‘Kung Fu Panda 4’ Repeats at No. 1 on the Box Office Charts

 16 March 2024, Australia, Sydney: Movie character "PO" poses at the Australian Premiere of "Kung Fu Panda 4" at Event Cinemas Bondi Junction on in Sydney. (dpa)
16 March 2024, Australia, Sydney: Movie character "PO" poses at the Australian Premiere of "Kung Fu Panda 4" at Event Cinemas Bondi Junction on in Sydney. (dpa)
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‘Kung Fu Panda 4’ Repeats at No. 1 on the Box Office Charts

 16 March 2024, Australia, Sydney: Movie character "PO" poses at the Australian Premiere of "Kung Fu Panda 4" at Event Cinemas Bondi Junction on in Sydney. (dpa)
16 March 2024, Australia, Sydney: Movie character "PO" poses at the Australian Premiere of "Kung Fu Panda 4" at Event Cinemas Bondi Junction on in Sydney. (dpa)

“Kung Fu Panda 4” stayed at the top of the North American box office in its second weekend in theaters. The Universal and DreamWorks Animation movie earned $30 million in ticket sales, according to studio estimates Sunday.

The franchise featuring the voice of Jack Black is responsible for over $1.9 billion at the box office since it launched in 2008 and spawned several animated series, shorts, video games and a holiday special. The fourth installment, playing in 4,067 locations in North America, has already made $107.7 million domestically.

There were several new movies arriving in over 1,000 theaters (or expanding) this weekend, including Lionsgate’s Mark Wahlberg dog movie “Arthur the King,” Focus Features’ comedic satire “The American Society of Magical Negroes” and A24’s Kristen Stewart-led bodybuilding thriller “Love Lies Bleeding.”

But the charts still belonged to the franchises, including “Dune: Part Two,” which came in a very close second in its third weekend, with $29.1 million. That's down only 37% from last weekend. It’s now made $205.3 million domestically. The first film, which was released simultaneously in theaters and on streaming, capped out at around $435 million globally, while “Part Two” is already at almost $500 million worldwide.

“Arthur the King” did the best of the newcomers, landing in third place with $7.5 million from 3,003 locations. The studio went into the weekend expecting something in the $8 million to $10 million range. Its low production cost and international presales should yield profits.

Directed by Simon Cellan Jones and written by Michael Brandt, the movie is based on the true story of an adventure racer who befriends a stray dog on a perilous 435-mile trek in the Dominican Republic. Simu Liu plays one of Wahlberg’s teammates. With an A CinemaScore, the studio is hoping positive word of mouth will boost sales in the coming weeks.

“Love Lies Bleeding” opened in 1,362 locations to $2.5 million. Written and directed by Rose Glass (“Saint Maud”), it’s a pulpy ’80s-set Western thriller about an isolated gym manager (Stewart) and a bodybuilder (Katy O’Brian) passing through town.

“The American Society of Magical Negroes” opened in 1,147 theaters and made an estimated $1.3 million. According to exit data, 52% of the opening weekend audience was Black. The movie, written and directed by Kobi Libii, is a satire about a secret society of Black people dedicated to making white lives easier. Justice Smith and David Alan Grier star.

In the first weekend following the Oscars, “Poor Things” added $2.3 million globally, bumping its total to $112.6 million.

Next weekend, “Ghostbusters: Frozen Empire” will arrive in theaters, armed with proton packs and brand name recognition.

“When there’s not a newcomer dominating the marketplace, it makes for a rather slow weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “Now we’re just waiting for ‘Ghostbusters: Frozen Empire’ and ‘Godzilla x Kong: The New Empire.’ That combo should take us out of the month of March on a high note.”

He added: “We’re going to have to have a lot of patience until we get to May and ‘The Fall Guy’ and the summer movie season. But there’s some great movies on the way.”



Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
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Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)

“A Complete Unknown” certainly lives up to its title. You are hardly closer to understanding the soul of Bob Dylan after watching more than two hours of this moody look at America's most enigmatic troubadour. But that's not the point of James Mangold's biopic: It's not who Dylan is but what he does to us.

Mangold — who directed and co-wrote the screenplay with Jay Cocks — doesn't do a traditional cradle-to-the-near-grave treatment. He concentrates on the few crucial years between when Dylan arrived in New York in 1961 and when he blew the doors off the Newport Folk Festival in 1965 by adding a Fender Stratocaster.

That means we never learn anything about Dylan before he arrives in Manhattan's Greenwich Village with a guitar, a wool-lined bomber jacket, a fisherman's cap and ambition. And Dylan being Dylan, we just get scraps after that.

The world spins around him, this uber-cypher of American song. Women fall in love with him, musicians seek his orbit, fans demand his autograph, record executives fight over his signature. The Cuban Missile Crisis melds into the Kennedy assassination and the March on Washington. What does Dylan make of all this? The answer is blowing in the wind.

Any sane actor would run away from this assignment. Not Timothée Chalamet, and “A Complete Unknown” is his most ambitious work to date, asking him not only to play insecure-within-a-sneer but also to play and sing 40 songs in Dylan's unmistakable growl, complete with blustery harmonica.

The last big non-documentary attempt to understand Dylan was Todd Haynes' “I’m Not There,” which split the assignment among seven actors. Chalamet does it all, moving from callow, fresh-faced songsmith to arrogant, selfish New Yorker to jaded, staggering pop star to Angry Young Man. There are moments when Chalamet tilts his head down and looks at the world slyly, like Princess Diana. There are others when the resemblance is uncanny, but also moments when it is a tad forced. You cannot deny he's got the essence of Dylan down, though.

The movie's title is pulled from Dylan’s lyrics for “Like a Rolling Stone” and it's adapted from Elijah Wald’s book “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.” Dylan isn't a producer but did consult on the script.

It's not the most glowing profile, though the sheer brilliance of the songs — so many the movie might be deemed a musical — show Dylan's undeniable genius. Chalamet's Dylan is unfaithful, jealous and puckish. The movie suggests that adding electric guitar at Newport in '65 was less a brave stand for music’s evolution than a middle finger to anyone who dared put him in a box.

In some ways, “A Complete Unknown” uses some of the DNA from “I’m Not There.” The best clues to what's going on behind Dylan's shades are the refracted light from others, like Joan Baez, Johnny Cash, Woody Guthrie, Pete Seeger and a girlfriend called Sylvie Russo, based on Dylan’s ex Suze Rotolo, who is pictured on 1963’s album cover for “The Freewheelin’ Bob Dylan.”

Edward Norton is a hangdog Seeger hoping to harness Dylan for the goodness of folk, astonished by his talent. Monica Barbaro is a revelation as Baez, Dylan's on-again-off-again paramour. Boyd Holbrook is a sharklike, disrupting Cash, with the movie's best line: “Make some noise, B.D. Track some mud on the carpet.” And Elle Fanning is captivating as Russo, the sweetheart sucked into this crazy rock drama.

It's Baez and Russo who dig the deepest into trying to find out who Dylan is. They don't buy his stories about learning from the carnival and call him on his facade-building. “I don't know you,” Russo says, calling him a “mysterious minstrel” and urging him to “Stop hiding.” Too late, sister.

Mangold — who directed the Cash biopic “Walk the Line” — is always good with music and clearly loves being in this world. There's one scene that initially puzzles — Dylan stops on the street to buy a toy whistle — and you wonder why the director has wasted our time. Then we see Dylan pull it out at the top of the recording of “Highway 61 Revisited” and suddenly it answers all those years of wondering what that crazy sound was.

There are points to quibble — Dylan never faced a shout of “Judas!” from an enraged folkie at Newport; that came a year later in Manchester — but “A Complete Unknown” is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.