'Michael' Moonwalks to $97 Million Opening, Shattering Record for Music Biopics

Michael Jackson's black sequined jacket with the markings "002 MJJ 87" and "Proto 2" (1987), is displayed before the auction of a collection dedicated to Michael Jackson at the Aguttes auction house in Neuilly-sur-Seine, near Paris, France, April 23, 2026. REUTERS/Sarah Meyssonnier
Michael Jackson's black sequined jacket with the markings "002 MJJ 87" and "Proto 2" (1987), is displayed before the auction of a collection dedicated to Michael Jackson at the Aguttes auction house in Neuilly-sur-Seine, near Paris, France, April 23, 2026. REUTERS/Sarah Meyssonnier
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'Michael' Moonwalks to $97 Million Opening, Shattering Record for Music Biopics

Michael Jackson's black sequined jacket with the markings "002 MJJ 87" and "Proto 2" (1987), is displayed before the auction of a collection dedicated to Michael Jackson at the Aguttes auction house in Neuilly-sur-Seine, near Paris, France, April 23, 2026. REUTERS/Sarah Meyssonnier
Michael Jackson's black sequined jacket with the markings "002 MJJ 87" and "Proto 2" (1987), is displayed before the auction of a collection dedicated to Michael Jackson at the Aguttes auction house in Neuilly-sur-Seine, near Paris, France, April 23, 2026. REUTERS/Sarah Meyssonnier

"Michael," the big-budget Michael Jackson spectacle, shrugged off bad reviews and a troubled production to launch with $97 million in US and Canada theaters, according to studio estimates Sunday, shattering a record debut for music biopics.

A highly authorized portrayal of the King of Pop, co-produced by the Jackson estate, Lionsgate’s “Michael” far surpassed previous biopic top performers like “Straight Outta Compton” (a $60.2 million debut in 2015) and “Bohemian Rhapsody” ($51 million in 2018).

International sales were also strong, The Associated Press reported. “Michael” collected $120.4 million overseas, to give it a $217.4 million global opening — a new high for a music biopic. Universal picked up distribution in most international markets.

Even in the lucrative market of music biopics, “Michael” was an audacious bet by Lionsgate on an extraordinarily popular but controversial figure. The reputation of Jackson, who died in 2009 at the age of 50, has been repeatedly tarnished by allegations of sexual abuse of children. Jackson and his estate have maintained his innocence, though the pop star acknowledged sharing a bedroom with other people’s children. He was acquitted in his sole criminal trial in 2005.

Some Jackson family members opposed the film. Janet Jackson was uninvolved and doesn’t appear in it. Jackson’s daughter, Paris, called it “fantasy land.” But three years after “Leaving Neverland,” the 2009 documentary about Jackson’s alleged sexual abuse of children, “Bohemian Rhapsody” producer Graham King announced plans for the biopic. Jackson’s nephew, Jaafar Jackson, was cast to star.

“Michael” had an unusually rocky production. After shooting was completed, producers realized they had made a costly mistake. The third act focused on the accusations of Jordan Chandler, then 13 years old, whom Jackson paid $23 million to in a 1994 settlement. The terms of that settlement barred the Jackson estate from ever mentioning Chandler in a movie.

A huge chunk of the film had to be cut. Reshoots for as much as $50 million were done at the estate’s expense. Director Antoine Fuqua and screenwriter John Logan reworked the movie to conclude in 1988, before any accusations were made.

Yet as bad as things once looked for “Michael,” the movie turned into a hit. The film’s total production cost came close to $200 million. To defray costs, Lionsgate sold international distribution rights to Universal. A sequel, while not yet announced, is expected.

Critics slammed the film for glossing over some of the less convenient aspects of Jackson’s life. It scored a paltry 38% on Rotten Tomatoes. But audiences were far more enthusiastic.

“Michael” earned an “A-” CinemaScore.

