer the questions as they arise to the viewer. Right when the movie gets to the point at which you feel like you need to hear from Gypsy Rose, there she is.

Right when you’re wondering what a doctor might think of this situation, there are a few of them to offer their professional opinions. The story of Dee Dee Blanchard and Gypsy Rose Blanchard is compelling enough that just telling it is half the battle, but it’s the expert construction of “Mommy Dead and Dearest” that really makes it work. Carr cuts fluidly from modern interviews with people like Gypsy Rose, her birth father, and grandfather to archival home movies of a girl who clearly believed she was sick because her mother told her she was every single day. And if you’re still wondering if such a person should be punished for finally escaping what was essentially captivity, ask yourself if Gypsy Rose even fully understood her actions. Illness wasn’t real, why would murder be? And consider this line late in the film from a relative: “She probably would have been a perfectly fine kid.