The opening for “Michael” added to a strong spring for Hollywood boosted by box-office hits like Amazon MGM’s “Project Hail Mary” and Universal’s “The Super Mario Galaxy Movie.” After three weeks atop the box office, the “Mario” sequel slid to second place, with $21.2 million. It four weeks, it’s collected $386.5 million domestically.



Venice Documentary Turns Everest Dream into Story of Loss

Jim Morrison poses during a photocall for the movie "Everest: The Other Side" at the 83rd Venice International Film Festival in Venice, Italy, September 3, 2026. (Reuters)
Jim Morrison poses during a photocall for the movie "Everest: The Other Side" at the 83rd Venice International Film Festival in Venice, Italy, September 3, 2026. (Reuters)
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Venice Documentary Turns Everest Dream into Story of Loss

Jim Morrison poses during a photocall for the movie "Everest: The Other Side" at the 83rd Venice International Film Festival in Venice, Italy, September 3, 2026. (Reuters)
Jim Morrison poses during a photocall for the movie "Everest: The Other Side" at the 83rd Venice International Film Festival in Venice, Italy, September 3, 2026. (Reuters)

A documentary about two elite mountaineers pursuing an apparently impossible dream became a study of grief and resilience after tragedy struck during production, its directors said at the Venice Film Festival on Thursday.

"Everest: The Other Side" began as the story of ski mountaineers Jim Morrison and Hilaree Nelson and their ambition to climb and ski down Everest's direct North Face, a forbidding route few climbers have ever completed and no-one has skied.

But the National Geographic documentary took a catastrophic turn after Nelson died in 2022 while skiing down Nepal's Mount Manaslu -- a scene captured on film.

"It started as a love story ‌between Jim and ‌Hilaree and their dreams of climbing and skiing the Direct ‌North ⁠Face. We never could ⁠have anticipated the tragedy that ensued," co-director Elizabeth Chai Vasarhelyi told reporters.

UNPRECEDENTED MOUNTAIN VIEWS

The film follows Morrison as he confronts the loss of his partner and decides whether to continue their dream alone.

His journey is given added pathos by the fact his life was already scarred by tragedy, with his wife and their two young children dying in a 2011 plane crash.

"For me, the film really looks at this question through Jim's eyes of how ⁠you can move through grief," Vasarhelyi said. "How do you ‌learn to live with grief? How does that ‌grief inform a life of intention?"

Morrison said the mountains that had shaped his life also helped him ‌cope with repeated personal losses.

"I've suffered a lot of loss in my life ‌and the mountains have provided a lot back to me," he said. "My craft is putting one foot in front of another and taking one day at a time."

The film is directed by Vasarhelyi and Jimmy Chin, the Oscar-winning duo behind the climbing documentary "Free Solo".

Chin, who accompanied Morrison ‌on the Everest mission, said the new project sought not only to capture an unprecedented mountaineering feat but also the emotional and ⁠practical decisions made in ⁠one of earth's most hostile environments.

"No one's ever seen mountaineering like this," Vasarhelyi said, referring to footage shot on Everest's remote North Face.

Chin described the challenge of filming an expedition where climbers and camera operators were operating at nearly 9,000 meters (29,500 ft).

"The team was made up of world-class athletes and climbers who could also shoot," he said. "You have to be climbers first."

The directors also highlighted the role of the Sherpa climbers who formed part of the expedition team, saying a new generation was increasingly pursuing its own ambitions rather than simply supporting Western expeditions.

For Chin, however, the film's deeper message lies beyond mountaineering.

"When you face your mortality on a fairly regular basis, it is about looking at your life through the lens of the inevitable," he said. "It can shape the way that you decide to live."

The film is being shown out of competition at the Venice Film Festival, which runs until September 12.


Movie Review: Kenneth Branagh and Ryan Reynolds Star in Irreverent Cold War Action-Comedy ‘Mayday’

This image released by Apple TV shows Kenneth Branagh, left, and Ryan Reynolds in a scene from "Mayday." (Apple TV via AP)
This image released by Apple TV shows Kenneth Branagh, left, and Ryan Reynolds in a scene from "Mayday." (Apple TV via AP)
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Movie Review: Kenneth Branagh and Ryan Reynolds Star in Irreverent Cold War Action-Comedy ‘Mayday’

This image released by Apple TV shows Kenneth Branagh, left, and Ryan Reynolds in a scene from "Mayday." (Apple TV via AP)
This image released by Apple TV shows Kenneth Branagh, left, and Ryan Reynolds in a scene from "Mayday." (Apple TV via AP)

Somewhere along the way, Sir Kenneth Branagh developed a knack for playing Russians. He was the vindictive oligarch in “Tenet” and a villainous industrialist in “Jack Ryan: Shadow Recruit,” but “Mayday” may be the first time he’s been asked to use his very particular set of language skills for ... comedy?

His character, Nikolai Ustinov is a United States-loving, ex-KGB agent who has been living a solitary life in the woods until a U.S. Navy pilot crash lands in his backyard.

The year is 1987, Tony Scott’s “Top Gun,” released the year prior, looms large for both servicemen and former Russian agents, and Lieutenant Troy “Assassin” Kelly (Ryan Reynolds) has found himself in a very bad situation after being shot down on a black ops mission in a Lockheed SR-71 Blackbird in the heart of the Soviet Union.

Nikolai fights like Jason Bourne, has a beard like Grizzly Adams and loves “Top Gun” with every ounce of his being. Somehow, he’s obtained a bootleg VHS of the movie which he has watched “over 100 times,” he tells Troy. That movie, he says, confirmed “all of my beliefs about your people.” Because of that, he takes it upon himself to help Troy get out of Russia — and thus another mismatched buddy action comedy is born.

Troy is a very quintessentially Reynolds character while also being fairly generic: Snarky and sarcastic and full of himself. In classic “Top Gun” fashion he’s sure he’s the best pilot. He also has a hang-up about faces he deems unpleasant including those of the Cabbage Patch Kids, the pilot leading the black ops mission (it’s one you don’t often see outside of nightmares, he tells him to his face) and a Russian child whose guardians have taken them in for the night. His Reynolds-isms really only work when playing against Branagh, however. It’s hard to say whether anyone intended for Branagh to be the real star of this film, or if that’s just what happened, but he is the one with the arc, with the comedy, with the soul. Reynolds is mainly there to react to whatever Branagh is doing.

Filmmakers John Francis Daley and Jonathan Goldstein, the directing team behind “Game Night” and “Dungeons and Dragons: Honor Among Thieves,” have made a career out of making genre fare with an irreverent twist. They seem to be both skeptics and fans of macho 80s action movies — playing up the practical hand-to-hand combat and embracing the inherent goofiness of it all.

It’s hard to shake the feeling that it is a strange time to be releasing a movie with a sense of humor about Russia and geopolitical tensions. “Mayday” has a bigger point to make about the one-sided relationship of patriotism, wherever that loyalty lays. And yet it still seems like poor timing to have Marcin Dorociński playing a KGB officer, Alexander Volkov, who is hunting Troy on behalf of the motherland with the zeal of a Terminator. At one point his colleagues, content to wait for help to retrieve Troy’s boot and dog tag from a very tall tree, watch in awe as Volkov strips down to his undershirt to effortlessly do it himself.

Even so, “Mayday” is still pretty fun within its slick and self-aware packaging. It also doesn’t exactly transport you to a credible 1987, though, no matter how hard the soundtrack and references may be working. But in the end, it knows what it is, and that’s not a serious exploration of anything, least of all individuals being used as political cogs during the Cold War.


30 Years on, ‘Tomb Raider’ Reboot Sees Lara Croft Through a ‘Modern Lens’

A visitor poses at the "Tomb Raider: Legacy of Atlantis" video game of Crystal Dynamics and Flying Wild Hog during at the Gamescom video games trade fair on the fair grounds in Cologne, western Germany, on August 26, 2026. (AFP)
A visitor poses at the "Tomb Raider: Legacy of Atlantis" video game of Crystal Dynamics and Flying Wild Hog during at the Gamescom video games trade fair on the fair grounds in Cologne, western Germany, on August 26, 2026. (AFP)
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30 Years on, ‘Tomb Raider’ Reboot Sees Lara Croft Through a ‘Modern Lens’

A visitor poses at the "Tomb Raider: Legacy of Atlantis" video game of Crystal Dynamics and Flying Wild Hog during at the Gamescom video games trade fair on the fair grounds in Cologne, western Germany, on August 26, 2026. (AFP)
A visitor poses at the "Tomb Raider: Legacy of Atlantis" video game of Crystal Dynamics and Flying Wild Hog during at the Gamescom video games trade fair on the fair grounds in Cologne, western Germany, on August 26, 2026. (AFP)

Thirty years after bursting onto the video game scene, Lara Croft returns in a new "Tomb Raider" that plays up the pistol-wielding architect's "complicated" character.

Taking on the most famous heroine in video game history is a "tremendous responsibility", Raul Siqueira, director of "Tomb Raider: Legacy of Atlantis", told AFP in an interview at the Gamescom video game convention in Cologne, Germany.

Journalists and influencers were given a preview of the new game -- a remake of the very first "Tomb Raider" -- that is scheduled for release on February 12.

In the 20-minute gameplay sequence, Lara Croft -- still in her famous blue top and brown shorts -- explores an abandoned tomb in Greece, battling panthers and dodging giant swords falling from the ceiling.

The British adventurer makes her acrobatic moves against a background of realistic graphics, complete with her trademark sarcastic quips.

"Lara is a very complicated character with a lot of nuance. So yes, we've adapted and changed some of the lines, but we didn't go as far to change the story," Siqueira said.

Released in November 1996, the first "Tomb Raider" delighted a generation of players with its 3D graphics -- cutting edge at the time -- and its fearless heroine, who came to personify the entire games industry.

- 'Not an object' -

Siqueira, 36, said the first "Tomb Raider" had a big impact on him personally.

"There was a lot of cool elements... the fact that Lara was a different protagonist, the first female protagonist of a game that I had ever played," he said.

Lara may have beaten a path for more female heroines and encouraged young women around the world to pick up a controller, but in the early days the publicity for the game leaned heavily on her shapeliness.

With the market for video games now expanded well beyond the stereotype of adolescent boys, the team behind the new game says this time they are focusing on Lara as a strong character.

"The way we're rebuilding Lara, we're trying to respect the fact that she's female, and we're just trying to make her powerful, not as an object of physical attraction," said the game's art director Arek Tomaszewski.

Eight years after the last instalment "Shadow of the Tomb Raider" and ahead of an all-new entry planned for 2028, "Tomb Raider: Legacy of Atlantis" aims to revisit the original adventure "through a modern lens", Siqueira said.

Published by the video game division of Amazon, the game was developed jointly by US firm Crystal Dynamics and Polish studio Flying Wild Hog, both owned by the Swedish group Embracer.

It took more than three years of work, including a complete rewrite of the script and Croft's dialogue, now voiced by the British actress Alix Wilton Regan.

- Same old Lara -

The new game aims to draw a new audience to discover a title that has felt the passage of time.

Gamers of 2026, accustomed to modern controls and graphics, would find it very difficult to play the original, Tomaszewski said.

Created by the British company Core Design, the "Tomb Raider" series lost its luster as the quality of new editions declined over time.

It was restarted from scratch in 2013 with a new trilogy dubbed "Survivor", chronicling the adventures of a younger, less experienced Lara.

The latest outing continues that story, Siqueira said: "The Lara that we saw in the 'Survivor' trilogy is the Lara in 'Legacy of Atlantis'," he said.

"It's just the beginning of her career as a Tomb Raider was 'Survivor', that's how we show her first adventure's beginning, and this is her much later in life at the top of her game."